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Interstellar | Review

Don’t Let’s Ask For the Moon: Nolan’s Space Opera for the Ages

At last divorcing himself from the omnipotent shadows of Batman, director Christopher Nolan’s latest, Interstellar, returns to the heady, theoretical sci-fi that graced his equally ambitious 2010 title Inception, wherein Avant Garde concept courted mainstream appeal. Already the source of wildly enthusiastic praise and acclaim, with filmmakers like Quentin Tarantino announcing the film to be equal to the philosophical sci-fi of Tarkovsky and the meditative cinematic poetry of Malick, Nolan has indeed crafted an object of great beauty worthy of such egregious admiration. As far as a masterful visualization of space and an exploration of profound theory, it belongs on a shortlist of must see films which it’s comparably akin to, from Kubrick’s 2001: A Space Odyssey to Cuaron’s Gravity. But Nolan’s film falls short in other realms, namely the human component,

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