SHERDOG MOVIE CLUB: Week 146 - Interstellar

[europe1]

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Here's a quick list of all movies watched by the SMC. Or if you prefer, here's a more detailed examination.

Nolan: A Space Odyssey

Our Director

Best known for his cerebral, often nonlinear storytelling, acclaimed writer-director Christopher Nolan was born on July 30, 1970 in London, England. Over the course of 15 years of filmmaking, Nolan has gone from low-budget independent films to working on some of the biggest blockbusters ever made.

At 7 years old, Nolan began making short movies with his father's Super-8 camera. While studying English Literature at University College London, he shot 16-millimetre films at U.C.L.'s film society, where he learned the guerrilla techniques he would later use to make his first feature, Following (1998), on a budget of around $6,000. The noir thriller was recognized at a number of international film festivals prior to its theatrical release, and gained Nolan enough credibility that he was able to gather substantial financing for his next film.

Nolan's second film was Memento (2000), which he directed from his own screenplay based on a short story by his brother Jonathan. Starring Guy Pearce, the film brought Nolan numerous honors, including Academy Award and Golden Globe Award nominations for Best Original Screenplay. Nolan went on to direct the critically acclaimed psychological thriller, Insomnia (2002), starring Al Pacino, Robin Williams and Hilary Swank.

The turning point in Nolan's career occurred when he was awarded the chance to revive the Batman franchise in 2005. In Batman Begins (2005), Nolan brought a level of gravitas back to the iconic hero, and his gritty, modern interpretation was greeted with praise from fans and critics alike. Before moving on to a Batman sequel, Nolan directed, cowrote and produced the mystery thriller The Prestige (2006), starring Christian Bale and Hugh Jackman as magicians whose obsessive rivalry leads to tragedy and murder.

In 2008, Nolan directed, cowrote and produced The Dark Knight (2008) which went on to gross more than a billion dollars at the worldwide box office. Nolan was nominated for a Directors Guild of America (D.G.A.) Award, Writers Guild of America (W.G.A.) Award and Producers Guild of America (P.G.A.) Award, and the film also received eight Academy Award nominations.

In 2010, Nolan captivated audiences with the sci-fi thriller Inception (2010), which he directed and produced from his own original screenplay. The thought-provoking drama was a worldwide blockbuster, earning more than $800,000,000 dollars and becoming one of the most discussed and debated films of the year. Among its many honors, Inception received four Academy Awards and eight nominations, including Best Picture and Best Screenplay. Nolan was recognized by his peers with D.G.A. and P.G.A. Award nominations, as well as a W.G.A. Award for his work on the film.

One of the best-reviewed and highest-grossing movies of 2012, The Dark Knight Rises (2012) concluded Nolan's Batman trilogy. Due to his success rebooting the Batman character, Warner Bros. enlisted Nolan to produce their revamped Superman movie Man of Steel (2013), which opened in the summer of 2013. In 2014, Nolan directed, wrote and produced the science fiction epic Interstellar (2014), starring Matthew McConaughey, Anne Hathaway and Jessica Chastain. Paramount Pictures and Warner Bros. released the film on November 5, 2014 to positive reviews and strong box-office results, grossing over $670 million dollars worldwide.

Nolan currently resides in Los Angeles, California with his wife, producer Emma Thomas, and their children. Nolan and Thomas also have their own production company, Syncopy.

Our Stars

Anne Hathaway

Film Overview



Premise: A team of explorers travel through a wormhole in space in an attempt to ensure humanity's survival.

Budget: $165 million
Box Office: $677.5 million​

Trivia
(Courtesy of the IMDB)
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* Early in pre-production, Dr. Kip Thorne laid down two guidelines to strictly follow: nothing would violate established physical laws, and that all the wild speculations would spring from science, and not from the creative mind of a screenwriter. Christopher Nolanaccepted these terms, as long as they did not get in the way of the making of the movie. That did not prevent clashes, though; at one point Thorne spent two weeks talking Nolan out of an idea about travelling faster than light.​

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* For a cornfield scene, Christopher Nolan sought to grow five hundred acres of corn, which he learned was feasible from his producing of Man of Steel (2013). The corn was then sold, and actually made a profit.

* According to Dr. Kip Thorne, the largest degree of creative license in the film are the clouds of the ice planet, which are structures that probably go beyond the material strength which ice would be able to support.

* The method of space travel in this film was based on physicist Dr. Kip Thorne's works, which were also the basis for the method of space travel in Carl Sagan's novel "Contact," and the resulting film adaptation, Contact (1997). Matthew McConaughey stars in both films.​

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* Anne Hathaway suffered from hypothermia while filming in Iceland, due to the fact that her astronaut suit was open, while filming scenes in the icy water.

* The apocalyptic Earth setting in this film is inspired by the Dust Bowl disaster that took place in the United States during the Great Depression in the 1930s.

* After watching the documentary The Dust Bowl (2012), Christopher Nolan contacted its Director, Ken Burns, and Producer Dayton Duncan, requesting permission to use some of their featured interviews in the film.

* Some space sequences were shot with an IMAX camera installed in the nose cone of a Learjet.
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Members: @europe1 @MusterX @Cubo de Sangre @sickc0d3r @FrontNakedChoke @AndersonsFoot @Tufts @chickenluver @Coolthulu @OMGstreetfight @Yotsuya @jei @LHWBelt @moreorless87 @ArtemV @frye666 @HARRISON_3 @Bullitt68 @HenryFlower @Rimbaud82 @BeardotheWeirdo @Zer

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[DC23]

Bale? Huh?

Love Interstellar. Matthew is a top actor.

 

[Rimbaud82]

This film left me flat big time when I first watched it, I will rewatch it for the club and see what I think.

 

[Deleted member 220895]

Here

We

Blow...

 

[Bullitt68]

Nolan time?

I know that this is a form of SMC cheating, but I'm going to start off by dumping shit in here from my previous two viewings, first my IMAX viewing when it came out and then my Blu-ray viewing a couple of years ago.

Starting with the Interstellar talk, one of the main reasons I didn't post anything right away (aside from a lack of time) was because I wanted to wait until after a second viewing. Unfortunately, I have no idea when I'll be able to see it again and I'm tired of sitting on the sidelines, so at the risk of speaking from a more negative position that may potentially be softened upon future viewings (as it happened with The Dark Knight Rises, in case anybody forgot my initial and rather critical perspective on a film I've since come to consider the best of the last decade), I'll go ahead and offer my thoughts.

If The Dark Knight can be taken as Christopher Nolan's attempt to out-Mann Michael Mann, then I think it is equally profitable for critical discussion of Interstellar to consider it Nolan's attempt to out-Cameron James Cameron. There is a distinct lack of emphasis on ethics, crime, and justice; there is no yin-yang, good-versus-evil struggle; the tortured protagonist trying to make good on a past filled with betrayals committed against himself and those around him is nowhere to be found. Instead, Nolan cranks the juice on the emotionality, sketches a salt-of-the-Earth Everyman hero, and plays the heartstrings for every note he can manage.

This strategy works for Nolan up to a point, but the uneasy marriage between unadulterated melodramatic emotionality and cut-and-dry scientific theory hinders the film's astronomic ambitions. Nolan can't help but try to explain every last detail of his plots, and while in the case of Inception---ironically his most convoluted film---it works to a T, in the case of Interstellar, I found it to be shades of The Prestige with Nolan losing himself in the contrived twists-and-turns of his own imagination, overcomplicating what could've/should've been a far more direct and gut-punching story (in short, the way we can watch Heat to see what Nolan was going for with The Dark Knight, I say go to The Abyss to see what Nolan was going for with Interstellar, with the noticeable difference being the closeness to which he comes to the original template with The Dark Knight/Heat as opposed to Interstellar/The Abyss).

The father/daughter angle was great and the way Nolan handled the devastating effects of time was utterly profound, but the narrative really falls apart at the end. Not only was I dissatisfied with the way Nolan tried to write himself out of the film, I was shocked at how abruptly the film ended.

Spoiler

From space to black hole to memory box room to Saturn to hospital to granny-daughter's bedroom to Hathaway planet to end credits in like three minutes, WTF?

In terms of providing a visceral space odyssey, Nolan succeeded magnificently. My heart was pounding at so many points in this film, and when. . .

Spoiler

McC ejects himself and is just free-falling through the black hole, I nearly had a fucking panic attack, the fucking Star Gate sequence on steroids!

And in terms of emotional impact, I won't lie, I watched the last few minutes not just fighting tears but losing the fight to tears. However, I can't just turn my brain off and let my heart do all of the work and pretend it was a flawless masterwork. This was an immense cinematic undertaking, and while I respect Nolan's originality and inventiveness endlessly, Interstellar has to be viewed as a failure. The crazy part about Christopher Nolan, though, is that one of his failures is not only better than anyone else's failures, it's better than just about anyone else's successes.

I predict Interstellar will be your favorite movie of 2014 (or the very least, in your top 5).

I expect it'll be my favorite of the year, too. Given that you are FAR more up-to-date than I am on what's come out this year, what would you say are its strongest opponents?

What place will Interstellar take amongst the great outer space scifi movies of all time?

What place will it take? I have no idea. What place should it take? IMO, #2 behind 2001, especially if we're considering the film solely on the basis of its space sequences, in which case it's not just second to 2001 but a close second. The first time they go through the wormhole was fucking INSANE!!!!

I thought about this the other day, and I think the thing that will conjure the most nostalgia down the line will be TARS (CASE gets the shaft). Lots of personality, a unique design for a robot, and it's mechanics for motion were just plain old cool.

That was literally the worst part of the movie to me. Silly, stupid, and cliched to the point where I was surprised by its inclusion at all. The most un-Nolan thing I think I've ever seen in one of his films.

as far as I'm concerned, he's the man right now. Tarantino (my personal favorite of all time) has to reclaim the throne with his next film, but while Nolan is in his creative prime, Tarantino seems to be losing it. He's getting too cartoonish. Basterds was phenomenal, but even that was showing signs of his affectations starting to get out of hand.

and I agree about Nolan making a special effort. I have a friend who doesn't particularly love him, but whenever we talk about him he makes a point to say how much he respects Nolan's drive and desire to make the kinds of films he's making.

Looks like two camps really. One that feels it was overambitious, contrived and a deus ex machina, bad science and saccharine shitstorm.

The other thinks it was trascendent.

Right now, I wouldn't put myself in either camp, but I'm definitely leaning more towards the former. It has moments of amazing visceral intensity as well as moments of incredible emotional power, but they're ultimately diluted by the moments of intellectual vacuity.

The idea that love is what connects is beautiful, and the intangible resolving tangible stakes is common to most great sci-fi films (Star Wars's "The Force", Blade Runner's idea that living is what is important, the list is endless), and complaints about it are silly on the face of it.

But I think this dissatisfaction has to do with how he went about it, that is, he ends up both verbalising and actualising it.

For me, it's not that he "went there," that he had the gall to do something so upbeat and optimistic. Rather, it's that he tried to ground it intellectually/scientifically and failed miserably. He tried to conceptualize/verbalize something that can't be conceptualized/verbalized (I'm intentionally avoiding using Nolan's preferred term, "quantifiable," which made me cringe every time it was said) and it took away the emotional power.

IMO, the theme of love and its unfathomable power was handled with greater power and elegance in The Forgotten, which is the film that was immediately called to my mind when McC was babbling in the memory box room.

there is a shit ton of commentary on the human condition hidden in the characters, their actions and motives. The most interesting examples being the heels of the film (Caine, Damon, Affleck), all of whom lost faith in plan A.

This was another source of disappointment for me. Casey Affleck's character might be the most perfunctory character Nolan has ever created. What and where the fuck was his arc? Nolan either needed to do more with that character or he needed to just cut him out entirely, because what was there was just sloppy and cringeworthy at best. And Michael Caine's character arc suffered from Nolan's desire to make a surprise twist out of it. I'll admit, I was surprised by the reveal, but the price to be paid for that short-duration impact is a real arc where we connect to a character.

Matt Damon was the only well-done non-McC character in the entire film, IMO, which is ironic considering what I've been hearing/reading about what people thought of his inclusion. I loved every single second of his character. The way, Flemmy, you consider the Hal 9000 portion the real heart of 2001, I likewise consider the Matt Damon portion the real heart of Interstellar.

No bother. I hope you make it. I think we bang heads most interestingly on Nolan (followed by Marvel, maybe). So here's to it.

I'm up for it. In fact, speaking of Nolan, remember this?

It's all back-asswards. Interstellar suggests love is a tangible entity: I like that. But having your protagonist leave his daughter behind (because he's got unfulfilled smarts or exploration or something) to prove love is physical renders the idea coincidental. The part everyone loves is Coop driving away, because Nolan set up this beautiful relationship with minimum fuss. Then he abandons the relationship for most of the film, in order to...... reinforce its importance?

I only watched this once and wasn't completely sold on it, so I'll reserve comment until later.

I realized that I never mentioned in here that, before I went to that 2001 screening in Chicago in June, I rewatched Interstellar. Similar to my experience from the first to the second viewing of The Dark Knight Rises, I went from thinking Interstellar was pretty good on my first viewing to getting totally bowled over on my second viewing. I think I really need to just get through the first viewing of a Nolan, let it fight through all of my ridiculously sky high expectations for another one of the GOAT from one of the GOAT, and then settle in for the second, proper viewing. The first time I saw it in theaters, I got misty at the end. The second time, I was fucking bawling like a baby from like the first fucking scene. Everything came together so well the second time around. I talked shit about how, if The Dark Knight was Nolan using the Michael Mann playbook, then Interstellar was Nolan using the James Cameron playbook, and I said that Nolan can't do Cameron-style emotionality. Fuck me was I wrong on that one. He was hitting me over and over again this time around, and with a profundity that was almost (but not quite) on a par with The Abyss.

From this to your point about the nonsensical nature of Nolan's point with the Coop/Murph relationship: Having in mind what I said to you previously about Inception...

Why would you keep going levels deeper with the woman you love, not knowing where it leads, when you have children? I wouldn't have spent that time enjoying the new city I was building for eternity. I would miss my kids.

Two things. First, you sound like old man Spielberg going back on young man Spielberg's ballsy move to have Richard Dreyfuss get on the ship at the end of Close Encounters of the Third Kind. Why? Because no one else has. Because it's once-in-a-lifetime shit. And second, it's better than the Close Encounters case because dream world means dream time. They get to live a life together and then come back to their kids. You're asking for a choice between two things. The point of Inception is that we no longer have to choose. We can have it all (or can we? should we?).

...it should go without saying that I understand and have no problem with Coop leaving Murph at the basic level of wanting to take the opportunity to not just go to infinity and beyond but to go to infinity and beyond to save his family and the rest of the human race so that they could live beyond one or two more generations.

Specifically with respect to what you've perceived as a certain circularity to Nolan's logic, I actually don't think it's circular at all.

1) You claim that Nolan having his protagonist "leave his daughter behind (because he's got unfulfilled smarts or exploration or something) to prove love is physical renders the idea coincidental." I'd want to clarify that Coop didn't leave just "because he's got unfulfilled smarts or exploration or something." That stuff is there, and it's a big part of his Earthly angst, his resentment at having to consign his son to a life of farming, etc.; but you can't lose sight of the overriding motivation to save his family and provide a better life for them. Nolan is using space travel to play out the enduring idea of America as the land of opportunity, the place immigrants looking for a new and better life for themselves and their families dare to travel to in the hopes of being able to make something of it. After my first viewing, I thought Nolan's characterization/utilization of Coop's son was perfunctory to the point of his being irrelevant, but on this viewing, I could see how the thought of not being able to do anything to provide his son with a life worth living was a huge part of what he was hoping to accomplish by accepting that mission. His "unfulfilled smarts or exploration or something," that shit was fuel, but the motor was love.

2) You also claim that "the part everyone loves is Coop driving away, because Nolan set up this beautiful relationship with minimum fuss," which I absolutely agree with. But then you claim that Coop "abandons the relationship for most of the film, in order to...... reinforce its importance?" Does he abandon the relationship? How are we to understand "abandoning" a relationship? Coop (physically) abandoned her, in the sense that he wasn't there in the house with her every day, but never for a single second did he abandon her in his heart or in his mind. That's why it hurts so much to know - and to know that Coop knows - that she thinks he went on that mission knowing it was (to borrow Ed Harris' line from The Abyss) a one way ticket and was totally fine with never seeing her again. In her mind, her dad abandoned her. The reason the movie hits so hard - or should hit so hard - is because Coop never abandoned her in that sense, in the sense that really matters. To take this to a personal level here, as the son of a father who abandoned him, in the sense that he left the family, didn't live in the house with us, and eventually moved across the country, I never for a second felt like I was abandoned by my father, simply because I knew that just leaving a physical space doesn't constitute an emotional/spiritual abandonment. That's the abandonment that really hurts, that fucks people up. That's why Murph was so hurt and so fucked up for so long. But that's also why she turns it around and spends more of her life knowing that her dad didn't abandon her and was going to come back to/for her than thinking he did abandon her and was never going to/never wanted to come back to/for her. And that's why the feeling you're left with is exaltation: Because he never abandoned her and was always planning on coming back, and in the end, he made good on his duty as a father.

 

[Rimbaud82]

Nolan time?


I know that this is a form of SMC cheating, but I'm going to start off by dumping shit in here from my previous two viewings, first my IMAX viewing when it came out and then my Blu-ray viewing a couple of years ago.

 

[Cubo de Sangre]

Fine acting. Way too long. Seems to have spent too much time on unnecessary character development. It was good enough to watch, but that's about it.

How'd he get rescued after being the ghost behind the bookshelf?
What was Damon's plan after getting back to the ship? Go back to Earth and admit he made it all up?
Why'd Michael Caine send them out there if he believed it futile?

 

[Cubo de Sangre]

Oh yeah, I found it far less gripping than Gravity. I cared about Sandra and George in that one. Maybe kinda cared about McConaughey here. Gravity also made outer space far more scary and that added to the tension.

 

[Bullitt68]

 

[minute bull]

Really strong film. Emotionally charged. Big fan of the robot. Would really love if Nolan adapted THE STARS MY DESTINATION.

 

[Bullitt68]

Oh yeah, I found it far less gripping than Gravity. I cared about Sandra and George in that one. Maybe kinda cared about McConaughey here. Gravity also made outer space far more scary and that added to the tension.

I'm not going to respond to your first post until I rewatch the film, but this I can respond to immediately and say: Why, Cubo? Why do you want to hurt? Gravity has literally nothing on Interstellar. From my one and only viewing a little over a year ago:

I avoided Gravity when it came out for two reasons: First, because I figured it'd have nothing beyond the space gimmick, and two, because the space gimmick wasn't attractive to me since I figured if I tried to see it in theaters (nevermind IMAX) I'd end up with motion sickness and have to leave or fight my way through an unenjoyable theater experience. Having finally watched it, I can say that I was right on both counts. Even on my computer, I was getting dizzy and nauseous at times. I will say that it was better than I'd expected, but once Clooney's gone, you've pretty much seen all the interesting stuff you're going to see.

Now, I remember absolutely nothing about Gravity except for the asteroids at the beginning. I don't even remember how it ends, if she/they live or die. Not a single fuck was given. But Interstellar? That's straight-up Cameron-level emotionality. And you being another fan of The Abyss, I'm surprised you didn't find it similarly gripping.

 

[Cubo de Sangre]

Gravity has literally nothing on Interstellar. From my one and only viewing a little over a year ago:

Other than tension and likable characters?

And you being another fan of The Abyss, I'm surprised you didn't find it similarly gripping.

The Abyss seemed far less one-note, and again, better characters. I did get an Abyss vibe from Interstellar, and fwiw I'll rate it higher than Deep Star Six.

 

[chickenluver]

Surprised to see Michael Caine's in this

 

[MusterX]

This movie is depressing as shit every time I watch it. What was Nolan going for here? I'm supposed to be inspired by the motivation of the human spirit to explore and survive? Because I'm not inspired Christopher. I'm fucking depressed every time I watch it. Star Trek is inspiring when it comes to the exploration of space and the human endeavor to understand science. I mean gdamn, Captain Kirk's mission was only 5 years. He boldly went where no man has gone before...in 5 years.

Look at Cooper, he meets NASA for 10 minutes and he's ready to fly through a wormhole to an entirely different galaxy and leave his family behind for what he thinks is a very long time because old man Michael Caine says so. Oh look at me, I've got Plan-A and Plan-B, except for there is no plan-A you bastard. You faked mathematical equations for 40 years of your life and lied to everyone in your pursuit of "the right thing." Cooper should have known that NASA means "Never A Straight Answer."

He's more Vulcan than Mr. Spock with that "ends justify the means" type of thinking. He rips Cooper away from his family, knowing that Cooper will never return and then the cocksucker makes Cooper's daughter Murphy work on an equation for decades that he already solved years ago and knew wouldn't work. Talk about a draconian mother fucker. This guy was so cowardly he couldn't even confess until he was at death's door and then he didn't even have the breath left to tell Murphy her father didn't leave her.

He didn't even tell his own daughter for the love of god. I mean I understand its Anne Hathaway but damn that's cold. This movie is like getting gut punched, over and over. Cooper's father died while he was fucking around on water-world with Anne Hathaway (Brand). What a shock it must have been to Doyle to get killed by a 1,000 foot tidal wave but an even bigger shock for Cooper and Brand to be on the planets surface for a few hours only to return to orbit and have Romilly tell them he has waited 23 years in orbit waiting for their return.

Derp, I'm Christopher Nolan, and this is what Einstein's theory of relativity really means. I want to strangle this dude with a prison style double-dong. You have three planets you can investigate so what do you do? Oh nothing, just select the one nearest to a supermassive black hole where time is dilated to the point where 1 hour on the surface = 7 years on Earth. As if Cooper would have ever selected that one to go check out, and yet he does. Nobody else on the journey has a family so I can see where they might have but Cooper would not have selected such a dangerous time consuming location to explore.

We had already seen Cooper callously leave his daughter behind at the drop of a hat. I have a 12 year old daughter, trust me, I'm not leaving her behind to go in a space ship to another galaxy on a long shot to maybe save the human race. You are going to have to find some other hero for that job. Cooper gets back to the ship after his 23 year expedition to the surface of a black hole planet and sees that his father has died and his children have grown up without him. Oh look, Cooper is crying. Poor Cooper. What did you think was going to happen while you went to the other side of the universe bruh?

Also, a big piss off to Nolan for making a three hour film but the only explanation of the apocalypse known as the blight is that blight breathes nitrogen and causes Oxygen in the atmosphere to deplete. "The last people to starve will be the first people to suffocate." That's it, that's all we get. That has to take a backseat though to NASA detecting gravitational anomalies 50 years before the film starts, including a wormhole placed by Saturn because apparently some unknown 5th dimensional creatures really want to save humans with their infinitely complex Tesseract cube that's hidden within a black hole.

Oh and nice touch Chris, showing how the schools teach that the moon landing was a hoax.

I rate this film Fuck you Christopher Nolan you better hope I never see you in a restaurant out of 10.

 

[Cubo de Sangre]

This movie is depressing as shit every time I watch it. What was Nolan going for here? I'm supposed to be inspired by the motivation of the human spirit to explore and survive? Because I'm not inspired Christopher. I'm fucking depressed every time I watch it. Star Trek is inspiring when it comes to the exploration of space and the human endeavor to understand science. I mean gdamn, Captain Kirk's mission was only 5 years. He boldly went where no man has gone before...in 5 years.

Look at Cooper, he meets NASA for 10 minutes and he's ready to fly through a wormhole to an entirely different galaxy and leave his family behind for what he thinks is a very long time because old man Michael Caine says so. Oh look at me, I've got Plan-A and Plan-B, except for there is no plan-A you bastard. You faked mathematical equations for 40 years of your life and lied to everyone in your pursuit of "the right thing." Cooper should have known that NASA means "Never A Straight Answer."

He's more Vulcan than Mr. Spock with that "ends justify the means" type of thinking. He rips Cooper away from his family, knowing that Cooper will never return and then the cocksucker makes Cooper's daughter Murphy work on an equation for decades that he already solved years ago and knew wouldn't work. Talk about a draconian mother fucker. This guy was so cowardly he couldn't even confess until he was at death's door and then he didn't even have the breath left to tell Murphy her father didn't leave her.

He didn't even tell his own daughter for the love of god. I mean I understand its Anne Hathaway but damn that's cold. This movie is like getting gut punched, over and over. Cooper's father died while he was fucking around on water-world with Anne Hathaway (Brand). What a shock it must have been to Doyle to get killed by a 1,000 foot tidal wave but an even bigger shock for Cooper and Brand to be on the planets surface for a few hours only to return to orbit and have Romilly tell them he has waited 23 years in orbit waiting for their return.

Derp, I'm Christopher Nolan, and this is what Einstein's theory of relativity really means. I want to strangle this dude with a prison style double-dong. You have three planets you can investigate so what do you do? Oh nothing, just select the one nearest to a supermassive black hole where time is dilated to the point where 1 hour on the surface = 7 years on Earth. As if Cooper would have ever selected that one to go check out, and yet he does. Nobody else on the journey has a family so I can see where they might have but Cooper would not have selected such a dangerous time consuming location to explore.

We had already seen Cooper callously leave his daughter behind at the drop of a hat. I have a 12 year old daughter, trust me, I'm not leaving her behind to go in a space ship to another galaxy on a long shot to maybe save the human race. You are going to have to find some other hero for that job. Cooper gets back to the ship after his 23 year expedition to the surface of a black hole planet and sees that his father has died and his children have grown up without him. Oh look, Cooper is crying. Poor Cooper. What did you think was going to happen while you went to the other side of the universe bruh?

Also, a big piss off to Nolan for making a three hour film but the only explanation of the apocalypse known as the blight is that blight breathes nitrogen and causes Oxygen in the atmosphere to deplete. "The last people to starve will be the first people to suffocate." That's it, that's all we get. That has to take a backseat though to NASA detecting gravitational anomalies 50 years before the film starts, including a wormhole placed by Saturn because apparently some unknown 5th dimensional creatures really want to save humans with their infinitely complex Tesseract cube that's hidden within a black hole.

Oh and nice touch Chris, showing how the schools teach that the moon landing was a hoax.

I rate this film Fuck you Christopher Nolan you better hope I never see you in a restaurant out of 10.

Amen. This shit in particular.

He's more Vulcan than Mr. Spock with that "ends justify the means" type of thinking. He rips Cooper away from his family, knowing that Cooper will never return and then the cocksucker makes Cooper's daughter Murphy work on an equation for decades that he already solved years ago and knew wouldn't work. Talk about a draconian mother fucker. This guy was so cowardly he couldn't even confess until he was at death's door and then he didn't even have the breath left to tell Murphy her father didn't leave her.

He didn't even tell his own daughter for the love of god.

 

[HARRISON_3]

Admittedly, I had stayed away from this one for a while since I'm not the biggest Anne Hathaway fan. IMO, she's like a human Lisa Simpson.

The DVD sat in a drawer at home for a couple years before I got around to watching it.

When I finally did watch it, I was blown away.

Excellent score, cinematography, story line, etc.

Easily my favorite Nolan flick, and one of my favorite movies overall.

I'm also kinda partial to this one, as I've been to that one glacier (at the end of the movie) in Iceland.

 

[MusterX]

How'd he get rescued after being the ghost behind the bookshelf?
What was Damon's plan after getting back to the ship? Go back to Earth and admit he made it all up?
Why'd Michael Caine send them out there if he believed it futile?

1. Because upper dimensional creatures that we known nothing about or ever see save him.
2. Damon's plan was to take over as lead of the mission and settle on one of the planets, he had no intention of going back, he was just obsessed with completing the mission.
3. Michael Caine didn't believe it was futile. He knew that the people going, his daughter included, would never return but that they would start a colony on a distant planet and it would be the new home of the human race.

What gets me about this fucking film is that 125 years later Cooper comes home to his daughter Murphy who is now on her death bed, talks to her for 2 minutes, and then steals a space craft to go back through the worm hole and live out his years with Anne Hathaway on a deserted planet.

You can fuck right off Christopher.

 

[HARRISON_3]

Oh yeah, I found it far less gripping than Gravity. I cared about Sandra and George in that one. Maybe kinda cared about McConaughey here. Gravity also made outer space far more scary and that added to the tension.

For some reason, I couldn't get into Gravity.

Saw it once, and had no desire to see it again.

First time I saw Interstellar, I wanted to rewatch it immediately.

 

[Cubo de Sangre]

Why would Murph suggest Cooper go to the planet Brand was on, as if there was some great love story there? Brand was in love with the guy already on the planet. I guess he died. Wouldn't someone else have already retrieved her? Why would Murph think she was more important to Cooper than all his descendants?

 

[Cubo de Sangre]

1. Because upper dimensional creatures that we known nothing about or ever see save him.
2. Damon's plan was to take over as lead of the mission and settle on one of the planets, he had no intention of going back, he was just obsessed with completing the mission.
3. Michael Caine didn't believe it was futile. He knew that the people going, his daughter included, would never return but that they would start a colony on a distant planet and it would be the new home of the human race.

What gets me about this fucking film is that 125 years later Cooper comes home to his daughter Murphy who is now on her death bed, talks to her for 2 minutes, and then steals a space craft to go back through the worm hole and live out his years with Anne Hathaway on a deserted planet.

You can fuck right off Christopher.

1. Yeah, cheap.
2. He gonna settle by himself? Didn't seem like completing the mission was his main goal or he wouldn't have been trying to kill all the people attempting to complete it.
3. I don't remember them actually taking all those human eggs (or whatever). Four people and a couple robots seem like a shitty plan for re-colonizing. Especially when they think they'll be returning.

If Anne's planet is deserted then that contradicts the reasoning in #3.