Excerpt: C’è un cuore umanissimo al centro di Interstellar, ma Nolan non ha il calore sentimentale di Spielberg ed il suo film rimane a mezza strada, incapace davvero di emozionare o di stupire. Un’occasione perduta.
Excerpt: Despampanante megapelícula de Christopher Nolan que impacta en lo técnico y se la juega en unas conclusiones finales que gustarán a unos y espantarán a otros. Una película arriesgada pero innegablemente fascinante en su visionado.
Excerpt: Christopher Nolan’s new film doesn’t have the crispness of ‘Inception’ or the jangly momentum of ‘The Dark Knight.’ It’s his ‘White Album,’ overlong and overwritten, corny, and self-important, and also a great movie–and yes, it can be all of those things at once.
Excerpt: This film is meant to be Nolan’s “2001: A Space Odyssey,” but he’s tilting at windmills here. Kubrick’s film was a masterpiece that hit the mark on every wild attempt to reach for the stars. Nolan catches a lot of these stars, but at least as many slip through his fingers.
Excerpt: [Interstellar] sends a small group of scientists, and audiences, on a journey that involves intergalactic travel, wormholes and a crisis that threatens to destroy all of humanity. It’s epic filmmaking on a galactic scale, full of wonder and ambition, but the bigger canvas brings Nolan’s flaws into sharper relief.
Excerpt: Separating Coop from his daughter may be necessary for Interstellar to advance, but it also forces Nolan to overcompensate by beginning to favor schmaltzy, New Age platitudes over the alluring scientific premise that may attract much of the movie’s audience in the first place. It’s as if the gulf of time and space that keeps McConaughey and Chastain from acting opposite each other onscreen also causes Nolan to lose his bearings.
Excerpt: “Interstellar” runs nearly 3 hours, which is too long, pure and simple. There’s no question that the movie would have benefited from judicious trimming and tightening, though what to cut would have been a daunting question.
Excerpt: Interstellar is quite possibly Christopher Nolan’s most personal film to-date, a grand spectacle of deep space exploration involving wormholes and theories of relativity, but which ultimately rests on the relationship between one man and his daughter. For all its epic visual splendour and scientific mumbo-jumbo, Interstellar is at its heart an intensely human drama. Its success, and indeed the success of the mission on screen, relies less on mathematics, mechanics and technology than on real emotion – and as a result, the film may alienate and upset those looking for a simple white-knuckle thrill ride.
Excerpt: A strong first third and a decent second third are undone by a terrible final third. ‘Interstellar’ once again proves that while Christopher Nolan may be a talented director, he is, at best, a mediocre writer.
Excerpt: Interstellar, like CSI Miami, might best be enjoyed with the volume off, but the awesome visuals demand to be seen at least once with the sensory overload of astro-jargon and Phantom of the Opera pipe cues in order to appreciate fully the spectacular mess that is Interstellar.
Excerpt: It starts out as Close Encounters of the Third Kind, morphs into 2001: A Space Odyssey, and then devolves into Contact by the end: Christopher Nolan’s Interstellar, one of the most anticipated films of 2014, is not the masterpiece some may be expecting, but this kind of visionary head-trip is so rare that it can be appreciated for sheer ambition alone.
Excerpt: The point is, it’s not a film that’s easy to dismiss, just as it may not be entirely easy to grasp, but the sheer force of Nolan’s filmmaking and his dedication to his vision makes it worth grappling with all the philosophy and cosmic kookiness.
Excerpt: Using familiar raw materials, Nolan creates an exhilarating and often terrifying experience that engages earnestly with two of his abiding interests: the individual’s struggle to find their purpose, and how technology both enables and hinders that quest.