Do a Shot: whenever relativity is mentioned.
Take a Drink: for every crying scene.
Do a Shot: when a character’s motivations don’t make sense.
Take a Drink: every time something happens that you’ve already predicted.
Toast Your Beer: for TARS.
By: Hawk Ripjaw (Three Beers) –
Coop (Matthew McCaugheniegnaghay) is a former pilot-turned farmer facing worldwide food shortages as blight wipes out crops and dust storms ravage the United States. Coop’s daughter Murph thinks there is a ghost in her room. Coop, being a nurturing father, tells her as kindly as possible that that’s stupid. Even Coop is surprised, however, when some dust from a storm perfectly spells out some coordinates that lead them to an old NASA base run by Coop’s old mentor Alfred Pennysworth, who tells Coop that they need him to go on a space adventure to a different galaxy in a different time, where other astronauts have already looked for habitable planets because the Earth is boned, and oh yeah, he leaves tomorrow.
Murph is understandably pissed, resenting Coop and refusing to make amends before he leaves, so everyone is sad. Coop and his team, most of whom are presumably wearing red underneath their space suits, blast forward into a new galaxy, where a time warp causes their time to move much most slowly than on Earth. Back on Earth, Murph is now a grown woman and still hates her dad. Coop’s son, having reached level 30, has evolved into Casey Affleck.
Planet 1 is a bust because it has super waves, but Planet 2 has a secret celebrity cameo. Secret character living alone for years on a desolate planet? I wonder how that’s going to end up?? As they do in space movies, things go from fine to fucked in a matter of minutes. Chris Nolan then lets us all know that he really, really loves 2001: A Space Odyssey.
No matter what the movie is, we’ve come to expect at least two thing from Chris Nolan films: awesome visuals, and a killer score. Interstellar continues that trend.
Many of Nolan’s films have some flaws, but every damn one of them is packed full of visual panache. Nolan is already known for a level of dedication that borders on the clinically noteworthy—from ditching strings to just building a giant rotating hallway for one 3-minute fight scene from Inception or literally crashing a plane for the opening scene of The Dark Knight Rises—and here is no different.
Nolan brought in Dr. Kip Thorne to make sure everything looked right, and Kip Thorne delivered. Even though the layman doesn’t have a damn clue what a black hole looks like, Thorne got with an FX team to develop a brand-new 800-terabyte CGI rendering system that would take up to 100 hours to render a single frame of the black hole. DP Hoyte Van Hoytema installed an IMAX camera in a Lear jet to film flight sequences. For the burning of the cornfield scene, Nolan first grew an actual cornfield.
These people are fucking insane.
Hans Zimmer is amazing as always, ditching some of his more traditional trademarks for an organ-focused score. It sounds amazing and come November 18, I’m going to make love while this plays full blast. Rumor has it that Nolan went to Zimmer, gave him a one-page rundown of the movie’s theme, and said “fuck you, this is art. Make something.” And he did. This is one of the best scores Zimmer has yet put together, and I’d watch the movie a second time just to hear it rattle through my bones in the theater.
Also, TARS is awesome.
The script is less impressive. Originally put together by Jonathan Nolan at the request of Spielberg, the latter eventually decided that he wanted to do something else and Chris took over. In doing so, he glanced at Jon’s script and changed a lot, dumbing down the whole thing so that the average moviegoing audience doesn’t get confused. Unfortunately, since this is America and some of us are fucking morons, catering to the lowest common denominator has created a film that’s got the superficial intelligence of an Internet commenter studying Wikipedia for five minutes before posting a diatribe.
Don’t get me wrong, the movie is smart enough and has some cool shit about wormholes, but Primer this is not. In fact, the logic doesn’t even really hold up under scrutiny, where a tenuous wormhole paradox rears its head. The rest of it is just kind of… predictable.
LOVE!! LOVE CONQUERS EVERYTHING!! IT TRANSCENDS EVERYTHING!!
Nolan doesn’t “blend” love and sci-fi so much as he “sent both on a suicidal collision course towards each other.” His traditionally chilly style is aggressively overcompensated for in what is less a sci-fi adventure and more a weepy family drama wrapped up in some sci-fi elements. As it is here, it’s pretty hippie-dippy in a way that seriously presses its luck with excess.
Yeah, it’s good. But it’s a lot more fun during the experience, while afterwards it’s just more of a “hey, that was neat.” It’s entertaining, just like all of Chris Nolan’s films. And that entertainment, including phenomenal production values, makes the flaws a little more noticeable.