BULLSEYE OR MISFIRE: Interstellar Reviews
By Dr. Know on November 7th, 2014
Christopher Nolan’s 168-minute odyssey through the space-time continuum is stuffed with stuff of bewildering wrongness.
What the neg-heads are missing about Interstellar is how enthralling it is, how gracefully it blends the cosmic and the intimate, how deftly Nolan explores the infinite in the smallest human details.
Interstellar is an entertainment disaster for reasons that have dogged our films since they began: ridiculous story; implausible segues; laughable dialogue; the absence of character, drama, and command.
By the closing credits, it seems possible that Nolan himself hails from another planet, and while he has tried diligently to show humanity in a flattering light, he lacks enough inside information to get it right.
This isn’t Nolan’s best movie, but his ambitions and trust in the audience keep getting bigger. He’s one of Hollywood’s few true remaining visionaries, and he’s only getting warmed up.
While it has some problems, Nolan aims higher than most filmmakers would dare attempt and comes oh so close to creating another undeniably classic space masterpiece.
Forget about what it means and just go for the mind blowing, heart wrenching ride.
Lacking a sense of awe or of the astronomic passage of time, “Interstellar” provokes more “huh?” moments than it does “ah!” moments.
Interstellar is sufficiently grand and challenging to bear comparison with those two touchstones of mind-bending epic sci-fi: Kubrick’s 2001: A Space Odyssey and Tarkovsky’s Solaris.
Much as Nolan’s characters often fail to reconcile their grandest desires, so, too, does Interstellar fall short, particularly in its trying-to-have-it-all finale. But, damn, if we shouldn’t applaud Nolan for aiming big.
A movie that feels like being tangled up in a pile of infinitely-unfolding some-assembly-required instructions in the watching, full of dialogue that’s like the recital of a How To manual.
Interstellar is beautiful, dazzling and astonishingly loud, but, alas, it is remains something of a mess at the level of the script
Interstellar must be seen in a movie theater because of how powerful it is visually. It is audibly the best film to be released in theaters this year. But you can’t help but feel like it’s all slightly too convoluted for its own good.
Christopher Nolan outdoes himself with this thrilling , and emotionally moving. sci-fi drama that has echoes of 2001 but carves out its own gripping story by smartly focusing on the human element so often missing in this genre.
Nolan creates overwhelming, often breathtaking suspense in a number of sequences.
A science-fiction (heavy on science) adventure steeped in Einstein’s theory of relativity that is equal parts enigmatic, exhilarating, elaborate and emotionally wrenching.
Stanley Kubrick had the right idea. When making a philosophical space epic steeped in scientific theory, don’t explain everything. Be bold but be vague; fewer corners to back into that way. And don’t let Hans Zimmer do the music.
Interstellar tries to ground its corn-pone mush in quantum theory and paper over its planet-sized plot holes with enormous vistas and the most egregious use of Dylan Thomas ever committed to screen.