Batman Begins (2005) Movie Reviews

Batman Begins Movie Reviews

Director: Christopher Nolan

Genre(s): Action, Drama, Thriller, Crime

Starring: Christian Bale, Ken Watanabe, Michael Caine

Summary: Christopher Nolan's Batman Begins explores the origins of the Batman legend and the Dark Knight's emergence as a force for good in Gotham. (Warner Bros.)

Review: To make another "Batman" movie might seem cynical, but not to anyone who sees "Batman Begins." To see "Batman Begins" is to think maybe this is the way to go: Take an artistically spent franchise, and instead of adding to the series and compromising with the mistakes of lesser filmmakers, pretend as if those other movies never existed. Start at the beginning of the saga, and tell the story again. This time do it right.


"Batman Begins" does it right, and it's the first "Batman" movie to get it right since Tim Burton's "Batman," 16 years ago. Like the first "Batman" it has a dark spirit and an intellectually viable leading man -- Christian Bale, in this case. Unlike the first "Batman," it's not a masterpiece of set design, and it doesn't have a flamboyant villain. Those elements were virtues of the original film, but they became pernicious as a prototype, when subsequent "Batman" movies tried to top the first in terms of both visuals and flouncing, raving villainy.


"Batman Begins" goes in another direction, telling the story as neither a comic book in motion nor as a wild fable, but as the true story of a man who has a series of odd, transformative experiences. Directed by Christopher Nolan ("Memento," "Insomnia") and written by Nolan and David S. Goyer, the film adopts an elegant narrative strategy, flashing back from Bruce Wayne's opening circumstances -- as an inmate in an Asian prison -- to his childhood.

We find out that as a boy, Bruce was terrified of bats. In fact, his inability to sit still for a performance of "Die Fledermaus" causes his parents to leave the opera early -- which puts them on the street at exactly the wrong time. They're murdered in a holdup, an event that sets up young Bruce (Gus Lewis) for years of anguish, rage, guilt and soul-searching.

Bale is the first Batman since Michael Keaton to bring a skewed and somewhat vulnerable sensibility into the psychological equation. Bruce's ultimate decision to become the caped crusader is presented here as a neurotic person's way of channeling his neurosis toward a positive end. Since he knows he'll never stop obsessing about crime -- even his stint in the Asian prison was by way of researching the criminal mind -- he might as well do something positive with his obsession.

Keaton suggested these qualities and motivations, as well, but what Bale has that Keaton didn't is a physicality that also makes sense of all the action hero elements. In an early scene, Bruce Wayne beats up a half dozen guys in a prison yard. In terms of direction, it's one of the worst scenes: Nolan, as if uncomfortable shooting a conventional action number, relies on the modern cliches of constant intercutting and of filming so close to the action that it's impossible to see what's going on. But the sequence nonetheless demonstrates that Bale, the most cerebral Bruce Wayne since Keaton, is the most lithe to date. He's physically loose and graceful and looks like what Bruce Wayne pretends to be, a handsome playboy.

"Batman Begins" lives up to its title, concentrating mainly on the hero's pre-history. He's trained like a Ninja by a great teacher (Liam Neeson). Later, in a crime-ridden, economically depressed Gotham City, he encounters none of the familiar villains, such as the Joker, the Riddler or Catwoman. They're in the future. The villains who turn up in this early era are normal in appearance, at least by "Batman" standards. Tom Wilkinson plays an Italian mob boss, and he's like any other mob boss, full of threats and resentment, while Cillian Murphy is a perverse psychiatrist, on the mob payroll. On the side of good is Gary Oldman, as a gruff, honest cop, and an assistant D.A. played by Katie Holmes, who, alone among the actors, doesn't quite seem comfortable in her role.

The special effects are easy to take for granted, but they're first rate. Batman does a lot of cape gliding in this one. He relies on pulleys to shoot up the side of buildings and, in one notable case, to scoop someone off the ground for a private interview, 10 stories up. There's no doubting any of this. It's all obviously real. The action sequences are genuinely gripping. Even the chases are amusing. But best of all, there's just the pleasure of seeing something that's both fantastic to the eye and emotionally dimensional. This is how to make action movies.

Of course, now that Batman has begun, the Batman movies will never end, at least not for another 10 years. But maybe this time around they won't get so awful.

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Source: metacritic.com

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Inception Ending Explained (SPOILER ALERT)

Inception ending explained:

-SPOILER ALERT-


Director: Christopher Nolan
Genre(s): Action, Sci-Fi, Drama, Mystery,Thriller
Starring: Ellen Page, Joseph Gordon-Levitt, Ken Watanabe, Leonardo DiCaprio
While we have an Inception review where you can leave comments, we’ve set up this page as a place where you can discuss the Inception ending and other spoilers without worrying about ruining the movie for folks who haven’t seen it yet.

To help steer discussion we’ve added a lengthy analysis of Inception (especially the ending) and explained why our analysis of the film fits with the story Christopher Nolan intended to tell.

Does our Inception explanation match your theory? Find out!


Many people walked away from Inception impressed. Some were confused, some were even feeling like they had their brains woken by the most exciting and thought-provoking movie experience to come along all year.

I realize that most people who saw Inception have already made up their minds about what they perceived the film to be (and Nolan will undoubtedly be proud of that). However, for those of you still looking for an Inception explanation, we like to offer a few thoughts.

We’ve organized things by category for you, in case you’re more interested in one facet of the film than another.

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The Rules



So, the first thing to talk about are the rules of the dream world Nolan created for the film. With all the action that happened onscreen, it was easy to forget some of the finer details – but once the lights came up, and people had time to think, I know the question of who was dreaming which dreams certainly came up (among others questions as well).

Remember the basic premise: Cobb (the extractor) and his team are con artists, and like any con artists their job is to construct a false reality and manipulate it in order to confuse and/or fool a mark (in this case industrialist Robert Fischer, played by Cillian Murphy). Nolan takes the classic concept of a con man a step further by making Cobb and his team dream thieves, but in the end, the basic concept is still your classic con/heist movie.

Dream Levels and Dream Time

Nolan throws a lot of fancy math at you but it’s all really inconsequential. All you need to really know are the basic concepts:

The dream within a dream process puts you into a deeper state of dreaming. The deeper you go, the further removed your mind is from reality. We all know what that’s like: the deeper you sleep, the harder it is to be woken up and the more vivid and real-feeling a dream becomes. If you’re in a deep enough sleep, not even the usual physical ques to wake up effect you, such as the sensation of falling (“the kick”) or even, say, having to go to the bathroom.



By the time you reach the Limbo state it can be so difficult to wake, and the dream can feel so vividly real, that the mind stops trying to wake at all – the mind accepts the dream as its reality, like slipping into a coma.

When you wake up in Limbo you don’t remember that there is such a thing as a “real world” – as in any dream, you wake up in the middle of a scene and simply accept it for what it is. Breaking yourself out of this cycle is extremely difficult, which is why Cobb and his wife Mal were trapped in Limbo for what seemed like decades.

Time is the other factor. The deeper you go into a dream state, the faster your mind is able to imagine and perceive things within that dream state. We’re told the increase is exponential, so going deeper into dreams turns minutes into hours, into days, into years. This is why Cobb and his team are able to pull off the Fischer job while the van is still falling through the air, before the soldiers break into the snow fortress, before Arthur rigs the elevator, and all within the span of a flight from Sydney Australia to LA.



In Limbo, the mind works so fast that actual minutes can be interpreted as years gone by. When Saito “dies” from the gunshot wound he received on level 1 of the dream, his mind falls into Limbo, and Saito remains there for the minutes it takes Cobb and Ariadne (Ellen Page) to follow him into Limbo – those minutes in one dream state feel like decades to Saito in his Limbo state. By the time Cobb deals with expelling Mal’s “shadow” from his subconscious, Saito has begun to perceive himself as an old man.

Mal’s shadow stabs Cobb during the film’s climax, which throws Cobb back out into Limbo and onto the shores of Saito’s limbo house. When Cobb has to “wake” again in Limbo, his mind is muddled just like old man Saito’s brain. Through Saito’s memory of Cobb’s totem and some shared dialogue that included key trigger phrases – “Leap of faith,” “Old man full of regret, waiting to die alone,” etc. – Cobb and Saito are able to remember the meaningful conversations they had and that there is a reality they existed in before Limbo, where both of them had deep desires still waiting to be fulfilled (Cobb and his kids, Saito and his business). Once they remember that limbo is limbo, they are able to wake themselves up (likely with a gunshot to the head).

Inception (2010) Movie Review

Inception Movie Review:


Release Date: Jul 16, 2010

Director: Christopher Nolan

Genre(s): Action, Sci-Fi, Drama, Mystery,Thriller

Starring: Ellen Page, Joseph Gordon-Levitt, Ken Watanabe, Leonardo DiCaprio

Summary: Dom Cobb is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved. Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible—inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming. This summer, your mind is the scene of the crime. (Warner Bros. Pictures)

Review: Beware the critic who claims the ability to analyze Inception authoritatively after one viewing. As engrossing and logic-resistant as the state of dreaming it seeks to replicate, Christopher Nolan's audacious new creation demands further study to fully absorb the multiple, simultaneous stories Nolan finagles into one narrative experience. First time around, the movie — part sci-fi fantasy, part gun-toting heist pic, part mindfreak, all filmmaker brio — is dazzling and buzzy. It's a rolling explosion of images as hypnotizing and sharply angled as any in a drawing by M.C. Escher or a state-of-the-biz videogame; the backwards splicing of Nolan's own Memento looks rudimentary by comparison. Only repeated exposure can clarify for each spectator not only what's going on, but also whether the emotional payoff deepens enough to warrant the arbitrary complexity of the game.

This much is clear: Leonardo DiCaprio plays Dom Cobb, a thief-for-hire in the corporate-espionage field who's able to mine info from a sleeping person's brain. Dom and a team of specialists, including a right-hand man (Joseph Gordon-Levitt), an architect (Ellen Page), and a "forger" (Tom Hardy) who can morph into another person's identity, have developed techniques to actually enter a subject's dream. And once on the premises, they can steal secrets. Demand for their services is great, and the team zips around the world. But Dom, a man with secrets of his own, wants to quit the business and return home to his kids. To do so, he takes on One Last Job, a mission with a twist: Rather than extracting an idea buried deep in a dreamer's subconscious, Dom must plant the seed of an idea that will, in waking life, take root — an experimental process called inception. Ken Watanabe plays the tycoon who hires Dom for the job, angling to undo a competitor. Cillian Murphy plays the mark, the heir to a rival business fortune. In a tall tale where every character's name is crafted to signify something to cultists, naming Murphy's character Robert Fischer is a sure sign that Nolan is setting up a gleefully rigged game of chess. Speaking of names, consider Dom's beautiful, haunting wife, played with tenderness and a wiry undercurrent of malice by Marion Cotillard: Her name is Mal. As in the Latin for evil.

One could discuss — or just gape at Inception's visual bravado, and the way the production team braids real locations (Paris, Tokyo, Morocco, snowy Canada) with perspective-shifting CG work into eye candy for MIT engineering students on Ecstasy. Page's architect messes around with the laws of physics, exploding a large chunk of "Paris" with kinetic delight. (As the newest member of the team, Page gets to explain stuff to the audience; for her pains, the actress is saddled with some awfully clunky expository declarations.) Gordon-Levitt wrangles sleeping dreamers into a configuration suitable for transport in a zero-gravity environment in a feat of cinematic choreography worthy of 2001: A Space Odyssey. Any scene featuring the forger named Eames (as in mathematically elegant furniture design?) is compelling because of the effortlessly magnetic Tom Hardy (he played the title prison thug in last year's Bronson). The influences of other filmmakers, other films including The Matrix, Blade Runner, and James Bond movies — peek out of every scene. But Nolan, the temporal origami master who made Insomnia, The Prestige, and those magical movies Batman Beginsand The Dark Knight, handles his shout-outs lightly.

The reality that jostles the reverie is that, as brainiacally engaging as the movie is,Inception's emotions beat with a much fainter pulse. Nolan outfits Dom with an old-fashioned love of wife and children, and waking-life emotions of grief and guilt. But between DiCaprio's characteristic (and, don't get me wrong, often interesting) affect of broody complication, and the generic nature of Dom's longings, the heart is far less engaged than the head for most of the show. I like the movie's ambition so much that I wish that imbalance didn't matter — that the daredevil rush to the (infernally open-ended) conclusion was its own satisfying reward. I'm left to hope, and wonder whether repeated viewing will shift my perspective. You know, as in a dream.

I can't wait to go back.

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10 Things Wrong With Interstellar

SPOILER ALERT!!!

10 Things Wrong With Interstellar

In many ways, Interstellar is a Greatest Hits of Nolan’s very worst instincts as a writer and a director, and while those overwhelmed by the narrative heft and audacity of his vision may be prepared to just go along with it, it does create an experience that’s frequently as frustrating as it is awe-inspiring.

Perhaps no other movie this year has been as simultaneously fascinating and infuriatingly flawed in so many aspects, and as such even those who weren’t so hot on it will likely find themselves going back for a second viewing in order to pick at more of the detail.

Having meditated on Nolan’s trippy sci-fi, here are 15 things wrong with Interstellar, 15 sticking points that just can’t be ignored no matter how pretty the movie looks or how thought-provoking it otherwise might be.

10.That Damn Dylan Thomas Poem

Ever since the first Interstellar trailer dropped that featured Dylan Thomas’ famous poem “Do not go gentle into that good night”, there has been a certain skepticism online that the poetry reading comes across as a little too grandiose and precious.

Unsurprisingly, this feeling transpires through to the final movie as well. While it may have been tolerable had the poem just been used once (its use as the Endurance launches isn’t so bad), but to hear Michael Caine repeat it, have Matt Damon recite it later on and see it written on a plaque at the end of the movie just hits viewers over the head with its lyrical philosophy.

Imagine if that Tale of Two Cities quote from The Dark Knight Rises had been repeated three or four times over the course of the movie: it would have diluted the emotional impact of its ultimate use, and that’s exactly what happens in Interstellar. By the third time a character starts reciting Thomas’ masterwork, there’s nothing left to do but roll your eyes.

It probably doesn’t help that John Cena recently performed a reading of it for a WWE 2K15 advert, so there’s that, too…

9. Adult Murph Is Totally One-Note

It’s immensely disappointing that Nolan hired the brilliant Jessica Chastain to play such a one-note character in adult Murph. Twenty-plus years later, Murph is still deeply traumatised by her father’s

abrupt departure, still immensely angry at his leaving and haunted by it. Still, it just doesn’t seem very realistic that, two decades on, someone couldn’t forgive their father for, oh, you know, going to save the freaking world.

It’s like Murph is stuck in a state of arrested development, perpetually sulking at her dad like she would as a child, when human beings don’t really behave like that in real life. Over time, the anger would fade, she would get on with her life and that would be that (it’s not like she was abused or something, jeez). For her to hold a grudge for so long seems laughably unrealistic, especially the unappreciative, simplistic manner in which she moans about it.

Despite Chastain’s efforts to make it ring true, the character is poorly written and ultimately quite annoying.

8. Awful Sound Mixing

Early reviews for Interstellar from IMAX screenings complained about the movie’s problematic sound mix, which amps up Hans Zimmer’s organ-based score, drowning out a lot of the dialogue in the process. Now that the movie is out in the wild, however, it’s become clear that even regular theatrical screenings are suffering with the same issue, one that has plagued many of Nolan’s films in the past.

The real problem isn’t with missing an occasional quip or line of throwaway dialogue, but that seemingly important discussions are also occasionally overwhelmed by the score, which given the already complex nature of the movie, is an annoying and rather bone-headed decision by the director.

Someone needs to ask Nolan who he insists on mixing his movies in such a radical, sketchy fashion, because it doesn’t do his work any favours at all.

7. Brand’s Emotional State

Nolan is often criticised for writing poor female characters, and Interstellar has two more egregious examples: the aforementioned adult Murph and Cooper’s fellow shipmate Amelia Brand (Anne Hathaway). Though she initially seems like a sharp counter-point to Cooper, she plays her true hand soon thereafter when the crew are deciding which planet to fly to second: Mann or Edmunds.

Brand argues strongly for Edmunds despite Cooper believing Mann to be the more likely prospect, before he forces her to reveal that she’s in love with the scientist Edmunds, hence affecting her decision to want to go to his planet first. It’s a silly moment that reduces Brand’s character to a cliched “overly emotional female” stereotype, all the more difficult to believe given that these people are professional scientists and engineers, and should therefore appreciate the importance of keeping emotion out of the equation in favour of saving humanity.

It’s a cringe-worthy moment that at least subsides rather quickly. Still, it permanently stains Brand as a character, and she’s never really likeable from that point on.

6. Bad Dialogue

It’s a Christopher Nolan film so it’s inevitably going to have some poor dialogue, though the lack of police officers throughout ensures viewers at least don’t have to contend with the corny quips that plagued the Dark Knight saga. While most of Nolan’s previous movies are jam-packed full of memorable, quotable dialogue, the same isn’t really true here: perhaps it’s the scientific rigour of the piece, but there just aren’t a lot of great lines worth remembering.

Then there are occasional instances of truly, laughably bad dialogue, the most blatant of which is an exchange between TARS and Cooper. TARS tells him of a particular action later in the movie, “It’s not possible!”, to which Cooper replies, “No, it’s necessary.” It’s clearly meant to sound bada** but just turns out eye-rollingly cornball in the end, a dumb line that should have been cut completely.

5. Poor Pacing

With Interstellar running in at just shy of three hours, it shouldn’t be surprising that the movie suffers from pacing issues. Though the director is accustomed to directing lengthy films (after all, Interstellar is just 4 minutes longer than The Dark Knight Rises), the pacing in Interstellar feels all over the place.

For starters, though the movie begins well by taking its time establishing a sense of place, once Cooper discovers the binary code, the film cranks into gears and rushes through the launch, never really explaining why Cooper has to rush off rather than wait things out with Murph and detail to her properly why he has to leave. It’s not exactly like the launch can’t wait another hour or so, is it?

Then the movie gets weighed down throughout by several lengthy docking sequences that drag on and on, and the whole Matt Damon subplot (which will be mentioned more in a moment) feels pretty needless. In short, there’s a better 130-140 minute movie in here, though Nolan could definitely do with fleshing out the pre-launch scenes with Murph and Cooper a little more.

4. The Central Dilemma Is Totally Unconvincing

The dilemma at the center of Interstellar is that Cooper has to leave to save humanity without any indication of when he will return. The time dilation gimmick means that Cooper may never see his children again, and he is haunted throughout by the promise he made to Murph to return one day, something he remains dead set on doing.

The movie’s trailers sell the film on a line from Brand to Cooper, that “You might have to choose between seeing your children again and saving the human race”, but really, is this much of a choice at all? It would suck to never see your family again, but when the entirety of humanity is at stake, is there really any dilemma to speak of? Surely most people would agree that it’s worth never seeing your family again to keep humanity going?

Though it may well be commenting on the fact that people don’t tend to care much about things that happen outside of their own lifespans, it paints scientists and engineers as uncharacteristically emotional, overwrought people (combined with Brand’s aforementioned weakness), when they’re much more likely to be level-headed and appreciate the utilitarian value of saving humanity.

Your average person might not, but then Cooper is not an average person: he is a smart man, a pilot and an engineer, and in reality, this probably wouldn’t be a decision he would agonise over, even if it would hurt to never see his kids again.

Basically, Nolan vastly oversells something that isn’t much of a dilemma in the first place, just as he did in The Dark Knight (the civilians would have blown the prisoner ship sky high in an instant) and Inception (when Cobb could just fly the kids to another country, where are the stakes?).

3. Brand’s “Love” Monologue

Alongside the Dylan Thomas poetry, another issue that became apparent in the trailers is the prevalence of love as a theme in the movie. As soon as Brand uttered the line “love is the one thing that transcends time and space”, some were skeptical that Nolan might be cooking up a rigorous sci-fi with a needlessly gooey center.

And it turned out they were right, because this cringe-worthy line reads even worse in the final movie. Brand has a lengthy monologue about the power of love as a universal force that humanity perhaps doesn’t understand yet, a force as powerful as gravity, and unless you’re the sentimental type, it’s pretty hard to buy into, more likely to elicit groans and laughter rather than swoons.

Given the self-serious, hard-science nature of the movie, throwing a premise like this into the mix feels clunky and awkward, and the film would be better off without it.

2. The Matt Damon Segment Is Forced, Pointless & Overlong

If there’s any part of Interstellar that feels utterly superfluous, it’s the subplot on planet Mann, where the crew discover Dr. Mann (Matt Damon) in stasis. They soon enough learn that Mann exaggerated the viability of his planet simply so that he could be rescued, leading to a fight between Cooper and Mann which nearly results in Cooper’s death. When Mann steals one of their ships and attempts to dock it into the Endurance, he ends up being exploded by depressurisation, and Cooper and co. proceed to the third and final planet.

It’s already predictable enough that, with three planets to explore, the first two are obviously going to be a bust, but did Nolan really need to force Damon’s character to be an antagonist, as if the stakes weren’t already high enough? The fight between Mann and Cooper in addition looks incredibly silly, especially the little headbutting battle they have with their helmets, and on the whole, it seems like the movie would fare better with this surprisingly lengthy subplot (lasting around half an hour) cut out completely.

It’s no criticism to Damon, of course, who is always a welcome presence in pretty much any movie, but he isn’t given a character befitting of his vast talents at all.

1. The Ending

And finally, there’s the ending, a mix of wild convenience, nonsense and lingering questions that don’t really prove satisfying at all. Firstly, Cooper is rescued from outside of the wormhole by a NASA vessel with just a few minutes of oxygen left. Even acknowledging that this may have been intentional on the part of the advanced future humans, it’s still an immense contrivance, a deus ex machina that lets Cooper get out too easily.

Then there’s cringe-worthy, tonally misjudged scene in which adult Murph finally works out the gravity equation, leading to her screaming “Eureka!” numerous times while throwing her scientific papers into the air and kissing Topher Grace. Eeek.

Then Cooper finally makes it back and has a tender reunion with Murphy (now about 80 and played by the wonderful Ellen Burstyn), but the meeting lasts about a minute before Murphy tells him to leave and find Amelia. So, that was it? They don’t get to hang out and catch up? He made all this effort to keep his last promise and she basically wasn’t that bothered in the end?

And then there’s the fact that, until Cooper finds her, Amelia has been left to raise presumably several hundred children all on her own, which sounds like a fate worse than death.

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What did you make of Interstellar? Get debating in the comments!

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Source// Warner Bros. Pictures/Paramount Pictures

Interstellar (2014) Movie Review

Interstellar 
Movie Review:

Release Date: Nov 5, 2014


Director: Christopher Nolan



Starring: Anne Hathaway, Bill Irwin, Ellen Burstyn, Jessica Chastain, Mackenzie Foy, MatthewMcConaughey, Michael Caine

Summary: With our time on Earth coming to an end, a team of explorers undertakes the most important mission in human history; traveling beyond this galaxy to discover whether mankind has a future among the stars. [Paramount Pictures]


Review: Interstellar is a thought-provoking, intellectually-stimulating story that uses a meticulous eye for scientific detail to depict worlds and concepts we have only dreamt of. Christopher Nolan creates a visual masterpiece reminiscent of 2001: A Space Odyssey with its absolutely breathtaking cinematography mixed to an eerily quiet 
The commander of an underground NASA outpost, Professor Brand (Michael Caine), sends a favored pilot, Cooper (Matthew McConaughey), on a mission: Cooper and his crew, including Brand’s daughter, Amelia (Anne Hathaway), are to retrace the flights of three astronauts who a decade earlier were sent to planets thought to be capable of sustaining human life. Are the explorers alive? What did they find? Can the earth’s billions be moved through the wormhole? As the crew members enter the distant passage, with its altered space-time continuum, they testily debate one another, referring, in passing, to theories advanced by Albert Einstein, Stephen Hawking, and Kip Thorne. (Thorne, a theoretical physicist and a longtime friend of Hawking’s, served as an adviser and an executive producer on the film.) Black holes, relativity, singularity, the fifth dimension! The talk is grand. There’s a problem, however. Delivered in rushed colloquial style, much of this fabulous arcana, central to the plot, is hard to understand, and some of it is hard to hear. The composer Hans Zimmer produces monstrous swells of organ music that occasionally smother the words like lava. The actors seem overmatched by the production. 

Nolan, who made the recent trilogy of night-city Batman movies, must love the dark. In “Interstellar,” he and the designer, Nathan Crowley, and the cinematographer, Hoyte van Hoytema, send Cooper’s ship, the Endurance, hurtling through the star-dotted atmosphere, or whirling past seething and shimmering clouds of intergalactic stuff. The basic color scheme of the space-travel segments is white and silver-gray on black, and much of it is stirringly beautiful. There’s no doubting Nolan’s craft. Throughout “Interstellar,” the camera remains active, pursuing a truck across a cornfield or barrelling through sections of the Endurance. All this buffeting—in particular, the crew’s rough-ride stress—is exciting from moment to moment, but, over all, “Interstellar,” a spectacular, redundant puzzle, a hundred and sixty-seven minutes long, makes you feel virtuous for having sat through it rather than happy that you saw it. The Nolans provide a pair of querulous robots, the more amusing of which is voiced by Bill Irwin, but George Lucas’s boffo jokiness and Stanley Kubrick’s impish metaphysical wit live in a galaxy far, far away.
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Interstellar is a sublime science fiction spectacle focused on the themes of humanity and survival. The cast is led by a standout performance Matthew McConaughey as Cooper, an engineer-turned-ex-pilot-turned-farmer-turned-astronaut, that deals with the struggles of leaving his family to save humanity. A surprising amount of emotion in this film as the characters deal with humanity, survival and loss.The film was a bit disappointing with some occasional choppy, unnatural dialogue and underdeveloped characters, but the biggest concern was that of subpar sound mixing. A number of scenes had dialogue that was overpowered by effects and the music making it hard to understand what the characters were saying. Due to this it would be a travesty for this film to win the Oscar for Best Sound Mixing.

soundtrack to encompass the vast beauty of space. Although it has underdeveloped characters and somewhat subpar sound mixing, the overall film is an entertaining thrill ride into the deep, unknown parts of space. This is definitely a film to see in theatres to fully immerse yourself in the Nolan experience. Not the space movie we deserved, but the space movie we needed. Nothing less than an Interstellar night.