★★★ / ★★★★
These days, when a Christopher Nolan film comes out, it is an event. The reason is largely because he is willing to set the bar quite high for himself as a filmmaker and storyteller that sheer ambition and verve usually tend to inspire or impress many. But those willing to inspect closely will notice a chink in the armor: Like his weaker pictures, “The Prestige” and “The Dark Knight Rises,” “Interstellar” is beautifully shot and photographed, even exciting superficially, but it is overlong and overblown.
Most problematic is the so-called revelation during the final quarter which delves into a perceived supernatural presence acknowledged early on. It is entirely predictable. At that point, I felt my body sinking into my seat, almost embarrassed but certainly in disbelief that Nolan, despite his admirable quality of constantly striving for boldness or originality, has actually utilized one of the oldest tricks in the book. Worse, it is employed for the sake of sentimentality. I did not buy it and neither should any intelligent viewer. It is important that we know we deserve more.
What should have been done instead is to leave a bit of mystery for audience. Clearly, the film is influenced by Stanley Kubrick’s challenging “2001: A Space Odyssey.” It is disappointing that the script by Christopher and Jonathan Nolan has chosen to traverse a more accessible path, easily digestible, some might argue spoon-fed, providing all the answers by the time the screen fades to black. The final thirty minutes comes across messy, amateurish, and not fully realized.
The basic premise is this: Earth’s atmosphere is now largely composed of nitrogen, rather than oxygen, and so the planet is on the verge of becoming uninhabitable. As a result, a shortage of food spans the globe. It is without a doubt that mankind is facing extinction. When ten-year-old Murph (Mackenzie Foy) begins to receive strange messages in her room, she and her father, Cooper (Matthew McConaughey), are led to a hidden facility where scientists (led by a character played by Michael Caine) have come up with a plan to save the species. Cooper, currently a farmer but formerly a test pilot and engineer for NASA, is asked to participate on a mission which involves visiting potentially habitable planets outside of our known solar system.
Perhaps the most suspenseful sequence takes place on a bizarre planet where it appears to be composed of only water. The sequence demands attention because of two factors: we do not know what to expect from the seemingly calm environment and we are not yet aware if Cooper and the team (Anne Hathaway, Wes Bentley, David Gyasi) will be able to work together effectively. On top of these, spending time on this particular planet carries a special risk. Cooper has promised to return to his daughter.
One of the picture’s limitations is its tendency to jump back and forth between the intergalactic mission and the happenings at home. While it is important we are consistently reminded that time is of the essence, both on a personal and a global level, we need not observe the drama between Cooper’s grown children (Jessica Chastain, Casey Affleck) because it all seems so insignificant compared to the decisions their father must face. Video transmissions aboard the ship would have sufficed. Sometimes showing less communicates great sophistication while more is just overindulgent.
“Interstellar” is well-acted by the performers across the board; they deliver what is expected of the roles they must play. A few images are a marvel, particularly those of icy mountains that seem to go on for miles and a spacecraft set against the darkness of space—with no sound. But the picture fails to drill completely into Cooper’s roles as a father and a potential savior of the human species. It goes to show that although a filmmaker is provided a sizable budget to employ talent that will grace the screen and hire technicians to make images look just right, when the screenplay is not sculpted to near perfection, an otherwise ambitious project that can potentially set a standard may end up just satisfying rather than transcending.