Over the years, numerous films have seen themselves re-formatted and …
Interstellar begins at an indeterminate point in Earth’s future, when blight and drought are pushing humanity to the breaking point. “This world is a treasure, but it’s been telling us to leave for a long time now,” laments engineer-turned-farmer, Cooper (Matthew McConaughey). He’s a practical man who set aside dreams of space travel in order to provide for his family, and yet his powerful intellect keeps him sneaking glances skyward. When he and his precocious daughter, Murph (Mackenzie Foy), decipher mysterious signals directing them to random GPS coordinates, Cooper is only too eager to indulge his curiosity.
I really jibe with what Interstellar is trying to accomplish. I want big budget films to aim intellectually and emotionally high. I agree with most of its messages and themes. I am the choir it is preaching to. Which makes it all the more disappointing that the movie is, in the most charitable view, only haphazardly successful. There are aspects to love about the movie — it’s the best-looking blockbuster in years, and there are some truly enrapturing moments. but that’s scattered among strings of misaimed beats across a punishing, nearly three-hour runtime.
A brief recap on the first two seasons: there exists a machine made my the government that monitors the activities of everyone in the country (and abroad) for the purpose of predicting and preventing terrorist attacks. As a byproduct, “The Machine” also tracks the more mundane activities, i.e. premeditated murders. “The Machine” gives out a person’s number who will either be murdered or will be murdering someone else. Using “The Machine” to prevent these murders, former CIA operative John Reese (Jim Caviziel) and Harold Finch (Lost’s Harold Finch), creator of “The Machine”, work to prevent these murders with the assistance of New York City Detectives Carter (Tarji P. Henson) and Fusco (Kevin Chapman).