The 1990’s was a golden age for cinematography. A string of great and powerful movies such as Schindler’s list, Saving Private Ryan and Shawshank Redemption seemed to be premiering left and right. Recently, the film industry has fallen victim to cheap scares, cheesy jokes and unnecessary action.
In the last decade, it seems as if we lost all of that passion and glory that Hollywood once held. However, with his newest hit, Interstellar, Christopher Nolan once again proves that this golden age isn’t dead quite yet. In Interstellar Earth is dying and Cooper, played by Matthew McConaughey, is forced to leave his family in order to lead one final mission attempt to find a new home planet for humanity.
Going in, I was looking forward to seeing a thrilling tale of space exploration, as was most of the film’s audience, but I was blinded sided by the deep scenes of ardent emotion provided by the secondary tale of father-daughter relationships that Nolan slips seamlessly into the main plot. Nolan gets his audience to develop genuine compassion for his fictional characters whose stories lead me to genuinely question my emotional values in life. After my first viewing of the film, I was surprised when the audience wasn’t greeted with warm tea and blankets upon exiting the theatre.
McConaughey’s performance in this film was more than just alright alright alright; it was a performance that seemed to put his work in Dallas Buyer’s Club to shame. The veteran actor’s performance easily gained the homage of the audience and added true emotional weight to the film’s more emotionally gripping scenes. McConaughey is joined by other Hollywood superstars such as Anne Hathaway, Michael Caine and Casey Affleck, whose performances seemed to compliment their roles flawlessly.
Nolan’s never-ending attempt to add new ideas and depth to his plot unfortunately led the story to encounter some scientific anomalies that, while not considered wrong, were generally regarded as a bit of a stretch by scientists and movie-goers alike. This was where the role of fiction played into this sci-fi film; after-all, there’s a reason why scientific papers aren’t made into movies. While these moments didn’t spoil too much of the movie going experience that was Interstellar, it did leave me scratching my head in a little bit of confusion.
Although the science of the film was a bit of a stretch, it did provide us an unforgettable visual experience. This is not a movie that people should wait to see at home. Even though I-MAX tickets are probably now worth their weight in gold, the visual goodies that dominate the film make Interstellar one of the few films that I can justify spending the extra money to see.
The things we can accomplish with CGI in today’s day and age never fail to leave me in awe, but Interstellar takes things to a whole new level. Multiple times throughout the film, I truly felt dwarfed by wonderfully artistic scenes that flashed across the massive movie screen time and time again.
Furthermore, no film would be complete without its soundtrack. Hans Zimmer proves to us why he should be considered among the elite composers by providing Interstellar with what are easily some of the most imaginative and inventive scores of his lengthy career. Every intense and colossal scene that Nolan throws at the audience is accompanied harmoniously by an equally intense score that makes this film seem even more colossal than it already is.
Interstellar gives us relief from the seemingly never endless wave of Hollywood remakes and series piggy-backers whose razor thin plots never seem to hold any emotional weight with the audience–*cough cough Avengers cough cough. I just hope that the movie going audience hasn’t yet been completely fooled by the modern day hits and can still recognize the greatness of a film such as Interstellar.