Is Christopher Nolan waging a losing battle to save the art of Hollywood-style filmmaking? His most recent contribution to humanity’s collective creativity is yet another fine example of thought-provoking and entertaining storytelling via the finest audio-visual technology the good folks at Syncopy can provide. Yet, amidst a sea of adaptation, rebooting and reimagining at the movies, the one detail about this film which is most unique and will be easily overlooked is Interstellar’s originality. It is a story written by talented screenwriters Chris and John Nolan based on the theoretical physics of Kip Thorne (who also happened to be the scientific consultant and producer for this film). When people complain about Hollywood’s cycle of regurgitated drivel that is based on X or inspired by Y, my recommendation would be to check out a Chris Nolan picture that isn’t a part of The Dark Knight Trilogy (for which he’s best known). Sure, he doesn’t have the extensive library of the Steven Spielberg’s or the Ridley Scott’s, but his selectivity permits an investment in multiple levels of the filmmaking process for just about every project he helms. It’s what makes him one of the last remaining auteurs in this business. Nolan does it his way, and his narrative imprint is neither a constrictive millstone nor is it an overbearing hammer, but more like a key unlocking doors to new perspectives and scenarios outside of the mechanical mass production of formulaic filmmaking.
As much as I enjoyed Interstellar, the one thing I fully expected from this film (which I ultimately did not experience) was the definitive “IT” factor making it the hands down best film of the year. Certainly, this is a situation where expectations can skew an experience as I was all but banking o...
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