Interstellar

So where to begin with Christopher Nolan’s latest? Perhaps its subject matter. Cinema has been producing films about space exploration since the days of Georges Méliès, so Nolan is hardly breaking new ground here and the main plot strand (that of humans starting life on other planets) has been covered by a number of recent films (Oblivion, After Earth, Elysium et al.), albeit though not really all that successfully. The fascination though lies in Nolan himself. In Interstellar does he go further than the old chestnuts of gravity, perpetual motion, dreams etc.? – No he doesn’t, but that’s not really the point is it? It’s not that we want to watch an epic film about space and the future of the human race – the crux is how does Nolan portray such things? Right, that’s enough of the question marks. Plot wise we’ll be here all day (and keeping away from spoilers), but we follow a group of astronauts (Matthew McConaughey and Anne Hathaway amongst them) as they journey into space in search of a new home, as ole’ planet Earth is on its last legs. So, any good then? It’s the old response: Yes and No. On the technical side of things, it’s hard to find a fault. The practical and digital effects are top notch (the robots in the film are superbly realised and, spoiler alert, don’t become murdering bastards!) and Hoyte van Hoytema’s cinematography is something to swoon at up there on the biggest screen you can find. There are also a number of stand out moments, including the scene where a number of the crew visit a planet, whilst the rest stay on board the spaceship. The catch being that for each hour spent on the planet, time dilation equates one of those hours as seven years for the astronauts left on the craft. Finally, despite it’s length (and a somewhat pat ending), things really kick into gear in the final third with some great plot twists and the surprise appearance of a Hollywood A-lister. The overall irony though is that despite it’s huge scope, this is actually one of Nolan’s least entertaining films. As you’d expect its all based on fact (or at least an agreed version), but that hardly leads to snappy dialogue. In fact, David Gyasi (as one of the astronauts on the mission) only appears to be in the film in order to be the cosmic equivalent of Basil Exposition. Not too mention a scene where Hathaway delivers a monologue about love that she looks embarrassed to be orating. There’s obvious nods (good and bad) to be made to 2001: A Space Odyssey, but Interstellar suffers from an accusation that Kubrick naysayers like to put forward – that of coldness. The lack of warmth and humour of the characters in Interstellar make them feel somewhat distant and, for a film that’s ostensibly about the fight for the continuation of mankind, there are actually very few of the protagonists whose death you would really mourn. Comment should also be made about Hans Zimmer’s overbearing score and the overall sound mix. The soundtrack is somewhat OTT and at times sounds like the B-sides from Tubular Bells, though Zimmer can’t be blamed for it being so damn loud throughout the film it’s actually difficult to pick up some of the dialogue. In addition, there’s far too much mumbling going on at times (particularly at a crucial reveal during a death scene) and what with the Bane fiasco, Nolan is beginning to development some form here. Some fun to finish off with though: For fans of Michael Winterbottom’s The Trip, Michael Caine gives us a new Michael Caine voice here – so no doubt Messrs Coogan and Brydon will be practicing. As for what’s next for Nolan? He’s distanced himself from Bond, but surely a contemporary thriller must be on the cards at some point……Rating: 7/10.