Interstellar ★★½

Declaring Interstellar as Nolan’s most ambitious work to date seems a little preposterous to me when you take into account this is the same dude who rattled minds with Inception and orchestrated cinematic poetry with The Prestige. Sure, Interstellar has a scientific focus on space, gravity, wormholes, etc, but to me ambition can only be fulfilled if it runs parallel with intelligence and precision, which is something Interstellar isn’t exactly drowning in.

I can, in a way, understand the concept of someone finding Interstellar compelling, but I just found it far too convenient in how sequences flow and the rhythm too inconsistent for any sustained tension to overwhelm me. Nolan directs with such a baffling style here, rarely allowing for his film to breath as he seems far too romanticised with the idea of sentimentality, which frequently derails anything he’s trying to build. I can’t deny the scene of Cooper watching backing over those video messages didn’t hit me, but seriously some of the stuff in this film baffled me beyond belief.

Not baffling the way a complex space narrative should be, but rather because of its incompetence. Nolan is seemingly striving for too much. Occasionally he hits it and I can’t ignore how impressive the visuals are and the power of Zimmer’s score, but most of what is deemed as drama here fell flat for me and match that with a final act with more ridiculous connotations than I can remember and you’ve got one of the most frustrating, absurdly acclaimed Blockbusters in years.