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I found both the acting and the visuals spectacular, but for a film proud of having had a scientific adviser, by the end the tired old pseudo-scientific munbo-jumbo was too much for me: the talk of gravity 'being the only thing transcending time and space' and thus useful for information time travel, of love as a distinct force of Nature in a 5D world, stuff like that.
Still, the film is to be praised for the first half-way correct portrayal of a black hole (on its edges you should see what's behind it) and at least the entrance of a wormhole (no 2D surface but a sphere that's a looking glass on the other side) on the big screen. Interstellar is a return to 2001: Space Odyssey after Star Wars-inspired portrayals of space (and there are plenty of homages to Kubrick's classic). *Lunatic*, n. One whose delusions are out of fashion.
This is the film in which Bob Hoskins (whom I only knew for his later, mostly comedic roles) shows the acting of his life as a gangster boss trying to become a legal businessman, and in which young Pierce Brosman left enough impression in a role with a single "Hi" as the only spoken word to establish his career in film, but Helen Mirren as the brain behind the brawn was just as impressive.
I read in advance that the film was prophetic in capturing the spirit of the coming Thatcher era. This included the very project Hoskins's gangster wanted to start to become a 'legal businessman': re-developing London's Docklands district (which happened in reality, on an even grander scale than imagined in the film). And here it got personal for me: as a child I visited London in 1980 (on a grand trip of Western Europe with my family) and we also took a walk across the Docklands, and I recognised where on the grand camera pan early in the film (shot just a year before we were there); now all of this is history. *Lunatic*, n. One whose delusions are out of fashion.
I read the film failed to find a distributor for one year due to the IRA angle. *Lunatic*, n. One whose delusions are out of fashion.
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