Film Review - Interstellar

My reviews have been delayed for the past year, but I persist because for some reason, people are reading them. :)

And while this probably isn't going to make a huge difference since most moviegoers catch new releases within the first week, I hope this post will make you ponder over a few things, and perhaps help you pass a bit of time in a pleasant manner.

The spoiler-free verdict: 9/10, definitely worth seeing.


And now, SPOILERS AHEAD, SPOILERS AHEAD, SPOILERS AHEAD!








First, I don't consider Interstellar a film about space. Or space travel.

I realize it sounds preposterous, but that's exactly how I feel.

And it isn't a bad thing. Not by a long shot. In fact, I give writers Jonathan and Christopher Nolan huge credit for once again exceeding all my expectations, just like they did with Inception and The Dark Knight.

So what do I think Interstellar is really about?

The full answer is extremely complex - and I no longer have the luxury of time ( or brain stamina ) to pen lengthy essays like I used to. But the main message I took home was how extraordinary human beings are, in both good and terrible ways.


The concept of planet Earth being in peril and prompting heroic measures to save it isn't new, of course. Remember Armageddon and Deep Impact?

Where more cerebral versions are concerned, there's Contact ( which coincidentally also starred Matthew McConaughey ) - and hey, turns out it's also NOT about space after all! But it's one of my favourite "space" films of all time, and now, Interstellar joins the list.

While there're more than enough scenes to satisfy those who expect a grand spectacle, for me, those are merely the icing on the cake. Instead, the main course comes in the form of astute and multi-layered character studies, all of which got my synapses firing, and which will likely stay in my head forever.


Two, in particular, stand out. Professor Brand - aka the guy who came up with the whole save-the-Earth plan, and wonderfully portrayed by Nolan's regular collaborator, Michael Caine - initially comes across as a veritable saint, only to be revealed near the end as duplicitous. Because despite formulating 2 possible outcomes, he opted not to tell anybody that he always knew only one of them might succeed. This was a major WTF moment for me. I mean, my jaw literally dropped. I don't expect many viewers to agree, but Brand's action struck me as shockingly ruthless and cruel. And yet, one can also argue that he may have done it out of love, because he also sent his own daughter on the mission, hoping to save her above anyone else.

The other is Dr. Mann, featured in one of the best cameos I've seen in a long time. Played perfectly by Matt Damon, Mann also possesses a dark side, manipulating others with great skill, but only for the purpose of self-preservation. A tense sequence involving Mann's struggle with and subsequent overpowering of Cooper ( McConaughey ), followed by an adrenaline-pumping explosion and a split-second life-saving decision made by Cooper, was exhilarating! A truly magnificent example of movie magic!

The entire cast is excellent, and I can't single anyone out because they're all great. However, I do love TARS the robot. A lot. I was curious about this character after reading about it in Empire magazine's interview with Nolan ( there wasn't a picture attached, just a bunch of cryptic descriptions ), but the final product is marvelous! Indisputable proof that less can be more, because our notions of artificial intelligence in a physical form ( as opposed to computer software like what we saw in Her ) have been tainted by the likes of Star Wars, A.I., Wall-E and countless other shows. And Nolan cleverly subverts this influence by crafting a machine which is honestly quite ugly, but gradually reveals a personality ( snarky humour! ) and quite a few nifty abilities ( it's made up of 4 finger-like pieces, which form a cogwheel that can whirl through a body of water and save people! ). Super cool. :)

Then there's the soundtrack by Hans Zimmer - nothing short of AWESOME. I'm familiar with his signature style ( he also wrote music for other Nolan films like The Dark Knight trilogy and Inception, as well as Man Of Steel ), but this is by far his best. I've read complaints about the ear-splitting volume on Interstellar - which I disagree with - but this may have highlighted the score much more clearly, with gut-wrenching effect. Unfortunately, there was a lot going on so I can't name specific scenes, but if you decide to watch the film again in the future, keep your ears open!

Last but not least, Mr. Nolan the director.
I've been a fan since 2000's Memento, and have seen every single one of his movies since then. He never disappoints, and has only gotten increasingly better with time. In addition to handling action on a grand scale with amazing skill ( and style ), he always manages to inject a distinctly human element into his work, through a thought-provoking script filled with classic quotes ( remember The Joker's line in The Dark Knight? "Insanity is like gravity - all you need is a little push." ), complex scenarios that test the limits of one's conscience, and numerous career-high performances which only he can draw out.
( I also think he's absolutely gorgeous. Who does his hair? It's glorious! :))

Interstellar isn't flawless, of course. I was completely confused by the last 15 minutes, although there're a few helpful explanations on the Internet, and a hokey bit about "love and gravity" which I think I blocked out ( the repressed memory was triggered by this rather hilarious piece ). Perhaps I'll appreciate the movie more after figuring out what the heck happened, but in spite of this, I still think it's an incredible achievement, and a terrific way to spend 3 hours of my precious time.

Comments are welcomed! For the next entry, I hope to review The Newsroom season 3, which just started airing this week. It is just sooooo freaking fantastic! :)

More Reviews

The awesomeness continues. :)

Saving Mr. Banks was deemed an Oscar front-runner, but for some reason ( like Inside Llewyn Davis ) was snubbed in the nomination process.

Still, it is a lovely and immensely moving film, and once again, where 12 Years A Slave failed ( i.e. in affecting my lacrimal ducts ), SMB succeeded effortlessly.

Tracing Walt Disney's 20-year-long attempt to secure film adaptation rights to P.J. Travers' Mary Poppins novel, the story may seem rather simple at first glance, but is anything but. What transpires during the 2-hour run time spans 5-6 decades, tracing Travers' troubled childhood through flashbacks, interspersed with present day scenes, mostly at the Disney studios where she oversees script, songs and other tasks.

In the wrong hands, this movie could have gone completely south. Instead, thanks to the best leading cast anyone could've possibly hoped for, a fabulous script from Kelly Marcel ( who also adapted Fifty Shades Of Grey ), and great directing from John Lee Hancock, the result is a roller coaster ride of surprises, mixed with tidal waves of emotion.

Tom Hanks is perfectly cast as the charming and affable Disney, while Emma Thompson's portrayal of Travers - reticent, cynical, bitter - truly deserves an Oscar nod. Together, they light up the screen, initially sparring before gradually settling into a comfortable partnership and friendship.

Special mention goes to Colin Farrell, who plays Travers' father with subtle sensitivity.

There're a couple of tissue moments, but I won't spoil it by revealing them. I think it's much better to sit through the film and experience them for yourself.

However, I will point out my favourite scene - involving a conversation between Disney and Travers, during which the former describes his own imperfect childhood to the latter, explaining how he became the man he is, and why he made certain choices when others seemed much more obvious.

Definitely makes me see the Disney franchise ( and all the Disney theme parks I've visited ) in a completely new light. :)

Next is The Wolf Of Wall Street, which has garnered Oscar nominations in major categories, including Best Actor, Best Director and Best Picture.

My feelings about this are mixed - there's no doubt WOWS is immensely enjoyable and superbly acted and directed, but nominating a film that gives the impression it's celebrating debauchery of the highest level for Best Picture is rather dubious.

However, I have no argument with the acting nod for Leonardo DiCaprio, whose time has finally come after years of outstanding performances. I recall reading about him being blacklisted by the Academy many years ago when he boycotted an Oscar ceremony after being snubbed for Titanic. Not sure if this is entirely true, but it did appear as if he never quite got back in their good books, despite laudable turns in The Aviator, Catch Me If You Can and Django Unchained.

In WOWS, we see Leo as we've never seen him before - unhinged and totally psychotic. The closest to this was in Django, where he played a sadistic plantation owner whose slaves fought to the death for his pleasure.

As Jordan Belfort, he's a hundred times worse - not cruel, but equally insane in a different way. Consumed by greed, incapable of reining in his multitude of hard-core addictions, culminating in a humiliating display of motor and cognitive impairment after gulping down a massive dose of Qualuudes. That scene alone is worth the Oscar win for sure! :)

And let's not forget the sublime Matthew McConaughey, whose brief 10-minute cameo is so memorable, a restaurant scene featuring humming and chest-thumping has inspired countless YouTube videos.

Clocking in at a whopping 3 hours(!), WOWS certainly perpetuates the overriding theme of excess, and you'll find your eyebrows leaving your forehead as each new sin is presented. Prepare yourself for lots of nudity, sex orgies, pill-popping, cocaine-snorting and vulgarity-spewing, until at some point, you'll actually stop noticing any of it. I personally feel it could've been 30 minutes shorter, but hey, who wants to argue with the brilliant Scorsese?

A standout scene takes place in Belfort's firm, after he announces his departure following an incriminating FBI investigation. As his fervently loyal employees protest, he starts thumping his chest and humming the tune his mentor taught him, and the entire office joins in. Faces contort, grown men climb onto their desks and dance, as everyone enters a trance-like state, a cult worshipping their revered leader with no regard for all the wrong he's committed.

I may object to the Best Picture nomination, but if it ends up winning, THAT is the moment that clinched the trophy.

More next time!

Reviews

Only into the first month of the new year, and my mind continues to be blown away every few days. :)

As awards season continues - leading up to the Oscars in early March - I finally managed to watch Inside Llewyn Davis.
Directed by Oscar winners Joel and Ethan Coen, whose previous films have been memorable, hilarious experiences, their latest effort received huge critical acclaim but was glaringly snubbed by the Academy. Nothing for Best Picture, Best Actor or Best Director. Not even a mention for Best Original Song?!

But you know me - I don't always agree with the panel ( or the list of winners, for that matter ) - so I watched it anyway, and found it pretty good. Though to be honest, its lack of Oscar nominations wasn't entirely unexpected.

The Coens have never been known for conformity - Fargo was probably their most accessible / mainstream work ( little wonder it won for Best Picture ) - and nothing declares this more loudly than their choice of protagonist: a super-mopey, down-on-his-luck and rather unpleasant folk singer. He knocks up his friend's gal, borrows money from the same friend to pay for the gal's abortion, says nasty things to those who help him, and writes TERRIBLE songs ( e.g. one about Anne Boleyn's execution, and another titled Hang Me, Oh Hang Me ).

This is all deliberate, of course. The Coens are practically OCD in their manipulation of movie content, from writing to filming to editing. Everything is calculated, and anyone who doesn't appreciate their analogies can go to hell.

I don't consider myself one of those artsy-fartsy types. It either connects with me or goes right over my head. Llewyn Davis sits somewhere in between - I can identify with the poor guy's troubles and absolutely love the soundtrack, but the ending ( "abrupt" is a nice way of describing it ) really pissed me off.

But like I said, it was all planned.

Oscar Isaac, who plays the tragic lead character, is hypnotic. He drifts from scene to scene appearing to do very little, but never bores. He speaks in a monotonous drone and appraises everything with disinterest, yet I desperately want to see what happens next. And those verbal barbs he flings when you least expect them are like snowballs wrapped around rocks - seemingly harmless on the outside, but boy do they pack a huge wallop!

I especially enjoy the cat subplot - a little bizarre but sticks in your head way after the movie ends.

However, it's Isaac's musical virtuosity that glues it all together. The Coens have said in interviews how they struck gold when the actor auditioned for the role. Already an accomplished musician with a beautiful voice, he embodies Davis perfectly, giving an otherwise odd story its heart and soul. Those are the moments that turn the film into something truly magical. And no matter what the Academy voters think, you should give Inside Llewyn Davis a chance to cast its spell.

I'd been anticipating BBC's TV adaptation of P.D. James' Death Comes To Pemberly for months, but somehow missed its late December premiere by a few weeks.

Based on a novel which wasn't a very nice read ( though I still managed to plough through it ), I'm happy to report that the small screen version is far superior. Lengthy descriptions from the book have been omitted in favour of better character development, plus a few dramatic scenes which I believe were added by the scriptwriters.

My main reason for watching this mini-series is none other than Matthew Rhys. I've seen him in American shows like Brothers & Sisters and The Americans, in which he plays American characters with perfect American accents. But he's actually Welsh, and was cast as Darcy - the object of affection of every female Jane Austen fan in the whole universe, myself included. :)

My mother, who also watched DCTP with me, didn't like Rhys as Darcy at all, because he "doesn't look the part". I, on the other hand, think he's wonderful. Rhys exudes an intensity which suits the role extremely well, from dagger stares to purposeful strides and ferociously whispered admonishments.

I do wonder how viewers responded to the bedroom scene though, complete with bare chest and exposed stockings. Doesn't it violate a sacred rule? Not that I mind, of course. :)

Next on the list is Lone Survivor - also sorely overlooked in the Oscar race. But I don't think anyone cares because it's making loads of money in the U.S.

Directed by Peter Berg ( whose early career was spent playing a hot-headed surgeon on ER ), this is based on a true story about a group of Navy SEALS who were ambushed by the Taliban during a covert mission to assassinate a high-ranking al Qaeda figure.

Here's the thing: I don't usually enjoy films about the military, especially if there's a lot of shooting / blowing things up / male bonding. Notable exceptions include The Hurt Locker, Saving Private Ryan and Jarhead, mostly because of the terrific casts.

That's what happens here as well. The 4 leads: Mark Wahlberg, Taylor Kitsch, Emile Hirsch and Ben Foster are incredible.

I'm most familiar with Wahlberg's work - all the way back to his Marky Mark Calvin Klein underwear modelling days. One of his early movies - The Big Hit - showcased his immense likability factor and effortless ease with the camera. After that, his career took off and he never looked back.
Kitsch, however, has been a source of annoyance for me these past few years. I never found him particularly good-looking ( even Aaron Johnson looked 10 times better with weird hair and scruff when they acted together in Savages ), and it's quite amazing how his career managed to survive after John Carter and Battleship, which sucked big time.
Hirsch, IMHO, is an immensely gifted actor who just needs to make better choices. After a heart-wrenching performance in Into The Wild, my respect for this young man has not diminished despite his various missteps.
As for Foster, I think he was in one of the X-Men films?

Anyway, background aside, all 4 guys are terrific here, especially Foster, who stands out a little more than the rest.
Kitsch fails to irritate me for the first time, and Hirsch is back in his element.

Wahlberg, being the top-billed cast member, gets more screen time and the juiciest storyline. I don't want to spoil it for you, but look out for a scene involving a dramatic evacuation and a tearful farewell to his rescuers. I did NOT expect to shed tears, but it happened.
I didn't cry at all during 12 Years A Slave. Is there something wrong with me?!

On to my choice for actor of the month: Matthew McConaughey.
I've seen many of his movies, starting from 20 years ago when he burst onto the Hollywood scene as Jake Brigance in John Grisham's A Time To Kill. After that, he specialized in romantic comedies ( The Wedding Planner, EdTV, How To Lose A Guy In 10 Days ) before venturing into darker territory in recent years, most notably Dallas Buyers Club, for which he's picked up his first Oscar nomination.

With HBO's original series, True Detective, he continues his winning streak, playing a tormented small town detective on the trail of a serial killer. Co-starring Woody Harrelson ( another underrated talent ) and bearing some resemblance to TV crime dramas like The Killing, The Fall and Hannibal, True Detective's main advantage is its star power.

McConaughey is mesmerizing, utilizing his Texan drawl and mellow voice to full effect, spewing philosophical musings which annoy his partner severely. Like The Killing's Sarah Linden and Hannibal's Will Graham, Rust Cohle is a deep thinker with an uncanny ability to get inside a murderer's twisted mind. 2 episodes in, I'm hopelessly hooked, not so much by the script or body count ( nothing beats Hannibal's gory creativity ), but by McConaughey's restrained yet brilliant portrayal.

But even this doesn't come close to his jaw-dropping turn in Killer Joe, released in 2012 but which I only caught 2 nights ago. The synopsis gives very little away so I won't say too much, but trust me when I say it is SUPERB. Just make sure you have a strong enough stomach for a few spine-chilling scenes.

Also stars Emile Hirsch, who does a great job here. And Gina Gershon gives quite possibly the best performance of her life during the explosive finale.

McConaughey steals the show playing a character who's equal parts evil / violent and charming / gentle. There's a kitchen scene which any normal person should find revolting, but ends up being erotic instead.

While credit goes to the cast and director William Friedkin ( The Excorcist, believe it or not ), I'm especially awed by Tracy Letts, who wrote the original play and also the screenplay. How does a man who looks so benign write such a toe-curling tale? ( By the way, he also wrote August: Osage County, which has earned Meryl Streep her umpteenth Oscar nomination. )

All I can say is, Letts is now one of my writing heroes, and I can't wait to see him on Broadway in April, when he stars with Dexter's Michael C. Hall in The Realistic Joneses.

That's all for today. Here's wishing all my Chinese readers a happy and prosperous Chinese New Year!