Even clever syllogisms can’t convey how lame and unoriginal ‘Interstellar’ is

Even clever syllogisms can’t convey how lame and unoriginal ‘Interstellar’ is

[Ed. – Tell us how you really feel.  Alternative view: camp classic in the making?]

Christopher Nolan’s Interstellar is just a dull, galumphing white elephant that reminds us what a trap commercial cinema has become for gullible consumers. It’s a pre-sold “Event,” the kind audiences no longer question because all media obediently participate in its promotion.

Not a visionary, Nolan plays one at the movies: He knows how to game the system. …

[The] hackneyed conceit [of Interstellar‘s plot] proves the Nolan brothers perfect drones in a wasteful industry devoted to recycling already familiar concepts — whether comic-book superheroes or space travel — that the Nolans taint with juvenile cynicism. From the all-American nickname Coop, a widower with two kids chasing military aircraft through a cornfield, to speculation about ghosts that shifts into a two-year space mission towards Saturn with a talking computer alongside, Nolan piles up clichés like no director since the now unpopular M. Night Shyamalan. (The real template for Interstellar is not 2001: A Space Odyssey but Signs.) To recycle that old rock-critic syllogism: If I don’t need Shyamalan teaching me how to enjoy Spielberg why should I let Nolan teach me how to watch Shyamalan? …

Nolan sure is a nihilist, though. His scenario, “The last people to starve will be first to suffocate,” offers typically dire teenage imagining. The closest he gets to religion is when Coop rescues a stranded astronaut (uh, oh, Matt Damon — prepare for secular point-making). Damon’s Astronaut Mann enthuses, “You have literally raised me from the dead.” Insightful Coop responds: “Lazurus.”

[Admittedly, this does sound, well, bad. – Ed.]

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