Maybe Nolan misfired it, still potentially, the film reaches to places where our usual space opera doesn’t.
Nolan’s long lasting project to explore the space goes safe. That’s as much as you can do, for a film so heavy and personally touched. The writer and director Christopher Nolan is a believer of doing your homework properly. Simple as that. And working with Kip Thorne, a theoretical physicist, he has embodied the actual laws of physics in the film to a certain degree that it, itself started to create storylines of its own. Deciding to go towards the call, Nolan jam-packs this three hour of film with a whole lot of science and maths.
And just as it happened previously in Inception- not in this scale, of course- the science took over the emotional impact of these incredibly empathetic characters. Now, the only reason why this one comes off a bit slow in that department, compared to the Inception, is because it over-explains the narrative arcs more than the theories and philosophies of this science expenditure. Just walk through the jolting revelation placed later in the film, which spirals out an informative; yet not actually informative, conversation between Mathew McConaughey, Anne Hathaway and Matt Damon discussing Michael Caine’s character.
Once again, these are just minor flaws in this touching love story, where my personal favorite aspect of it is how mythological the equation between a father and a daughter comes off, especially in the final moments of the film. That very piece of note resembles beautifully with Steven Spielberg’s AI: Artificial Intelligence. Another thing to note here, is how simple Nolan’s direction and choices in the film are. In a complex dystopian future, he has kept things elemental- for instance the planets are often painted as one key, like water, rocks, dust and even love(!)- in order to mark the events occurred in this long Interstellar travel clearly.