Interstellar

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)

An attempt at metaphysical art for 165 million, which tells the story of the fate and the essence of humanity, and humanity as such... and as a result falters due to its strongly rhetorical nature, and the fact that Nolan once again pulls his characters like automatons in a precisely constructed mechanism. With the exception of McConaughey, who, in his current form, could find emotion even in a piece of plastic, this is an astronomical clock of talking schemes and dialectic hangers (the marching suits feel a much more human than all the often crying characters). I don't want to be fully on the side of the haters - Interstellar has many. I enjoy a number of things in this authorial vision - the contemporary "pre-apo" skepticism balanced by idealism, a raw view of interstellar flights as a traumatic phenomenon, and work with space and the elements. It is also unbelievable how Hoyte Van Hoytema got moving the once immobile IMAX camera into a flexible multi-string instrument that evokes in some places the inner filming of Emmanuel Lubezki. Paradoxically, the height and width of the frame are used to create an intimate impression, perhaps even more often than to achieve a wow effect from the wholes. A faded look at a dusty future, a meditation on parents becoming the spirits of the future of their offspring at the time of their offspring's birth, and a few other things touched me. But as a whole, Interstellar reminds me of a combination of spectacular themes and motifs that fails to create what is not directly stated at the same time. And this is a bit of a problem for a film that deals with phenomena on the periphery of our rational perception of the world. For me, it's simply the type of spectacle for which the truly captivating part will be the bonuses from the production. [70%] (06/11/2014)

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)

As if Christopher Nolan was filming more from himself than ever before. He was already indulging in the smartest twists and tricks in the plot and narrative with The Prestige or Inception, but here he genuinely experiences his omnipresent fear for his family every minute, engraving it into every passionate monologue by Matthew McConaughey and building all the twists around it. It is not easy to accept that this time, too, the driving force behind the universe (occasionally even literally) are his own desires and regrets. But thanks to that, Interstellar soars through drama, ecology, wormholes, water, and ice with Hans Zimmer's organs on its back, aiming for a subjectively absolute rating that has no equal. Because I now have greater respect for distant stars than ever before and at the same time, I would give anything to be even a step closer to them. (06/11/2014)

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)