That it wasn’t very good.
Hans Zimmer ‘s musical theme , regularly praised? Four chords, the same harmonic progression as in all the moving commercials or documentaries on the planet, a keyboard pad, the usual bwaaaaaa which will go out of fashion faster than light – hey! A film from the 2010s!
The astronomical realism of the film was also praised . I won’t risk it. Verdict left to Neil de Grasse Tyson , famous popularizer/astrophysicist; to the question “Which science fiction film would be almost impeccable in scientific terms?” he answered neither Interstellar nor Gravity , but The Martian by Ridley Scott (2015) .
I like good Hans, but he did better ( Dunkirk )…
The future is Matt Damon listening to disco while planting potatoes.
Usual treatment, too, of Hollywood films: we start with infinity, we end with the family. Cash drawer logic stolen from Spielberg or Disney… It’s not science fiction, but good old melodrama. The 30s just called: they are happy.
It’s relatable .
2001, Metropolis, Stalker, Brazil, Matrix or Soleil Vert seemed a little cold, no doubt, a little conceptual. But here it is: the concept is the prerogative of science fiction.
It seems !
Watched Interstellar and Blade Runner 2049 a few days apart : I had the impression of watching the same film twice. “Daddy! My daughter!” But I thought we were going to talk about the implications of… Ah, forget it.
I was probably even more disappointed as the film looked good. From the first minutes, ex-pilot turned farmer Joseph Cooper ( Matthew McConaughey ) has a tense conversation with his daughter’s teacher, a brilliant reappropriation of 1984 with Fake News .
In this scene parenthood (a completely valid theme in itself) leads to the existential, to the description of a larger world, of a society, of a context ; alas, everything decelerates afterwards to end, as it should, in a child’s bedroom.
And I don’t have much else to say about it: the film is bland. Never bad, never quite frank; competently manufactured, then tinted, colored, enlarged in post-production. As in Game Of Thrones , the blow-drys are impeccable; the dialogues, just clever enough not to lose anyone along the way.
And if you think that’s snobbery: in terms of theme, rhythm, subtle anticipation, production, dialogue, acting… I would rather happily go and watch the first Iron Man (2008), which cooks much better recipe.
“How dare you? Ooh” Interstellar by Christopher Nolan (2014).