Interstellar

Christopher Nolan makes movies that I love to watch, though he’s divisive to be sure. Some of my friends dislike his why-so-serious impact on comic book adaptations, and critics decry his occasionally heavy handed exposition. But I’m entertained by his exploration of the darker side of people – their motivations and ends-justify-the-means behavior. Thanks to frequent collaboration with cinematographer Wally Pfister, Nolan’s movies look gorgeous (his obsession with the IMAX format doesn’t hurt either). While Pfister was off shooting the (apparently) regrettable Transcendence, Hoyt van Hoytema (who shot Her, The Fighter, and the original Let the Right One In among others) took over the cameras for the incredible Interstellar.

I expect Nolan’s movies to be visually appealing, but I don’t expect to be struck so strongly by the complete beauty of his work. I don’t expect to be emotionally overwhelmed by the relationships and struggles of various characters. I don’t expect nearly three hours to pass so quickly, leaving me a sobbing mess in my theater seat as the credits roll.

I didn’t think this movie was perfect. In fact, I was more than a little disappointed by the way some major plot elements were too-neatly explained. And I wish Nolan had made better use of silence instead of pervasive sound. Those disappointments faded to distant gripes in the face of outstanding performances by lead and supporting (and voice!) cast members, stunning visuals of both a broken Earth and magnificent cosmos, and one of Hans Zimmer’s finest film scores. Seriously, what an incredible collection of music.

Go see this movie. See it in an IMAX theater if you can. Maybe keep some tissues in your pocket if you’re easily weepy like me. This one goes on my insta-buy list as soon as it’s available.

4.5/5