Jessica Chastain
directed by Christopher Nolan
Runtime 2 h 49m
creator Christopher Nolan, Jonathan Nolan
In the near future around the American Midwest, Cooper, an ex-science engineer and pilot, is tied to his farming land with his daughter Murph and son Tom. As devastating sandstorms ravage Earth's crops, the people of Earth realize their life here is coming to an end as food begins to run out. Eventually stumbling upon a N.A.S.A. base near Cooper's home, he is asked to go on a daring mission with a few other scientists into a wormhole because of Cooper's scientific intellect and ability to pilot aircraft unlike the other crew members. In order to find a new home while Earth decays, Cooper must decide to either stay, or risk never seeing his children again in order to save the human race by finding another habitable planet
tomatometer 9 / 10

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Interstellar Christopher Nolan’s "Interstellar, " about astronauts traveling to the other end of the galaxy to find a new home to replace humanity’s despoiled home-world, is frantically busy and earsplittingly loud. It uses booming music to jack up the excitement level of scenes that might not otherwise excite. It features characters shoveling exposition at each other for almost three hours, and a few of those characters have no character to speak of: they’re mouthpieces for techno-babble and philosophical debate. And for all of the director’s activism on behalf of shooting on film, the tactile beauty of the movie’s 35mm and 65mm textures isn’t matched by a sense of composition. The camera rarely tells the story in Nolan’s movies. More often it illustrates the screenplay, and there are points in this one where I felt as if I was watching the most expensive NBC pilot ever made. And yet "Interstellar" is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away. I’ve packed the first paragraph of this review with those objections (they could apply to any Nolan picture post "Batman Begins"; he is who he is) so that people know that he’s still doing the things that Nolan always does. Whether you find those things endearing or irritating will depend on your affinity for Nolan's style. In any case, t here’s something pure and powerful about this movie. I can’t recall a science fiction film hard-sold to a director’s fans as multiplex-“awesome” in which so many major characters wept openly in close-up, voices breaking, tears streaming down their cheeks. Matthew McConaughey ’s widowed astronaut Cooper and his colleague Amelia Brand ( Anne Hathaway) pour on the waterworks in multiple scenes, with justification: like everyone on the crew of the Endurance, the starship sent to a black hole near Jupiter that will slingshot the heroes towards colonize-able worlds, they’re separated from everything that defines them: their loved ones, their personal histories, their culture, the planet itself. Other characters—including Amelia's father, an astrophysicist played by Michael Caine, and a space explorer (played by an un-billed guest actor) who’s holed up on a forbidding arctic world—express a vulnerability to loneliness and doubt that’s quite raw for this director. The film’s central family (headed by Cooper, grounded after the dismantling of NASA) lives on a corn farm, for goodness’ sake, like the gentle Iowans in " Field of Dreams " (a film whose daddy-issues-laden story syncs up nicely with the narrative of " Interstellar"). Granted, they're growing the crop to feed the human race, which is whiling away its twilight hours on a planet so ecologically devastated that at first you mistake it for the American Dust Bowl circa 1930 or so; but there's still something amusingly cheeky about the notion of corn as sustenance, especially in a survival story in which the future of humanity is at stake. ( Ellen Burstyn plays one of many witnesses in a documentary first glimpsed in the movie's opening scene—and which, in classic Nolan style, is a setup for at least two twists. ) The state-of-the-art sci-fi landscapes are deployed in service of Hallmark card homilies about how people should live, and what’s really important. ("We love people who have died—what's the social utility in that? " "Accident is the first step in evolution. ") After a certain point it sinks in, or should sink in, that Nolan and his co-screenwriter, brother Jonathan Nolan, aren’t trying to one-up the spectacular rationalism of “2001. " The movie's science fiction trappings are just a wrapping for a spiritual/emotional dream about basic human desires (for home, for family, for continuity of bloodline and culture), as well as for a horror film of sorts—one that treats the star voyagers’ and their earthbound loved ones’ separation as spectacular metaphors for what happens when the people we value are taken from us by death, illness, or unbridgeable distance. (“Pray you never learn just how good it can be to see another face, ” another astronaut says, after years alone in an interstellar wilderness. ) While "Interstellar" never entirely commits to the idea of a non-rational, uncanny world, it nevertheless has a mystical strain, one that's unusually pronounced for a director whose storytelling has the right-brained sensibility of an engineer, logician, or accountant. There's a ghost in this film, writing out messages to the living in dust. Characters strain to interpret distant radio messages as if they were ancient texts written in a dead language, and stare through red-rimmed eyes at video messages sent years ago, by people on the other side of the cosmos. "Interstellar" features a family haunted by the memory of a dead mother and then an absent father; a woman haunted by the memory of a missing father, and another woman who's separated from her own dad (and mentor), and driven to reunite with a lover separated from her by so many millions of miles that he might as well be dead. With the possible exception of the last act of " Memento" and the pit sequence in "The Dark Knight Rises"—a knife-twisting hour that was all about suffering and transcendence—I can’t think of a Nolan film that ladles on misery and valorizes gut feeling (faith) the way this one does; not from start to finish, anyway. T he most stirring sequences are less about driving the plot forward than contemplating what the characters' actions mean to them, and to us. The best of these is the lift-off sequence, which starts with a countdown heard over images of Cooper leaving his family. It continues in space, with Caine reading passages from Dylan Thomas's villanelle "Do Not Go Gentle Into that Good Night": "Old age should burn and rave at close of day; Rage, rage against the dying of the light. " (If it wasn't already obvious, this sequence certifies Nolan as the most death-and-control obsessed major American filmmaker, along with Wes Anderson. ) The film's widescreen panoramas feature harsh interplanetary landscapes, shot in cruel Earth locales; some of the largest and most detailed starship miniatures ever built, and space sequences presented in scientifically accurate silence, a la "2001. " But for all its high-tech glitz, "Interstellar" has a defiantly old-movie feeling. It's not afraid to switch, even lurch, between modes. At times, the movie's one-stop-shopping storytelling evokes the tough-tender spirit of a John Ford picture, or a Steven Spielberg film made in the spirit of a Ford picture: a movie that would rather try to be eight or nine things than just one. Bruising outer-space action sequences, with astronauts tumbling in zero gravity and striding across forbidding landscapes, give way to snappy comic patter (mostly between Cooper and the ship's robot, TARS, designed in Minecraft-style, pixel-ish boxes, and voiced by Bill Irwin). There are long explanatory sequences, done with and without dry erase boards, dazzling vistas that are less spaces than mind-spaces, and tearful separations and reconciliations that might as well be played silent, in tinted black-and-white, and scored with a saloon piano. (Spielberg originated "Interstellar" in 2006, but dropped out to direct other projects. ) McConaughey, a super-intense actor who wholeheartedly commits to every line and moment he's given, is the right leading man for this kind of film. Cooper proudly identifies himself as an engineer as well as an astronaut and farmer, but he has the soul of a goofball poet; when he stares at intergalactic vistas, he grins like a kid at an amusement park waiting to ride a new roller coaster. Cooper's farewell to his daughter Murph—who's played by McKenzie Foy as a young girl—is shot very close-in, and lit in warm, cradling tones; it has some of the tenderness of the porch swing scene in " To Kill a Mockingbird. " When Murph grows up into Jessica Chastain —a key member of Caine's NASA crew, and a surrogate for the daughter that the elder Brand "lost' to the Endurance 's mission—we keep thinking about that goodbye scene, and how its anguish drives everything that Murph and Cooper are trying to do, while also realizing that similar feelings drive the other characters—indeed, the rest of the species. (One suspects this is a deeply personal film for Nolan: it's about a man who feels he has been "called" to a particular job, and whose work requires him to spend long periods away from his family. ) The movie's storytelling masterstroke comes from adherence to principles of relativity: the astronauts perceive time differently depending on where Endurance is, which means that when they go down onto a prospective habitable world, a few minutes there equal weeks or months back on the ship. Meanwhile, on Earth, everyone is aging and losing hope. Under such circumstances, even tedious housekeeping-type exchanges become momentous: one has to think twice before arguing about what to do next, because while the argument is happening, people elsewhere are going grey, or suffering depression from being alone, or withering and dying. Here, more so than in any other Nolan film (and that's saying a lot), time is everything. "I'm an old physicist, " Brand tells Cooper early in the film. "I'm afraid of time. " Time is something we all fear. There's a ticking clock governing every aspect of existence, from the global to the familial. Every act by every character is an act of defiance, born of a wish to not go gently. Matt Zoller Seitz Matt Zoller Seitz is the Editor at Large of, TV critic for New York Magazine and, and a finalist for the Pulitzer Prize in criticism. Interstellar (2014) Rated PG-13 for some intense perilous action and brief strong language 169 minutes about 3 hours ago 1 day ago.

1, 858, 818 people like this 1, 836, 105 people follow this Facebook is showing information to help you better understand the purpose of a Page. See actions taken by the people who manage and post content. Page created - April 3, 2013 5 years ago today, mankind’s future was discovered among the stars. Experience the journey beyond this galaxy again tonight: It looks like you may be having problems playing this video. If so, please try restarting your browser. Close Wishing Matthew McConaughey a happy birthday! this is the best movie i ever watched. 's all about (TIME). (SPACE). and some conspiracy about our... solar system See More Amazing movie. Puts into perspective the vastness of space and truly small we all are but how we can... achieve such great goals. See More One of the best movie ever made. Love is the one thing we're capable of perceiving that transcends t... he dimensions of space and time. See More How many times have you seen Interstellar Movie? Now on Blu-ray and Digital HD! In 3 days, Interstellar Movie will be on Blu-ray! Pre-order today: TOMORROW, Interstellar Movie will be on Blu-ray! Own the galactic space exploration today:.

Level 1 It was designed for interplanetary use first and foremost. For an idea of the performance; it would be able to send a payload equal to an entire, fueled, Saturn V to Mars and back. level 2 I was going to say- at 5% the speed of light it would take, what, 20 years to go one light year? But would probably be perfect for travel within the Solar System. level 2 There's a great booked called Project Orion that includes the fact that they did actually consider launches from earth surface..... Much prefer the assemble and launch in space scenarios thx level 2 I thought it was to do battle with the Fithp mothership? level 2 What about slowing down tho? Can't imagine shooting nuclear bombs in front of you would be a great idea. level 2 It was designed for interplanetary use first and foremost. In weeks. There was a proposed crewed mission to Jupiter with that project, where the capsule was the size of a typical house had 6 crew members and it was going to be able to get to Jupiter in about 10-12 weeks. level 2 Now, I am no rocket surgeon or anything but I have to ask, wouldn't a rocket taking off with a payload of several hundred nukes pose a bit of a threat to the surrounding region? level 2 What would be the difference in our clocks when they got back? level 2 Yea in order to do that though they designed a shell to point the nuclear exhaust back at the plate but if you turned the shell around towards the earth it accelerates at 20% the speed of light and is extremely power if it hits the surface, like MT range level 2 Ok but how do you slow down without nuking yourself in the face? level 2 Do you know how many of "pellets" it would use doing so? Also their size? level 1 The best part about "Project Orion" - in my opinion - was the fact that they actually got engineering advice from Coca Cola. Since having a nuclear bomb stuck in the dispenser mechanism was a rather scary idea, they asked how Coca Cola had designed their vending machines level 2 Comment removed by moderator 3 months ago More than 1 child level 2 Comment removed by moderator 3 months ago More than 1 child.

Level 1 Doesn't reply to PMs. Moderator of r/MovieDetails, speaking officially Score hidden · 13 days ago · Stickied comment Upvote this comment if this is a Movie Detail Downvote this if you feel that it is not. If this comment's score falls below a certain number, this submission will be automatically removed. These votes are in a trial run period, give your feedback here: level 1 Well fuck, I just remembered the scene where cooper was watching the videos of his kids level 2 What’s fucked up is he looks just like my dad so seeing him cry like that for that reason just tore me to pieces. Go call your dads. level 2 Holy shit, and he realizes he's fuckin missed their entire childhoods? That movie is insane level 2 Shit still fucks me up and I’ve seen it >20 times level 1 “Good choice Barnaby” “Thanks Barnaby” level 1 I might be crazy but the stripes remind me of how the 4th dimension looked in the movie. level 1 Like Minecraft and Terraria level 1 I watched the Willoughbys by accident. I was watching something else and it ended, and that show played next and I just didn’t stopped it and watched the whole thing. I liked it level 1 Wow that’s a good catch. Nice detail. level 1 Finally an actual hidden detail level 1 Whattaya know, it is an instant classic level 1 Ooooloooooooooooooooooooooooooooooo level 1 I just want to understand how the last twenty minutes of the movie make sense to anyone. I feel like I'm part of the world's largest practical joke. level 2 Bascally, humans or not humans built the machine/complex that messes with time knowing the dude would end up there and help the humans get off of earth- Possibly insuring the "future humans" would exist. level 2 Its funny, my wife is the same way. She doesn’t get the concept of a future humankind “us” reaching back through time to fix the present. Maybe Ive just read too much sci-fi, but it seems pretty understandable. level 2 Sshhhhhh! No one tell them! level 1 interstellar is the one of master movie in film history they was really goes you to a experiencing ride to space...

Level 1 This blew me away. Not only is this one of my favourite tunes of all time, but it is performed it so beautifully. Thank you, Eiro, for this. Time to rewatch for the 6th time in a row level 1 I had no idea I needed this in my life until now. Amazing cover level 2 My thoughts exactly. I have always been in love with the Interstellar soundtrack and never thought I’d see a cover like this. Amazing! level 1 Amazing. Getting such clear tone from the strings without noise from the fingers is extremely difficult, especially on a 12-string. This is a technical marvel. level 1 This was great. Looked him up on Spotify and he’s on there. There’s more where this cover came from! level 2 Philip Glass is great. Love the episode of BSG that features one of his Metamorphosis pieces level 1 i dont know what it is about this song, even when i heard it in the theater, it makes me bust out in tears. level 2 Me too... every time. The movie reminds me of my gf who passed away, in some weird way. This movie and this soundtrack stirs so many emotions... level 2 It gives me the most beautiful sense of urgency level 1 I absolutely love a good cover, especially if it pays homage exceptionally well. I've been playing guitar for over 20 years, and have been an avid fan of music since I could remember. But there is something about a 12 string guitar that just creeps me out. level 1 Totally in love. Favourite pieces of music ever and done beautifully in acoustic. level 1 This is fantastic! Just looked in Apple Music and saw he had a lot of cool covers. level 1 Fucking incredible. I’ve been hoping someone would grace my ears with an acoustic cover to this. Thank you so much. level 1 Absolutely insane. And on a 12 string playing that clean is nuts. Thanks for sharing level 1 I love the sound of a twelve string guitar and it’s so beautiful for this level 1 Can't get enough of this. His technique is incredible.

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