by Mike Reistetter
“Interstellar” follows Matthew McConaughey, fresh off a year that saw him take home the Best Actor Oscar for his role in “Dallas Buyers Club.” He plays a former NASA pilot-turned-farmer and widowed father of two young children. Amidst a setting where crops are failing and depletion of resources is imminent, McConaughey is recruited by a top secret, underground branch of NASA to co-pilot a mission into space. The catch is, he is expected to abandon his family in hopes of establishing a new planet where life can be sustained, as Earth has slowly begun to decompose. In preparing for their mission, McConaughey, along with his recruiter’s daughter (Anne Hathaway), and a few select others are expected to travel through a wormhole, secure access into a parallel galaxy, and then locate three astronauts of the failed “Lazarus” missions from a decade earlier. They must report on, not only whether or not any of the astronauts survived, but also if those who did were successfully able to find a planet where the citizens of Earth could one day inhabit. All the while, they must prepare for conflicts, such as time-bending and the everlasting repercussions of irreversible, interstellar travel.
A viewing of this film is accompanied by nothing but entertainment and captivation for nearly three hours. The scenery and cinematography, three-pronged narrative, and damn near incessant use of manipulative plot thickening headline this picture that raises the stakes for all Sci-Fi spectacles that plan to follow. Perhaps most famous for their box office goldmine and gritty, realistic superhero saga “The Dark Knight Trilogy” (2005-2012), the Nolan Brothers always seem to impress the masses time and time again. But unlike each of their forays into the mind-bender genre (“Memento (2000),” and “Inception (2010),” respectively) Oscar-nominated screenplays that focused on traveling inward, “Interstellar” is unique in that it literally could not be contained on this planet, nor within this galaxy.
There was enough intricate, narrative depth jam-packed into this heavily loaded story to develop two or more “films within the film,” with family comedy/drama and horror movie elements abound. If “Interstellar” were a television show, it could have a run that’s conclusion would put “LOST” and “The Sopranos” to shame. Maybe a tad exaggerated, but nevertheless, this film’s climax and epilogue alone are worth the price of admission. All in all, “Interstellar” is one of those rare movies where you end up watching the closing credits as well; albeit involuntarily, for you will be so baffled by what you just witnessed, that you will literally be unable to rise from your seat.