The Pointer UW-Stevens Point Student Newspaper
When director Christopher Nolan finished his acclaimed “Dark Knight” trilogy, many wondered how he could top himself. Apparently to Nolan, the only thing more impressive than taking on Batman is taking on the entire universe.
In “Interstellar,” Matthew McConaughey plays the most achieved deadbeat dad of all time. Instead of abandoning his kids by leaving the city, he leaves the planet. You still love him anyway, because he has a great reason, saving the human race and all. McConaughey’s amazing performance helps too. The love you see him display for his children anchors the film through its craziest, most unbelievable moments. That being said, I wish they had cast someone else. It is much easier to spell “Bale” or “Depp.”
“Interstellar” is a meaningful leap forward from the “end of the world” movies of the past. In the ‘90s, “Armageddon” featured a working-class father begrudgingly tasked with leaving his daughter behind as he traveled to outer space to save the world; “Interstellar” does not rely on excessive explosions or one-liners. It relies on mind-bending science and philosophy, emotional resonance and powerful performances.
“Interstellar” is the perfect movie for people who loved “Armageddon” as a kid, but have grown to want something more substantial from their science fiction. The only area “Interstellar” does not wipe the floor with “Armageddon” is by failing to have a sweet Aerosmith power ballad.
It should come as a surprise to no one to have Nolan directing a deeper, more complex film than Michael Bay. “Interstellar” is not just about blockbuster entertainment, but also about deeper questions of space, time and existence. It seems many truly great artistic directors eventually turn their eyes to the cosmos attempting to reveal deeper meaning to the movie going public; Stanley Kubrick did it with “2001,” Darren Aronofsky did it with “The Fountain,” Terrence Malick did it with “Tree of Life.” “Interstellar” is Nolan’s turn.
There is no attempt to hide similarities to previous works, particularly to Kubrick. Nolan uses sound effects and imagery right out of “2001,” but offers plenty of technical prowesses of his own. The score and visual effects are stunning and will often make you forget you are not drifting in space with these characters. I can imagine people being as spellbound during this movie, as hippies are when they spend a dizzy, wide-eyed evening at the planetarium.
Going to outer space with “Interstellar” is quite a trip, and gets nine missing child support checks out of ten.
Brady Simenson
Contributor
bsime172@uwsp.edu
