ByJames Wood, writer at Creators.co
Unabashed Transformers fan. Man crush on Tom Hardy. Avid fan of Tommy Wiseau's cult disasterpiece The Room.
James Wood

Much like Prometheus, Sinister, The Wolverine and Jack Reacher, Interstellar is a film I appreciate more on second viewing. With films, you have to be in the right mood to get the best experience out of them. When I saw The Wolverine in cinema, it wasn’t the film I originally intended to see that day, and I came out of the cinema very disappointed, but by the time of its Blu-Ray release I actually came to like that film. Interstellar bored me on first viewing, I felt it lacked a compelling story, interesting characters, and again I wasn’t in the right mood. What was I thinking?

Had it not been for my flatmates saying how they found it to be one of their favourite films of 2014, insisting there was so much more to it, I may never have persuaded myself to re-watch Christopher Nolan’s deep space adventure. I’m glad I did! It is now 2016, and I now realise Interstellar is a fine piece of filmmaking with such a detailed narrative and the intrigue to keep you hooked. Some have said the film is too long, and at 169 minutes, that is a lengthy runtime but to me, it's the ideal length for such an ambitious and busy film, and there is never a dull scene here as the story just keeps unfolding. The story follows Cooper, a pilot part of a team of deep space explorers who travel through a wormhole to find a potentially stable planet in another galaxy that can save humanity before our home, Earth, becomes too hostile for us to live.

What I admired most about Jonathan and Christopher Nolan’s script is their ability to weave plot points throughout the film ingeniously, most noticeably the “ghost” that young Murph believes is trying to contact her. The clouds of dust leaves trails of coordinates, but as the film progresses there is so much more behind the meaning here. This is a very deep film, the complexities of space and what is possible surrounding the science of black holes and other galaxies fascinates. The ideas and scope the Nolan’s have here translates onto the screen in what might possibly be the most thought provoking and awe-inspiring Sci-Fi of the decade.

The visual effects won at the Oscars, and rightly so, I’ve never seen such inventive and beautiful visuals before. The wormhole sequence is spectacular, so many clashes of flashing colours and warped imagery blend together seamlessly, the tidal wave is gargantuan in size and very imposing and the frozen planet is something of pure wonder, the imagination and look of Interstellar sells the science even further. It’s also the silences that add realism to the visuals. The majority of the space set scenes have no audio, and the quiet superbly generates the feeling of vast emptiness that is space.

This is a beautiful movie, and the cast are impeccable. Every single actor and actress is given the chance to shine and isn’t left with tiny, forgettable roles. From McConaughey to Affleck, Chastain and Hathaway, the power, emotion and intensity is almost knockout and I’m surprised there weren’t many Oscar nods for performances here. Hans Zimmer works his musical magic once again with a brooding and stirring score that gets the blood pumping and energy flowing. I urge viewers that have only seen this film once and weren’t too sure to give it another crack, Interstellar is worth revisiting. Again, and again and again.

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