Interstellar is a full package by Christopher Nolan, who has very well portrayed his most emotional and personal movie to date. It has a great cast, great storyline, and, most of all, emotions that most sci-fi movies lack. The film casts Matthew McConaughey as Cooper, Anne Hathaway as Dr. Brand, Jessica Chastain, as Murph and Michael Caine as Professor Brand. The Nolans cleverly blend technological negation with technophobia, depicting a fatalistic world that has traded huge aspirations for small-scale problem-solving and eventual resignation. Yet even in his previous, more modestly budgeted features, Christopher Nolan was rarely happy with the small scale. His creativity is excellent; his mind looks for grand, sweeping visions, and if he believes in something, it is ambition.
Cooper and “Interstellar” are intended for something other than agrarian activities. Still, the first segment of the film is the best and most unsettling, producing a delicately intense mood and strong philosophical and dramatic stakes for the planet-hopping to come. Cooper is dedicated to his children, in general, his daughter, Murph, portrayed as a little girl by a preternaturally cautious and cynical Mackenzie Foy, and as an adult by Jessica Chastain. As her father is hired for a clandestine NASA project in pursuit of a viable new world, Murph becomes saddened by his absence. Her eventual scientific career is both a testament to his memory, and a means to make things possible. The Nolans are fond of double roles and mirrored storylines, and so “Interstellar” is centered on the tale of the twinned father-daughter.
Among Cooper’s co-workers on board the starship is Dr. Brand (Anne Hathaway), whose father also known as Dr. Brand (Michael Caine), has created the theories behind their search. He and Murph sit on the table, crunching the numbers and getting older in the normal earthly fashion, although Cooper and the younger Brand, due to evolution, stay about the same generation. (Cooper’s son, Tom, played as a child by Timothée Chalamet, matures in Casey Affleck). A ton of other events is going to happen, too, because they seem to be out in space.
A cynical analyst may believe that the last two hours of “Interstellar” were composed in a frenzy of spoiler hysteria. The non-disclosure demands in the studio were remarkably detailed. Forget about asking me what’s going on: I’m not even allowed to tell you who’s in the moie, save for the men you’ve seen on magazine covers. I guess I can inform you that Cooper and Brand are accompanied by two other astronauts, portrayed by the funny, robbing David Gyasi and the deadpan Wes Bentley, and also by the wry robot who talks in the voice of Bill Irwin