Monday, May 22, 2017

Interstellar

There's a great sense of gravity to Interstellar - aptly, I suppose, given the importance that the force plays in the film via wormholes, communication across time and more, although that sense of sombreness and weight is pretty consistent across all of Nolan's films. And it also has a powerfully uncanny feeling, bringing together the familiar and the imagined in a way that's equally fascinating and unsettling - the massive water planet, in particular, is the stuff of nightmares.

I've read a couple of reviews of his films in the past that have said they're missing the human touch - in that they're more about spectacle and ideas than real feeling - but I've never been on board with that idea; in fact, to me they all seem absolutely laden with emotional impact and Interstellar might be the one that shoots most directly for that particular base (though not the one that hits it the hardest - that would be The Prestige, I think), helped along by the thoroughly professional - in a good way - turns from all concerned (McConaughey, Chastain, Hathaway, Caine, Mackenzie Foy as the young Murph, and others). (On a second viewing, the Matt Damon sequence isn't as strong as the rest of the film - but the surprise of it on first go-around makes it still a very legitimate move I reckon.)

(last time)