Denialism In Christopher Nolan's Interstellar

Like the great space epics of the past, Christopher Nolan’s “Interstellar” gives the viewer a taste of how the futuristic life here on Earth can challenge human existence. Interstellar" follows a team of NASA astronauts searching the stars for another planet where humans might be able to relocate, after climate change has made Earth almost uninhabitable. The Film is full of visual dazzle, thematic ambition, geek bait and corn (including the literal kind), is a sweeping, futuristic adventure driven by sorrow, dread and remorse.

Trying to jot down notes by the light of the Imax screen, where lustrous images, shot by Hoyte Hoytema flickered, I lost count of how many times the phrase “I’m sorry” was uttered — by parents to children, children to

But Christopher Nolan, even in his earlier, more modestly budgeted films, has never been content with the small scale. His imagination is large; his eye seeks out wide, sweeping vistas; and if he believes in anything, it is ambition. As it celebrates the resistance to extinction — using as comparison Dylan Thomas’s famous villanelle “Do Not Go Gentle Into That Good Night,” with its repeated invocation of “rage against the dying of the light” — “Interstellar” becomes an allegory of its own aspirations, an argument for grandeur, scale and risk, on screen and

A cynical critic might suppose that the last two hours of “Interstellar” were composed in a fit of spoiler hysteria. Nondisclosure pleas from the studio have been unusually specific. Forget about telling you what happens: I’m not even supposed to tell you who’s in the thing, aside from the people you’ve seen on magazine covers. I guess I can disclose that Cooper and Brand are accompanied by two other astronauts, played by a witty, scene-stealing David Gyasi and a deadpan Wes Bentley, and also by a wry robot who speaks in the voice of Bill