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Review – Interstellar (12a) [2014]

Interstellar - title banner

Star Rating: 3.5/5



Music Composer:

There are some directors whose movies are simply a cut above the rest. Steven Spielberg, David Fincher, Alfonso Cuarón and Martin Scorsese do not necessarily make films often, but when they do their films are invariably of the highest quality. Christopher Nolan rightly has a place among these filmmaking giants and his latest movie, Interstellar, confirms this despite the film’s problems.

Professor Brand (Michael Caine) explaining the mission and its purpose to Cooper (Matthew McConaughey)

Professor Brand (Michael Caine) explaining the mission and its purpose to Cooper (Matthew McConaughey)

Interstellar is set in the not-too-distant future. The Earth will soon be unable to sustain life due to crop failures. Mankind needs to find a new planet in order to survive. With the situation desperate, Cooper (Matthew McConaughey) leads a team of astronauts into space so as to find another planet that can sustain habitable life.

Interstellar is an ambitious, innovative and stimulating movie. Like The Dark Knight Trilogy, The Prestige and Inception, Interstellar is a film full of ideas such as Murphy’s Law, gravity, love, and how time bends in space to name but four. These ideas keep viewers fully occupied throughout the film’s 167-minute running time. As in the above-mentioned films, Nolan again illustrates his intelligence by writing an ingenious script that holds much realism and does not fall into the generic (and dull) intergalactic ray-gun war between men and monsters. Nolan must be applauded for it and for not patronising his audience (harrumph Michael Bay).

Cooper saying goodbye to his little daughter, Murphy (Mackenzie Foy) before he goes on the mission.

Cooper saying goodbye to his little daughter, Murphy (Mackenzie Foy) before he goes on the mission.

Granted, most viewers probably will not completely comprehend Interstellar’s dialogue as one may need to be a quantum physics professor and an astrophysics nerd for that. If viewers are neither of those and find the dialogue difficult to grasp, they can still easily enjoy the film simply by sitting back and admiring the awesome sceneries, the breath-taking special effects, and the phenomenal music. The CGI and the music, in particular, make audiences feel like they’re on a wonderful rollercoaster ride through space, and the length of the film enhances this riveting sensation.

However, not even this terrific sensation can override or conceal the gaping holes in Interstellar’s storyline (as a train could fit through them). These holes stem from moments of tension that are there solely for the sake of tension (and filler) rather than advancement of the storyline; and from the ending being too rushed and contrived for the movie to make sense. With most directors, viewers would generally accept these plot holes as par for the course. But with Nolan, viewers expect better. Scenes of tension in his previous films have had consequence(s) upon the storylines, and he has given us some of the most original, thought-provoking and satisfying endings in movie history. To see his film suffer from similar problems as those of (cheesy) action films and (second-rate) sci-fi movies feels wrong as Nolan is too smart a man to fall into such holes.

Cooper speaking with Amelia (Anne Hathaway) as they try to determine what to do next as they search for a habitable planet.

Cooper speaking with Amelia (Anne Hathaway) as they try to determine what to do next as they search for a habitable planet.

Yet, the above-mentioned holes are not the only issues staring back at Interstellar. Like Inception, Interstellar is so plot heavy it has no time for character development. For any film, it is excusable not to give peripheral characters proper story-arcs since that bloats the film’s running time unnecessarily and can render a film with a terribly swollen cast (like Interstellar) impractical to make. But what is not excusable for any film, including Interstellar, is for the major characters to not have proper story-arcs. This is because one of the most fascinating parts of a film is the journey the main characters go on and watching how the journey affects them, for good or ill. Without such story-arcs for the major characters, Interstellar feels like a large plate with little food on it: somewhat unsatisfying.

Over-all, Interstellar is a very ambitious, intelligent and challenging movie. Yes, it has plenty of plot problems. And, yes, it does not give its characters enough time for sincere character growth. On the flip side, though, the movie is made worthwhile by the stunning landscapes, the spectacular special effects, the spellbinding music, and the interesting ideas that are seldom explored in films. Suffice to say, Interstellar does not make for an easy 167-minutes and the film would have ended up as a total mess if it were to have been directed by anyone other than a master of his/her craft. This underlines why Christopher Nolan is such an extraordinary director and why he rightly stands among the best in the business in Hollywood.

PG’s Tips

Review – The Possession (15) [2012]

Star Rating: 1/5


  • Ole Bornedal – Nightwatch, Deliver Us From Evil, 1864


  • Sam Raimi – Xena: Warrior Princess, Spiderman I-III, The Evil Dead


  • Jeffrey Dean Morgan – Watchmen, Grey’s Anatomy, Red Dawn
  • Natasha Calis – Donovan’s Echo, The Firm
  • Madison Davenport – Jack and the Beanstalk, Shameless, Noah
  • Kyra Sedgwick – Man on a Ledge, The Closer, Chlorine
  • Grant Show – Melrose Place, Marmalade, All Ages Night
  • Matisyahu

In my review of The Woman in Black, I spoke of the urgent need for the horror-genre to be revamped. Too often, so-called ‘horror’ films have become formulaic and a joke. Well, unbelievably, the genre has sunk even lower due to The Possession.

Em (Natasha Calis), unaware of the evil held within the container, purchasing the ‘Dibbuk box’ at a yard sale not far from her father’s home.

The Possession is a supernatural horror movie based on a true story. (Yeah right.) Em (Natasha Calis) and Hannah (Madison Davenport) are two young girls, whose parents are divorced. While staying with their father, Clyde (Jeffrey Dean Morgan), they go to a yard sale to purchase some new things for their father’s new house.

At the sale, Em comes across an old wooden box with an inscription of Hebrew writing and buys it. Little does she know, though, that the box contains a Dibbuk (Hebrew for an ‘evil spirit’). Em doesn’t find out until after she opens it. But by then it is too late, as the Dibbuk is already consuming both her soul and her flesh.

The Possession is neither scary nor interesting, thereby making the film feel a lot longer than its 92 minutes. Also, starting the movie with ‘based on a true story’ just renders the film stupid. One is generally not going to take a film seriously after watching human beings fly upside down across rooms, before smashing into walls and denting the brickwork. (Because that happens in real life, doesn’t it?)

Clyde (Jeffrey Dean Morgan) holding the ‘Dibbuk box’ while his daughters are with their mother and her new boyfriend. Clyde is trying to work out what is inside the box that could have harmed Em.

It is not as if those scenes are unique to The Possession either, as the recent The Exorcism of Emily Rose, The Rite and The Devil Inside attest. Like all of those films, The Possession suffers from an embarrassing number of clichés, which seem to be endlessly recycled in (bad) horror movies. Seeing (poorly-made CGI) insects coming out of someone’s throat or hearing a young girl talking with the voice of a nasty old hag has been done so many times that it ceases to shock or scare.

Combined with these standard techniques is the reprocessed music. Usually these unoriginal scores at least make viewers’ hearts flutter and pump up their adrenaline. In The Possession, however, it doesn’t even do that. The music sometimes threatens to make one feel that he/she will be jumping out of their skin by the end of the scene. Yet, because the film builds up to a climax that invariably doesn’t happen, the non-atmospheric music is reduced to pointlessness to the extent that the scenes would have been tenser with silence.

Matisyahu, donned in full chassidic gear, reading out holy verses, hoping to exorcise the evil spirit that has possessed Em.

And in case The Possession isn’t pathetic enough, the acting is terrible and the script is even worse. Indeed, it is all so dreadful that it almost forces one to question how a donor or Sam Raimi (whose reputation has plummeted since the much-maligned Spiderman 3) could have been duped into thinking that The Possession was a film worth making. At least The Woman in Black was an adaptation from a successful theatre production, so there was an excuse for it to be made. The Possession, on the other hand, has no such strong foundation and is almost solely the result of (the lack of) imagination on behalf of Stiles White and Juliet Snowden (both of whom helped to write Knowing, an appalling movie that was all over the place).

Over-all, The Possession is yet another wretched and stereotypical horror film. It adds nothing new to the genre, is neither funny nor frightening, and is remarkably dull. How many more ‘horror’ movies like this can Hollywood make before donors, directors and producers alike gain some dignity and pull the plug on this woeful genre?

PG’s Tips