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In Earth's future, a global crop blight and second Dust Bowl are slowly rendering the planet uninhabitable. Professor Brand, a brilliant NASA physicist, is working on plans to save mankind by transporting Earth's population to a new home via a wormhole. But first, Brand must send former NASA pilot Cooper and a team of researchers through the wormhole and across the galaxy to find out which of three planets could be mankind's new home.
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 earths crops, the people of Earth realize their life here is coming to an end as food begins to run out. Eventually stumbling upon a NASA 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.
I should have known better just from the title. If you value logic and science please don't watch this movie; it'll just encourage them to make more. However if you enjoy cheap sentimentalism and believe that love is the most most powerful force in the universe, this is the movie for you. Apparently there are magic fairies inside black holes who will grant you a wish. The movie actually started okay, but just got progressively most frustrating as it progressed. As just one minor example it seemed to take a massive Saturn V type rocket to leave Earth, but then in another planetary system they seemed to have a convenient little "flyer" that had no problem leaving a planet with a gravity of 1.3G(??) I would have given it 6 stars just for it not having sound in space and general special effects, but had to subtract two stars for the annoying sound track and the completely nonsensical ending ... wtf? The ending made me very very angry ... now where is my Illudium Q-36 explosive space modulator.
Christopher Nolan is a director whose name has, quite literally, become synonymous with realism. The Nolanisation of cinema, which made the gloomy streets of Gotham a bridge between the fantastical and the commonplace, now grounds countless fancies within the mud of our reality. With Interstellar, arguably his first 'true' science-fiction project, Nolan inverts expectation once again, with a film rooted in the mundanity of maths homework but spliced with the fantastic. Opening, tellingly, on a dusty model of the shuttle Atlantis, the film's near-future setting sees humanity starving, squalid and devoid of hope. Eking out an existence in a post- millennial Dust Bowl, Matthew McConaughey's Cooper and his two children — ten year-old daughter Murph (Mackenzie Foy) and her older brother Tom (Timothée Chalamet) — lead a life of agrarian survivalism (while, hearteningly, still reading a great many books). But in Cooper we find a new man cut from old cloth: an all-American hero pulled straight from Philip Kaufman's The Right Stuff. Played with a drawling, Texan swagger underpinned by startling emotional depth, he is Nolan's most traditional lead to date, embodying the wide- eyed wonder of the director's youth; a man for whom we are "explorers and pioneers, not caretakers", who casts his lot among the stars as the human race's last, best hope. With the ailing Blue Planet left behind, Interstellar shifts smoothly into second gear. The black abyss rolls out like Magellan's Pacific; an unknowable frontier, final in a way that Roddenberry's never was. According to co-producer Kip Thorne, the spherical wormhole (it's three-dimensional, obviously) and the spinning event horizon of the film's black hole (named Gargantua) are mathematically modelled and true to life. Sitting before a 100-foot screen, though, you won't give a toss about equations because Nolan's starscape is the most mesmerising visual of the year. Gargantua is as captivating as it is terrible: an undulating maelstrom of darkness and light. Like the Hubble telescope on an all-night bender, this is space imagined with a dizzying immensity. The planets themselves are no less spectacular. Cinematographer Hoyte Van Hoytema (replacing Nolan regular Wally Pfister) captures the bleak expanse of southern Iceland as both a watery hell with thousand-foot waves and an icy expanse where even the clouds freeze solid. You'll have to park yourself in front of the biggest screen available to fully appreciate the spectacle. In contrast to the grandeur of space, the ship itself is a scrapyard mutt. Modular and boxy, the Endurance looks like an A-Level CDT workshop, with no hint of aesthetic flourish or extraneous design. Ever the practical filmmaker, Nolan has constructed a functional, utilitarian vessel. Its robotic crew-members, TARS and CASE, are '60s-inspired slabs of chrome; AI encased in LEGO bricks that twist and rearrange to perform complex tasks with minimalist efficiency. Beneath Interstellar's flawless skin, the meat is bloodier and harder to chew. The science comes hard and fast, though Nolans Christopher and Jonah shore up the quantum mechanics with generous expository hand-holding. Astrophysics is the vehicle not the destination, however, and Interstellar's gravitational centre is far more down to Earth. Interstellar scales the heights and plumbs the depths of humanity, pitting the selfish against the selfless, higher morality against survival instinct. As Cooper, scientist Brand (Anne Hathaway) and crew draw closer to their destination, complications require tough decisions; the sanctity of the mission wars with the hope of a return trip. That the undertaking isn't quite as advertised doesn't come as a shock, but the cruelty of the deception lands like a body blow. Nature isn't evil, muses Brand, the only evil in space is what we bring with us. When Interstellar began life back in 2006, Steven Spielberg, not Nolan, was the man in the cockpit; a presence still felt in the relationship between Cooper and Murph. The betrayal of a child abandoned is potent from the outset but the guilt is magnified tenfold when the Endurance's first stop, within the influence of the black hole, means that a few hours stranded planet-side result in two decades passing back on Earth. Cooper's tortured face as he watches his family unspool through 20 years of unanswered video missives is agony, raw and unadorned. Beneath everything else, this is a story about a father and his daughter, the ten-year-old giving way to Jessica Chastain's adult in the blink of a tear-filled eye. With the endless pints of physics chased by shots of moral philosophy, Interstellar can at times feel like a three-year undergraduate course crammed into a three-hour movie. Or, to put it another way, what dinner and a movie with Professor Brian Cox might feel like. The final act compounds the issue, descending into a morass of tesseracts, five-dimensional space and gravitational telephony. It's a dizzying leap from the grounded to the brain- bending that will baffle as many viewers as it inspires. Inception posed questions without clear answers. Interstellar provides all the answers — you just might not understand the question. This is Nolan at his highest-functioning but also his least accessible; a film that eschews conflict for exploration, action for meditation and reflection. This isn't the outer to Inception's inner space (his dreams-within-dreams are airy popcorn-fodder by comparison), but it does wear its smarts just as proudly. Yet for the first time, here Nolan opens his heart as well as his mind. Never a comfortably emotional filmmaker, here he demonstrates a depth of feeling not present in his earlier work. Interstellar is a missive from father to child; a wish to re-instill the wonder of the heavens in a generation for whom the only space is cyber. Anchored in the bottomless depths of paternal love, it's a story about feeling as much as thinking. And if the emotional core is clumsily articulated at times, it's no less powerful for it. Brainy, barmy and beautiful to behold, this is Stephen Hawking's Star Trek: a mind-bending opera of space and time with a soul wrapped up in all the science.
I was moved by Interstellar, and there are stretches where it is as good and as pure as anything Nolan's made. You can feel just how important all of it is to him in every frame of the thing. I don't love all of the film's dramatic choices, though.
In a sense, the evolved humans act only as facilitators to allow the human race to survive and, at the same time, evolve to a higher level of existence. Fundamentally our understanding of human consciousness, will, and emotion is limited. Our current science describes the universe from an objective perspective, but we all experience the universe from unique, individual, subjective perspectives. Currently we don't know nearly enough to explain what gives rise to this subjectivity. Just as Interstellar deals with the limits of our understanding of black holes, wormholes, and the like, it seems to speculate on the possibility of real, "quantifiable" forces at the heart of human subjectivity. It asks the question: what if our true selves, the source of our subjective experience, exists in and affects areas outside of our current understanding of space and time? Ultimately of course the film cannot answer this question, but Cooper believes, and coincidences of plot—such as Edumund's planet being the correct spot for colonization as believed by Dr. Brand—seem to imply, that "love" may be one example of such capacities. Interstellar was displayed in a wide range of different types of theaters (i.e formats) including IMAX 70mm film, standard 70mm film, 35mm film, IMAX digital, 4K Digital, and standard digital. In addition, theaters screening Interstellar on film opened two days prior to their digital counterparts. This caused people who were not film-tech-literate to ask what the differences among the formats are and in which theater format was the "best" to see the movie. Below is a list explaining the difference between each format in layman's terms. IMAX 70mm: Going to a IMAX 70mm theatre was the optimal way to see Interstellar. The movie was shot using IMAX 70mm film cameras, which are the highest resolution cameras yet devised. As such, when shown in an 70mm IMAX theatre, the sequences shot on IMAX were shown in their highest possible quality, ten times the resolution of standard projection formats, and fill the giant IMAX screens from top to bottom (as opposed to films not shot in IMAX which have black bars on the top and bottom of the screen). Interstellar opened two days early in IMAX 70mm in approximately 50 theaters across the United States Standard 70mm film: A standard 70mm film theater offers an image with three times the resolution of standard projection formats. Though a 70mm theater is wide, it is not as high as a IMAX screen, and, as such, scenes of the film shot using IMAX cameras have been cropped at the top and bottom to fill the wide screen. Interstellar opened two days early in standard 70mm in approximately ten theaters across the United States. IMAX Digital: IMAX digital has a picture quality that is higher than a standard theater, but lower than IMAX or 70mm. While most IMAX digital screens (those in cineplexes) are not anywhere near as large as a true 70mm IMAX screen, they are larger than a conventional theater. Therefore, when presented on digital IMAX, the sequences shot on IMAX cameras will fill the digital IMAX screens from top to bottom. However, this is not as high as a 70mm IMAX theater (an aspect ratio of up to 1.9:1. as opposed to 1.44:1). Some original (purpose-built) IMAX theaters have been converted to 4K digital projection; these combine the resolution of IMAX Digital with the aspect ratio of IMAX 70mm. 35mm Film: As 35mm is shown on standard theater screens, it is not as high as a IMAX screen. As such, the scenes of the film shot using IMAX cameras have been cropped at the top and bottom to fill the wide screen. However, many scenes of Interstellar were shot using 35mm film cameras. Seeing the film in that format will be preserving all the rich analog color and high resolution of the original 35mm photography. Interstellar will open two days early in 35mm film in approximately 189 theaters across the United States. 4K Digital: As 4K digital is shown on standard theater screens, it is not as high as a IMAX screen. As such, the scenes of the film shot using IMAX cameras have been cropped at the top and bottom to fill the wide screen. 4K digital projection produces a clear, bright, high-resolution image with absolute stability and cleanliness. Standard Digital (2k DCP): As Standard Digital is shown on a standard theater screen, it is not as high as a IMAX screen. As such, scenes of the film shot using IMAX cameras have been cropped at the top and bottom to fill the wide screen. Standard digital is a quarter of the resolution of 4K digital. Further Information here. As stated by Dr. Mann, despite their intelligence and physical capabilities, robots such as TARS and CASE do not have the ability to adapt and improvise in unexpected situations. For example, when Mann blows the airlock of the Endurance and Cooper attempts to dock, CASE warns him that it is impossible, yet Cooper manages to dock anyway. TARS likely wouldn't have attempted such a risky maneuver because he doesn't have a human's capacity for risk-taking that Cooper does. Another example is on Miller's Planet when the Ranger is hit by a wave and the engine is waterlogged. CASE simply wished to remain on the Ranger until the engines dried out on their own. However, Cooper sparked the engine with oxygen to start it quickly, which allowed them to escape. Had CASE or TARS been the one in command in both circumstances, it is likely that they would not have tried to dock on the Endurance or start the engines on Miller's planet, which would ultimately have led to the failure of the mission. An accretion disk's light is caused by friction, which in turn is caused by the spinning of the gas and dust orbiting a black hole. The faster the disk spins, the more friction, and thus more energy, is created. This energy radiates in the form of electromagnetic radiation (UV rays, X rays, etc.) and heat. The faster the black hole spins, the more is formed. According to Kip Thorne's book The Science of Interstellar due to Gargantua's massive size, the accretion disk only spins fast enough to form limited amounts of heat, and thus only produces small amounts of electromagnetic radiation (roughly on a solar level). The accretion disk does not actually "bend over" the black hole, that is simply an illusion caused by the bending of light due to Gargantua's gravity. Thus, if the Endurance remained a sufficient distance from the disk, it would be unscathed. It's never specified in the movie, but there are many hints. The father-in-law of Cooper talked about when he was a kid that new gadgets and ideas were constantly invented and Earth had six billion people. He is about 65 years old. Also, when Cooper is at the secret NASA facility, he is told in a briefing a wormhole near Saturn was discovered 48 years ago. 48 years into the future from the time this movie was released is the year 2063. So it's reasonable to assume this movie is set around the year 2065 for a nice round number. a5c7b9f00b

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