Interstellar

Are you one of those who wished Chris Nolan’s movies were not so (seemingly) free of emotions? Well, you know what they say ... Be careful what you wish for, it could come true. Because more than anything else, Interstellar acts as Nolan's sincere response to the above complaint. It's just an effort that is more wanted and forcibly pushed than naturally arising from the story and the characters. At the same time, for a long time (which, given the footage, really means for a very long time), nicely rational (and it is evident where this systematic analogy to Kubrick's 2001 comes from), but it turns into a variation on the Frequency viewed by Spielberg family perspective. However, if, after all, you really want to look for an analogy, then it clearly call for the Contact that also ruined its rational level at the end, although not as literal as Interstellar (what is strange is that on the one hand it is so cheaply literal and yet you can read between the lines, how and what was achieved for humanity during the ending scene). You either get over it or not. I did mainly thanks to the fact that the very first dialog of the daughter in the whole film will clearly determine where from and what point will follow. However, if nothing else, the once-in-a-lifetime audiovisual impression (especially in IMAX) of a pioneering journey into the unknown, which is breathtaking all the time, if not in terms of emotions than at least in terms of what the movie shows. In addition, it is one of the few orthodox big-budget science fiction, where during most of the footage the science, not the fiction is being emphasized, as we can typically see. And that means a lot, if on top of that it is quite likely that you will enjoy it even in terms of emotions. (06/11/2014)

This movie is as if Nikola Tesla opened up one of his Pandora boxes. I wouldn’t have understood a single thing, but I would have been absolutely fascinated by it. And now if you excuse me, I think I may have to spend the rest of my life studying all available theories about the universe, black holes and fifth dimensions. (06/11/2014)

It's always been like that. Always. For every film that has (re)defined the sci-fi genre, there have been widely conflicting responses; only time, the fairest judge, has helped resolve the dilemma of a work' immortality. This applied even to Kubrick's Odyssey, which was loved in its time by hippie circles but reviled by critics and mainstream audiences. But Nolan is like expensive wine, if you like it and you know that it makes you feel good, you will forgive it a little bit of tartness and you will be happy to come back to it. He’s not the cheap swill that delight the bums at the train station, but a proper vintage Bordeaux. Cheap swill are most of today’s movies, especially the innumerable comic book adaptations that have already bored the gourmands. Nolan can still surprise, and as he gets older, his films become more epic, more narratively sweeping, in short, more cinematically ambitious, while focusing more on the visceral feelings of individuals, bringing the simple human dimension to the fore in a Spielbergian way (see the third Batman). But I still wasn't prepared for what was coming. Interstellar is so ambitious and bold in its message, in its rarely seen narrative structure, that it will either hit you like a ton of bricks or, on the contrary, make you feel uplifted. It depends on your nature. And I could go on with superlatives, such as the original and unprecedented concept of the gradual destruction of our ecosystem, all from the point of view of one family (similar to Spielberg's War of the Worlds or Close Encounters of the Third Kind), breathtaking space compositions, while maintaining a serious scientific dimension and the laws of physics (though this is for a longer discussion), and all that while keeping the narrative intimate and thought-provoking. Nolan is a man with a big heart, and those who are afraid of honestly conveyed emotions, thoughts revolving around the fate of the family and the weight of the responsibility to bring a child into the world, may not appreciate this. But would it be presumptuous of me to say that at least half of the positive impression of the film in my eyes was made by Matthew McConaughey himself? An actor so malleable, with such a breadth of emotions, it's breathtaking. Matthew, if I see you one more time showing your six-pack in the company of some second rate bird like in one of those forgotten comedies you (thankfully) have left behind, I’ll smack you in the head with one of your surf boards. (09/11/2014)

I'm pretty confused about this one. He could easily have made a great movie, but they'd have to cut the minutes a bit and somehow get more suspense in there. The emotions aren't evenly distributed here at all. One minute you're bored and the next you can't wipe away the tears. On top of that, the feelings are fleeting and don't stick around long. If they had concentrated more on the film itself and not built it on dialogue that forces the viewer a bit too much into how to perceive the whole thing, it would definitely have added to the value of this piece. A weaker 4 stars. (02/11/2015)

The secret of Nolan’s success lies in his ability to disguise his inability to maintain the logical and emotional continuity of the narrative in parallel storylines in a disarming and, at the same time, overly dramatic manner. This weakness drags down the entire second half of Interstellar, which will drill such a hole in your head that you are forced to switch to the passive mode of “a great blockbuster experience” – without being bothered by the fact that the editor doesn't know what he’s doing. The movie is full of self-serving dramatic scenes that are of little relevance to the story as a whole, by which I mean the epic docking with the damaged rotating station and the burning cornfield with an angry Casey Affleck (WTF?) on the opposite side of the galaxy. And by dysfunctional logical and emotional continuity, I mean cutting from space to Earth (where we don’t know what’s going on and to which everyone is running), which unnecessarily draws attention away from the key twists of the cosmic plot. It looks so terribly EPIC and uses such magnificent music that Nolan surely knows what he’s doing here...right? No, in my opinion, he does not. ___ But let’s talk about the first half of Interstellar, which seems to be a different film entirely – it is smooth, deliberate and sensitively edited, outlining beautiful thoughts about TIME (which, along with health, is the most valuable thing we have). Because of that, this half of the film is the most elaborate and magical sci-fi revelation in many years. I fell in love with Interstellar in the scene involving greetings after returning from the watery planet, which is something I don’t think I have ever written about any film before. And there it should have ended, and Nolan and his people should have made a completely rewritten sequel a decade later, after they’ve grown up and learned to perceive things in context, together with proper editing. Then, ideally by dividing it into two sensitively linked films, one of which would take place in space and the other on Earth, they could have made Interstellar into a milestone in the history of the science fiction genre, a dignified successor to Kubrick. (05/11/2014)