Film Review: Interstellar

It was around this time last year when we saw the very first teaser for Christopher Nolan’s next mega blockbuster Interstellar. And up until the most recent ad campaigns, information on the production was impressively concealed (for the most part). The film was finally released, and generally favorable reviews followed. It just wasn’t the film that some thought would compete for an Oscar and put Nolan in the discussion of all-time greats with Speilberg and Scorsese.

It’s undeniable that Matthew McConaughy is on fire right now, even before the release of Interstellar. Coming off his Academy Award winning performance for Dallas Buyers Club and a stint as Rust Cohle on True Detective that only Walter White could keep from an Emmy win, McConaughy fares well as a former NASA pilot tasked with searching for inhabitable planets through a newly discovered wormhole left by intelligent beings. Anne Hathaway and Jessica Chastain are also commendable, but each is overshadowed by Bill Irwin’s (Mr. Noodle on Sesame Street’s Elmo’s World) vocal performance as the robot TARS. With that said, the obligatory Michael Cane appearance has grown a bit old (literally).

Wally Pfister, who won an Academy Award for his cinematography on Inception, was unable to join the production while making his directorial debut on Transcendence. With that slight setback Nolan made a crucial and rewarding decision to hire cinematographer Hoyte van Hoytema (Let the Right One In, The Fighter, Her). I’ve been a huge fan since the Swedish horror masterpiece Let the Right One In, and, of course, his more recent work on Spike Jonze’s Her. Interstellar is a very good film, and I suppose if someone has to make these pseudo-cerebral blockbusters, Nolan is the right one for the job. I just hope the filmmaker revisits his roots at some point to mix it up with another film like Following or Memento.

Mark Written by:

Avid concert goer and film buff obsessed with indie and electronic music.

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