Director: Christopher Nolan (2014)
This plodding, muddled and bombastic sci-fi flick doesn’t fly – despite having talented Matthew McConaughey at the controls.
Even the star’s rocket-fuelled charisma can’t stop the space-travel, dimension-hopping, time-twisting tale from drifting aimlessly.
Cooper is working as a farmer, the sort who is cheerily content to cruise a truck through his own crops.
His daughter Murph (Mackenzie Foy) is left coded messages by a ghost.
Solving this riddle leads them to a super secret Nasa base run by Professor Brand (Michael Caine).
He’s fond of quoting Dylan Thomas while scribbling equations on a blackboard in a sciency manner. Normally in Nolan films it’s Morgan Freeman‘s job to do that.
Despite having hugely limited resources – what with the break down of civilisation due to the crops not growing – Brand decides Cooper is the man they’ve been waiting for to pilot a spacecraft into a plothole, sorry, wormhole, near Saturn.
It’s tunnel to another galaxy where three astronauts are lost. Cooper is to rescue them if possible while scouting for worlds that could support human life.
He returns home to say a guilt-ridden goodbye to Murph but she’s not best pleased.
In Cooper’s crew are Brand’s scientist daughter Amelia (Anne Hathaway) and a robot called TARS; a cross between a giant iPod and a Swiss army knife.
It’s unusual and impractical design seems only for the purpose of demonstrating director Nolan is familiar with the work of Stanley Kubrick. TARS jokes are misplaced among the grim solemnity.
Hibernating en route they awake to hear a signal from one of the lost men and investigating they encounter the effect gravity has on time.
There is courage, sacrifice and stupidity. When the crew land on a watery world they are surprised by an enormous laws of physics-defying wave. Twice.
A betrayal results in a shortage of fuel means Cooper has to choose between returning home to his daughter or saving the world.
In space no-one can hear you scream because of the ear-piercing soundtrack. Cinematographer Hoyte van Hoytema conjures up spectacular images but Nolan offers but no depth or mystery to accompany them.
While the dialogue is functional at best and occasionally laughable in it’s portentousness, the weak script signposts the twist which is possible to see from light-years away.
Later the galaxy’s most intelligent man repeatedly yells “override” to a password-protected computer. Which is showy but not very clever – like this film.