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Film

Captain America: Civil War Review

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Run time: 147 mins       Certificate: 12A
Directors: Anthony and Joe Russo.
Cast: Chris Evans, Robert Downey Jr., Sebastian Stan.
Release Date: May 6, 2016.

Marvel at it all.

Civil War is a big film, one so big it could have fallen apart easily if it were in the wrong hands, but Joe and Anthony Russo pull it all off deftly. Its both a bombastic smack down of heroes and an emotionally driven thriller, both a culmination of the past 8 years of scene setting the previous Marvel entries have built and a deeply personal tale for the franchises two front men. This is a bar setting event of a film that, like its comic counterpart, will be discussed long into Marvel’s future. Flawless then? Pretty much.

The simple crux of the film is perhaps its main strength. Its a busy scene, with what is arguably the biggest roster of heroes on screen at once, but every character and plot thread is attended to. The heady political cause for the rift in our Avengers is never tip toed around, leading to some sharply written discussions that already deliver before anyone starts throwing punches. Catching War Machine label Captain America as ‘dangerously arrogant’ is just the beginning, and these handful of discussions will have audiences dreading what’s to come with their pinpoint delivery. No matter who’s disagreeing with who however, everything is anchored by the relationship between Cap and his brainwashed pal Bucky and the mission they share. Having this simple but rawly effective thread drive the narrative is a stroke of genius, giving the epic action and personal finale a through line for the audience to care about no matter what. Sometimes the cogs can be felt turning events into place and the film almost globe trots too much for its own good but it never holds the pace back given the urgency of what’s unfolding in front of you.

Black Panther is a brilliant new addition to the universe.
Black Panther is a brilliant new addition to the universe.

Having such well developed characters truly helps sell the divide as well, as series veterans and newcomers alike are given well defined motivations, and even those who aren’t given as much screen time generally benefit from having had their personas established prior to even appearing here. You don’t need to be a Marvel buff to understand each sides argument, but Christopher Markus and Stephen McFeely (writing for Captain America for the third time) don’t shy away from drawing from these characters histories either making these some of the most organic representations written. Tonally this comes across as Marvel’s most confident film yet as well, the Russo’s juggling the cerebral and darker elements along with the levity of the larger than life characters ably, never losing sight of the purpose of each scene to the action or laughs.

Its a wonder then that with so much to achieve in terms of plot and dialogue that Civil War is probably the most action packed Marvel outing to date. From its taut opening sequence to the battle royale on the runway touted in its trailers, Civil War weaves in jaw dropping sequence after jaw dropping sequence, each one so fresh and often introducing a new heroic combatant that fatigue is never in danger of setting in. The Raid-esque influences are intact in Captain America and Bucky’s sublimely shot stairwell escape, the grandiose scale of the Avengers films displayed and bettered in later hero on hero battles, and throughout every sequence the choreography remains truly impressive. All of this is elevated by Trent Opaloch’s defined cinematography, panning angles and still wide shots capturing the action no matter how frantic it gets. Henry Jackman’s subdued score once more delivers as well, his staple electronic beats complimenting the thriller elements well again. More importantly though he fully succeeds in providing gravitas for the grander scenes when needed, his rousing orchestral piece accompanying the airport clash in particular being a prime example.

Things get personal.
Things get personal.

The moment the Civil War itself is realised on screen in all its glory is a work of beauty, as the two teams charge towards each other to battle in what will likely be called the greatest superhero battle put to screen. Incredible stunt work and seamless CGI is put together in a lengthy battle sequence that somehow manages to give everyone their share of the action and a hilarious quip or two without ever underselling the weight of what you’re witnessing on screen. As expected Spiderman is a joy to watch, almost on scene stealing form, as he swings into battle feeling right at home finally amongst his comic book fellows. Special mention has to be given to Antman as well, his antics and surprisingly ingenious tactics adding so much to the already dizzying battle. Its telling then that the Russo’s still manage to deliver a heart pounding third act even after all this spectacle, dialling down the scale for a far more intimate finale that culminates in what is surely Marvel’s most emotionally charged battle. What makes all of this action all the better however is the fact that the two sides are never clearly cut, and even come that heart wrenching finale you’ll still be unsure as to who you’re backing.

The newcomers on the scene here feel right at home amongst the other Avengers. Tom Holland’s much anticipated turn as Spiderman is just excellent, both in and out of the suit, and from the moment he starts playing off of Tony Stark you’ll have forgotten all about the characters previous incarnations. Chadwick Boseman’s Black Panther is the films biggest new asset though, providing a fresh outsiders perspective on the drama that unfolds whilst remaining compelling and intimidating both in and out of the suit. Daniel Brühl’s turn as the villainous Zemo is particularly chilling, and he manages to sell the mystery behind the man right up until all is revealed. He’s a refreshingly grounded villain that remains true his more flamboyant comic counterparts aspirations without ever detracting from the main conflict between our heroes.

Tom Holland steals the show as Spiderman.
Tom Holland steals the show as Spiderman.

The veterans of the Marvel universe all turn in their best performances here, particularly in Chris Evans and Robert Downey Jr.’s case as their given some of their finest material yet. Evans once again slips into the role Steve Rogers naturally, bringing the moral immovability of the character to the fore in a convincing way. Even when he finds himself on the other side of the law for Bucky’s sake Evans performs with such physicality and conviction you’re never in any doubt as to how far he’ll go for what he believes in. Playing opposite a more fractured Tony Stark, Downey Jr. bringing his all to the role in ways never seen before, highlights how these virtues could also be considered flaws. Downey Jr. is far more subdued as Stark, joking less given how far the character is pushed as the film transpires, but from his surprisingly effective opening scene this is the most human Stark has ever been. The chemistry between the two is tangibly raw, the knowing glances and vocal scuffles hit home the differences between the two that have been boiling under the surface up until now. Fans of the heroes won’t enjoy seeing the relationship unravel, but the acting chops behind the two undoubtedly sell it.

Between the two lies Sebastian Stan’s Bucky in another fittingly conflicted turn as the tortured assassin. Given that his character drives much of the plot whilst remaining mentally scarred Stan pulls it off well, and to see his character develop as his mind becomes his own leaves you wanting to see more of the man behind the assassin. The rest of the supporting cast fare well, Anthony Mackie’s Falcon and Scarlett Johanson’s Black Widow particularly coming into their own as the characters find their place both in the debate and the frenetic action. For such an ensemble piece even the smaller roles deliver in the time their allotted. Elizabeth Olsen and Paul Bettany sell their minor thread well; and Jeremy Renner, Don Cheadle and Emily VanCamp all deliver the goods they have before in their respective roles. The inclusion of William Hurt as General Ross is also a boast of the continuity of the universe that wasn’t vital but makes the premise all the more credible for its inclusion. Lastly it cannot be overstated how much Paul Rudd’s Antman adds to the team dynamic in his few scenes, his comedic delivery bringing the laughs reliably whenever he was tangling foes way above his weight class.

Verdict

Civil War is Marvels biggest and boldest film yet, but at the same time it delivers one of its most personally driven drama’s to date with its most uncompromising storytelling to boot. The way in which it gives its enormous roster of heroes all their due is impressive, but at the same time Evans and Downey Jr. remain the heart and soul of this superhero royal rumble to the very bitter end. The Russo’s have done it again then, and this time on an unprecedented scale. Avengers: Infinity War couldn’t be in safer hands.

Hits

+ Russo’s give the massive cast their time to shine…
+ …but this is a culmination of Captain America’s films at its core.
+ Chris Evans and Robert Downey Jr. bring their all.
+ Boseman, Holland and Rudd are particular stand outs.
+ Intelligently written, emotionally driven and tonally spot on.
+ Immensely choreographed action no matter how big.
+ Stirring orchestral themes from Jackman.
+ Act 2 and 3 bouts are new benchmarks for hero action.

Misses

– None.

Overall Rating5starsCritical Hit

Film

The Jungle Book Review

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Run time: 105 mins       Certificate: PG
Director: Jon Favreau
Cast: Neel Sethi, Bill Murray, Ben Kingsley.
Release Date: April 15, 2016.

A Bear Necessity.

To describe how refreshing Jon Favreau’s adaptation of The Jungle Book is would be almost impossible, in an age of countless needless remakes it could have been set to go down the same path, but instead he’s delivered a delight of a film that pays as much a homage to the Disney original as it does the Kipling source material. Placing itself deftly between the musicality of the cartoon and the more fable like qualities of the book it manages to create wonderfully balanced world all of its own, one with equal charm and drama that will appeal to any age. Simply put this is Disney back on classical form.

The beautifully crafted world and animals will strike you immediately, with an eye on realism at all the times the CGI is undoubtedly some of the best to have ever been put on screen. As with all effects laden films though, there can be some disparity in the quality. Seeing Mowgli ride down the river on Baloo’s stomach is brilliantly realised, whereas another moment that sees Mowgli being taken through the trees by an assortment of monkeys looks more than a little odd. Likewise it takes a moment to adjust to seeing such believable animals talk so casually, some characters mouth movements never quite looking credible, yet admittedly there came a point in the film when I forgot even noticing it. It all takes a little getting used to then, but once you’re invested in the world there’s no denying the beauty with which it has been crafted.

Ben Kinglsey's Bagheera is a commanding figure.
Ben Kinglsey’s Bagheera is a commanding figure.

Favreau shows a clear attention to detail throughout, building the mythos behind this animal kingdom subtly without ever endangering the plot or characters. Ben Kingsley’s Bagheera works as a pseudo narrator, establishing aspects of the world such as the much respected elephants (far from marching this time round) to add a level of depth to the proceedings. Children won’t be lost with any heavy messages, but its does take it beyond the simplistic man versus nature motifs it could have easily relied solely upon.

There is time for levity as well however, not only from Baloo either, with two songs from the original animation returning to great effect. John Debney’s soundtrack is well done, weaving the same classic tunes into its rousing orchestral themes to evoke a nostalgia in any Disney fan. All of this is then framed expertly by Bill Pope’s cinematography, using panning shots and close ups in equal measure to emphasize the breadth of scale in this fantastical world. One instance where the camera follows an enormous King Louie clambering around the sides of a courtyard as Baloo and Bagheera struggle below was a jaw dropping shot that sold the scene with a stunning intensity that’s rare in such effects heavy features.

Christopher Walken dominates the screen as King Louis.
Christopher Walken dominates the screen as King Louie.

What binds the dramatic tones with the whimsical fantasy of it all is without a doubt the spot on voice acting. Few of the famous characters are replicated from Disney’s previous iteration, rather they’re developed further or reinvented entirely. Bill Murray’s con artist Baloo lights up the film from the moment he appears, providing some much needed comic relief to the relatively sombre opening. His comic delivery is as spot on as ever, and he gives some genuine heart to the character. Likewise Kingsley’s regal tones imbue Bagheera with his trademark wisdom, whose chemistry with both Mowgli and Baloo arguably provides an anchor to the majority of the films more poignant scenes. Idris Elba revels in the villainy of Shere Khan, and in taking the big bad to some truly dark places gives the protagonists and audiences alike something to genuinely fear. Christopher Walken’s King Louie (an enormous gigantopithecus this time around) steals his scenes with his mafioso like turn as the character, his rendition of Swingdance managing to be both joyous and terrifying at the same time. Perhaps the only disappointment here is Scarlett Johanson’s Kaa who, despite being animated exquisitely in her mesmerising scene, turns in a performance absent of any of the hypnotic qualities of the character she’s portraying.

Considering this is Neel Sethi’s breakout role as Mowgli, and that he’s the only character physically on set, he performs admirably. Portraying the cock sure attitude of Mowgli whilst interacting with co-stars made up entirely of CGI animals inevitably leads to some stiffness and moments of over acting, but the enthusiasm with which he approaches every aspect of the role keeps the character from ever feeling detached from the world he’s inhabiting, which is no mean feat.

Verdict

Once the whimsical credits begin to roll to the timeless Disney songs there’s little doubt left that The Jungle Book was a remake that fully deserved to be made. Favreau’s cognizant approach marries the best of both worlds, weaving the depth of the book into the playfulness of the Disney original to form an iteration that’s entirely its own. Astounding computer effects, a believable lead and an esteemed voice cast all ensure this classic tale finds its place in modern cinema.

Hits

+ Balances dramatic beats with humour perfectly
+ Surprising depth and emotion
+ Cast impress across the board
+ Musical beats implemented into the soundtrack
+ Jaw dropping visual effects bring the world to life…

Misses

– …but some disparities still hamper the CGI.

Overall Rating4starsCritical Hit

Film

Batman v Superman: Dawn of Justice Review

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Run time: 151 mins       Certificate: 12A
Director: Zack Snyder
Cast: Ben Affleck, Henry Cavill, Jesse Eisenberg.
Release Date: March 25, 2016.

Zero Lex Appeal

With an enormous marketing campaign having dominated the internet for months before its release it was clear from the off set DC were firmly putting all their eggs in one basket in the form of Batman v Superman, and therein lies its greatest problem. BvS is a cumbersome film; one loaded with so much, often superfluous, material that it struggles to tell its basic story at every turn. Even without its shoehorned extras its hard not to envision the film as a decent Superman story and a damn near brilliant Batman outing both made worse by being forced together to form a messy ensemble piece.

Frankly the films greatest shortcoming is its plot. Despite setting the titular characters up with relatively understandable motivations the script constantly goes out of its way to derail this neat premise with needless flourishes that result in more than a few plot holes along the way. The film opens (after having rehashed Batman’s origin in case anyone forgot) with a stunning sequence that sees Bruce Wayne speeding through the streets of Metropolis to the aid of his staff trapped amidst the chaotic battle we saw at the climax of Man of Steel. Its tense, ties into Snyder’s previous entry seamlessly and establishes a reason for Batman’s distrust of Superman right off the bat. Moreover its enough to establish how humanity see Superman (through the eyes of Bruce). But Snyder then skips to Africa for yet another, albeit smaller in scale, case of Supermans actions being open to debate. Its just one of many instances of a scene that simply didn’t need to be, and it only further complicates the tangled plot. Jessie Eisenberg’s Alexander Luthor (son of Lex) factors into much of this confusion, his psychotic billionaires schemes tangling the plot to nonsensical levels without a hint of any solid motivation.

Not to mention the fact that the film throws dream sequence after dream sequence at the viewer to little effect. Some of these are amazing, Batman’s foray into a post apocalyptic future is likely to make any comic fan giddy, but being that these sequences have zero impact on the events at hand you can’t help but wonder why they weren’t cut let alone filmed in the first place. The greatest offender however lies in how we’re lazily treated to cameos of other future Justice League members in what is perhaps the worst case of desperate universe building that has ever been put to film.

There's more than a few biblical undertones to proceedings.
There’s more than a few biblical undertones to proceedings.

There is a lot to appreciate about BvS however. The main event does impress when our heroes clash despite being only a part of what the overall film is concerned with. As if the Dark Knight Returns had been made real, Batman uses contraptions a plenty in a bout that plays out as if it had leapt from the pages of the comic. Refreshingly its conclusion is quite original to the film and lands its emotional punch, capping what is arguably DC’s most authentic live action work before the cookie cutter finale rears its head. The Doomsday rumble that follows (a moment regrettably given away in its trailers) is all good fun despite how rushed it feels, and once Gal Gadot’s Wonder Woman joins the fray it almost all feels worth it. Superman gets to finally be heroic, Batmans gruff banter feels right at home and Wonder Woman is a well choreographed fighting machine. Despite the troubling first two acts the film suddenly just works.

Visually each and every scene is arresting. While the dark colour scheme is perhaps too reminiscent of Watchmen at points there’s no argument as to how well crafted each frame is by cinematographer Larry Fong. Every other moment is a trailer shot oozing with wonderfully realised art direction and costume design worthy of praise. Despite his indulgences Snyder also brings a dramatic flare with his direction that makes sure the dialogue pops even when Terrio and Goyer’s script underwhelms. Even when our heroes act out of character and argue with little motivation Snyder makes sure the proceedings are at least engrossing. Hans Zimmer and Junkie XL’s score is perhaps the most surprising misstep, with some of its more dramatic themes and an introduction of an electric guitar in a later piece nearly drowning out the spectacle of the scenes themselves with their heavy handedness.

Batman’s dreams are incredible but never amount to anything.

Much like the rest of the film some of the cast struggle. Ben Affleck’s Batman is quite possibly the best committed to screen, bringing a suaveness to Bruce and a raw brutality to the Bat that makes you fear the bone breaking vigilante as much as the criminals do. Henry Cavill dons the cape effortlessly once more, and despite being given little emotional range to work with sells the world weary take on the character convincingly. Eisenberg’s Luthor however drags the villains side down, his Joker like quips and twitches serving to annoy rather than menace whilst undermining his characters apparent intelligence, a shame considering he’s given what feels like the most dialogue of all. Gal Gadot’s Wonder Woman entertains thoroughly, though she’s given little time to make an impression, and leaves the viewer wanting more.

Supporting players such as Laurence Fishburne’s blunt Perry White and Jeremy Irons’ wry Alfred elevate their scenes with spot on delivery of their lines, making even some of their cornier quips hit their mark. Amy Adam’s Lois however is woefully under served. Despite turning in a decent performance she’s never given a chance to be anything more than a plot device constantly in need of saving (multiple times) by Superman. Like Lex Luthor, her character is brought down by the scripts need for her to fill a role by any means necessary.

Verdict

BvS is a missed opportunity, an event that had so much potential brought down by uneven pacing and a script so intent on setting up throw downs that it throws its characters motivations aside. Despite itself though the heroes impress, with Affleck’s Batman grabbing the audiences attention every time there’s crime to be fought in Gotham or super humans to keep up with. For comic fans who’ve been waiting to see the likes of Miller’s Batman jump out of the pages then BvS is arguably a must see, otherwise it may be best to wait for all the spectacle to be framed in a coherent plot that pays attention to serving the characters as much as it does the action.

Hits

+ Affleck’s Batman.
+ Visually stunning
+ Snyder delivers some brutal and varied action
+ The trinity delivers

Misses

– Nonsensical plotting at points
– Underwhelming script slows the pace
– Character motivations thrown aside
– Eisenberg’s Lex isn’t compelling
– Intrusive cameos and foreshadowing.
– Lois Lane relegated to a hopeless plot device

Overall Rating

3starsMiss

Film

Jurassic World Review

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Run time: 124 mins       Certificate: 12
Director: Colin Trevorrow
Cast: Chris Pratt, Bryce Dallas Howard, Ty Simpkins.
Release Date: June 12, 2015.

How to train your dinosaur

There’s no doubt that there was a great deal of pressure on Colin Trevorrow to deliver given that the previous outing for Jurassic Park without Spielberg at the helm was far from stellar, and indeed saw the franchise struggle to make it back to the big screen for 14 years until now. Its a great relief then that Jurassic World is a good film, great even. Its a familiar set up to the first, having the (this time fully operational) park go into disarray allowing the dinosaurs to wreak all kinds of havoc. Much like the new hybrid dinosaur on the block however, World may be the familiar T. Rex or Jurassic Park at first glance, but with each new scene comes an unexpected twist on the old formula. Throwing new spins on the well worn scenario inevitably leads to some elements going awry, but for the most part these flourishes hit their mark.

The plot takes its time to reach its stride but once the Indominus is loose Jurassic World never lets up. The final act here is exceptional as Trevorrow bombards the viewer with top notch action and surprises aplenty (the trailers give little away thankfully), ending it all with a finale that’s bound to have fans of the original applauding. The humans in danger this time round develop as the action ramps up, with the initially stiff Claire (Bryce Dallas Howard) improving particularly well amidst the chaos. It helps that she has Chris Pratt’s Owen Grady to play off of, with the underlying theme of corporate interest versus ethics playing out in their discussions. Unfortunately however this is about the only theme Jurassic World boasts, and without the intellectual debates of original present to lend a sense of intrigue to ongoings the human drama is often left feeling light on substance.

The crew are a likeable bunch.
The crew are a likeable bunch.

Its never all that much of an issue though as Claire and Owen’s struggle darts from one great scenario to the next, but the pace does fall victim to the plodding Ingen sub plot at points. Vincent D’Onofrio’s Ingen bully butts in on numerous occasions to foreshadow what will surely be a plot thread that runs through the sequel, but he’s forced to sell such absurd motives that its a wonder he wasn’t aided by CGI himself. Its not a badly acted role per se, but its one that often sticks out as an obvious plot device for driving events forward and that threatens to take away the films otherwise admirable self contained approach. There is a lot to like about some of these overarching plots however, as well the numerous call backs that come with them. A debate between the returning Dr. Wu and the parks new funder that echoes a scene from the book which never made it into the original film is a particular highlight, and if anything seems even more aptly placed in this new story.

On the other hand the dinosaurs are handled more consistently, more characters themselves this time round than ever before. The Indominus Rex is a fantastic big bad, its vicious streak and genetic trickery making for some exhilarating sequences as it dispatches dinosaurs and humans alike. And for those afraid that the raptors have lost their teeth? Don’t be. Scenes that in the trailers appear to be jumping the shark, such as Pratt’s Velociraptor gang, are well and truly earned by the time they occur in the film. Across the board the attractions are given more of the spotlight than ever, and the attention to their characterisation as animals rather than mindless threats often elevates their human co-stars. For instance one scene that has Owen comforting a wounded Diplodocus strikes an emotional cord you frankly won’t be expecting amongst all the mayhem. As expected there is an over reliance on CGI to achieve this, with the staple animatronics only making one appearance of note. It can mute the tension in what could have been terrific scenes as the dinos are never actually there as animatronics would have been, even in close ups.

The Indominus doesn't play well with others.
The Indominus doesn’t play well with others.

John Schwartzman’s cinematography captures the effects shots well, knowing when to close in on the panic and draw out for the grander scale; though certain human focused scenes such as those in the control room lack the same flair. Like Trevorrow, Giacchino’s soundtrack faces the same challenge of following John Williams’ iconic score, and while it shies away from delivering a new theme he does mix existing themes with some of his own dramatic tracks to create some truly rousing accompaniments to the action. It’s Colin Trevorrow and his love of Jurassic Park that brings it all together though, an impressive feat considering this is only his second feature film, and indeed he succeeds in crafting a Jurassic Park film fit for today’s newcomers and long time fans alike.

Chris Pratt once again heads up an impressive cast as the reliable man’s man who’s genuinely invested in the livelihood of the dinosaurs, selling some great emotional connection to his computer generated protégé’s. Its Bryce Dallas Howard’s Claire who’s the real driving force of the film though, with Howard portraying her character arch authentically considering it develops within a dinosaur infested park. Ty Simpkins and Nick Robinson give the adolescent duo some genuine heart, just as well considering they spend much of the film with only each other as company. The rest of the cast may be broadly painted but are well portrayed nonetheless. Irrfan Khan is the most likeable thing on screen as the billionaire successor to Hammond, his larger than life Mesrani beaming with child like wonder despite some of his awkwardly written comedy. The originals blundering Nedry may be a master spy in comparison to Hoskins when it comes to subtlety but D’Onofrio embraces the role nonetheless and helps sell what could have been a far worse off plot thread. Lastly the return of BD Wong as Dr. Henry Wu does add a great sense of continuity to the franchise and he clearly has a ball reprising his character who’s now free of Hammond’s close eye.

Verdict

Like its villainous Indominus Rex, Jurassic World leans on the familiar only to surprise us with twist after twist on the old formula that worked so well 22 years ago. Granted a few of the choice plot threads hold the film back when its trying to drive forwards, but once the actions in full swing little can get in the way of its momentum. Sparing no expense on the computer effects does harm the tension at points but at the same time it lends more character to the dinosaurs than ever before, making it arguably the best trip back to the land of dinosaurs the franchise has afforded us since the original.

Hits

+Great new twists on the old scenario
+Howard and Pratt head up a great cast
+Final act truly delivers
+The Indomnius Rex makes for a great big bad
+Dinosaurs are better than ever…

Misses

–…despite an over reliance on CGI
–A few choice sub plots bog down the pace

Overall Rating4stars

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Film

Interstellar Review

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Run time: 169mins       Certificate: 12A
Director: Christopher Nolan
Cast: Matthew McConaughey, Anne Hathaway, Jessica Chastain.
Release Date: November 7, 2014.

Cosmic praise.

Interstellar is one of the most ambitious science fiction films made in recent years, an emotional tale told in an intelligently crafted universe, its almost everything a science fiction tale could hope to be. Christopher and Jonathan Nolan have taken care to make sure the science that drives the mission always makes sense within the context of the film (you won’t be scratching your head every other second) and take great pleasure in emphasising both the beauty and harsh reality of this uncharted space. But despite the grand spectacle against which the mission to save mankind takes place, its the decision to focus on the much more personal relationship between a father and daughter that proves to be Interstellar’s defining strength. Every trial Matthew McConaughey’s Cooper faces, no matter how familiar some of them may seem, are made all the more distressful because you’ll be rooting for Cooper to make it home to his daughter.

Its the intimacy with which Interstellar approaches the central struggle Cooper faces, caught between being mankind’s last hope and being a good father, that elevates the experience as a whole. Its best not to divulge too much about the plot as its best to go in blind, but the simple astronauts on a mission structure opens up to some interesting twists and turns, especially in the final act. Some of the developments that drive events forward may evoke age old science fiction beats to anyone who’s even a little familiar with the genre but they’re all conveyed to such a standard here that you can forgive Interstellar the odd formulaic indulgence. After all seeing these genre staples unfold with Cooper at their heart makes them all the more emotionally intense, each one a memorable sequence that will remain with you long after the credits have rolled.

Alone in a foreign galaxy.
Alone in a foreign galaxy.

Even when Interstellar drives its human and science themes together, Amelia’s (Anne Hathaway) speech on love being a prime albeit weaker example, it succeeds in making them relevant to the grand scheme of things without ever becoming overly cheesy. Dialogue is littered with quotable lines that never come across as too unnaturally heady, the script keeping you as alert during the difficult talks as you are during its intense action. There’s even a few laughs that often reference its influences (predominantly 2001: A Space Odyssey) with a knowing wink that buffs and newcomers alike will appreciate. The epilogue is perhaps the only point where Interstellar doesn’t quite resonate on an emotional level as it has before, ending with a whimper that comes across as uncharacteristic of the resolve with which its endpoint is reached. Its far from unsatisfying however as the plot threads are for the most part all neatly tied up and the mission comes to a wonderfully ingenious conclusion; Interstellar may not leave the audience with many burning questions but it certainly leaves them touched by the events that have unfolded with an understanding of why they came to pass. Its an unexpected and ultimately gratifying takeaway from a film of this ilk.

What’s most impressive however is just how accessible the whole affair is; the human element certainly draws the viewer in before they’ve even left Earth, but its the way in which the science is integrated throughout the plot that’s even more impressive. Nolan has taken care to make sure the science holds true to many existing theories, heavily relying on elements of string theory and the like. If that sounds off putting however it shouldn’t, there’s very little in the way of exposition for its science as its only explained when the script demands it, generally preferring to remain a purely visual affair. It becomes a natural part of the narrative, just as organic as the lore of Lord of the Rings in its fantasy setting without ever compromising its real life inspirations. That’s not to say you won’t have to suspend disbelief when it toys with the facts a bit, but when its all presented so well you’ll just as easily be swept up in its wonder. And when it does lean more on the fiction side of the coin the proceedings come across as an exploration of what could be, rather than flights of fancy, remaining logical in the narrative Nolan has created.

The set design is sublime.
The set design is sublime.

Its mix of practical effects and convincing computer generated imagery go a long way to convincing us of this universe, the uncharted worlds each a marvel to behold no matter how desolate they may be. The robots that assist the crew, TARS and CASE, truly stand out in every scene they have. Blocks of chrome that fold and rearrange themselves to handle any task with elegant efficiency, they’re truly a sight to behold when in action. Hoyte Van Hoytema’s cinematography frames every scene perfectly, the interior of the ship is close and claustrophobic but the vistas of the worlds are shot distantly to emphasise the beauty of the stark environments (and just how small humans are in this universe). All of this is encompassed in Hanz Zimmer’s hauntingly beautiful soundtrack that evokes classic Sci-Fi whilst remaining its own unique beast.

Matthew McConaughey is the real stand out performance here as Cooper, his down earth manner keeping his performance believable whether he’s caring for his children or charting distant planets. One scene that has him catching up on a backlog of video messages is particularly hard hitting, without uttering a single word McConaughey will have you sympathising with Cooper’s plight on a profound level. Jessica Chastain (playing an older Murphy) is excellent throughout, shouldered with a character who has just as much emotional conflict to convey as McConaughey she more than convinces and keeps the events on Earth interesting to the end. Her childhood counterpart (Mackenzie Foy) deserves special mention as well, as she solidifies the relationship she has with her father in the first act with emotion so raw you’ll feel the connection she established long after Chastain has taken her place. The rest of the cast is well rounded, but never quite hit it out of the park like these three. Anne Hathaway and Michael Caine convince as the father-daughter scientists but never have the draw of Cooper despite their interesting subplot and the other crew (David Gyasi remains very appealing throughout) remain serviceable but aren’t given nearly enough material. Lastly however a surprise addition intensifies proceedings late in the game and Bill Irwin deserves special credit for bringing the humorous TARS to life.

Verdict

Interstellar is a remarkable film, a science fiction epic that captivates with its admirable quasi-science without ever needing to confuse or lecture its viewers. Its a film with brains for sure, one that’s wise enough to know that its heart is what’s most deserving of its attention, and Cooper’s human story is one that will hit harder than any spectacle space can offer. It may not be perfect, but its a monumental effort that comes damn close; a complete story that will keep you invested from start to finish. This is pure cinema that demands being seen on the big screen, an example of science fiction that will go down with the greats and who’s influence will likely be seen in the crafting of future features long into the future.

Hits

+The science is so naturally woven in that its rarely an issue
+McConaughey dominates as the endearing Cooper
+Jaw dropping visuals aided by practical effects
+Some truly intense sequences
+Hanz Zimmer’s hauntingly beautiful soundtrack

Misses

–Epilogue and a few supporting cast fall short

Overall Rating

5starsCritical Hit