The 6th dimensional blight

Rating: Null/10 (10 November 2014)

This, is not just another sci-fi movie on release out there, it's an experience, best felt+experienced+enjoyed on the largest screen possible, and from the best seat in the house.
As everyone (not just us so-called nerds) knows by now, this is neither a sequel, nor a prequel, nor a remake, or a book adaptation. It is something completely original, that Nolan and his brother have crafted, a la 'Inception' and others of its ilk. It has its sources of inspiration, sure - what original work doesn't? Reason enough to be in its corner, and cheer for it surely? For me, sure, everything works that way, but one ticket never makes the difference.
And no matter what you finally feel about the flick, there will be no denying that this glorious spectacle is one of those small coming-of-age (albeit in an accelerated fashion for some - heh heh) dramas, with sci-fi as the backdrop in a scarily plausible dystopian future.
Nolan movies are best served without knowing much going in the first time, followed by trying to dissect what you learnt earlier when you watch the same flick a 2nd, a 3rd and a 4th time (that's how many viewings it took me to enjoy 'Inception', and I intend to do the same with this one, in spite of.....).
However, since I already have the information on that you need to read this at your own risk, I will say this much, and it might qualify as a bona-fide spoiler for this - until the final 20 minutes or so, I thought this one was one of the best examples of an original masterpiece I'd ever had the pleasure of viewing. Something happens at the 2 hr. 25 minute (or so) mark that was such a huge WTF moment for me (clue: Inception 'Ghost'ing), and took me completely out of the movie, Kip Thorne (did he really buy into that?????) or not. I did get back and remained engaged through the rest of the tale, but the damage (yes, damage) was done. I really do not know why the makers decided this kind of a pre-denouement, but it surely is their right to decide where it goes, and take a few artistic liberties, without having to explain themselves to every second- guessing fan out there, and yours truly belongs only to that tribe for now, and doesn't need more pandering. Fo sho, that segment will divide audiences, and perhaps influence its box-office take as well.
Still, it has to be appreciated that Nolan boldly went where only a few have gone before (in making mind-over-matter kinda cinematic experiences), and got a huge studio to fund this (to be fair, the movie was gonna be made, albeit with a different helmer - Steven Spielberg, that Jonathan Nolan was working with, alongside Kip Thorne).
There are quite a few (let's call them) geniuses who (almost always) complain about the toggling aspect ratio due to the IMAX sequences. I used to feel sorry about what they were missing (IMAX cameras used for filming those sequences), but feel now that they do not deserve any more than what they get to watch - on a non-IMAX screen, or worse, at home on TV. They surely are welcome to wallow in their (collective?) ignorance, and I won't waste more time trying to extol the (not- Lie)IMAX experience.
There are a few others, in a similar vein, who were un(der)appreciative of Hans Zimmer's score. It's brilliant. It's epic/sweeping/resplendent. It does evoke memories of scores in movies like 'Inception', but only in a favorable manner. Few people have even complained about missing dialogs in certain sequences due to a combination of score and sound-design. I did not have the same experience, and understood every word being spoken, and English is not even my native tongue. I want a copy of the theme already, the same way I went and bought my CD of the 'Inception' score when that one was on release.
Big screen only. 70mm IMAX only. More than once. Even if you hate where the film-makers go towards the end.