Proof that Nolan is detached from his characters.

Rating: 2/10 (7 November 2014)

Interstellar, while visually stunning, is one of the most flawed films in recent memory. Flawed, because more time was spent rendering out the special effects than developing a screenplay worthy of the cast and budget. When you're a filmmaker who can make anything you want - on film - there is no excuse for your films to at-least bring something new to the table and work at a basic screenplay level.
Interstellar does not ask new questions and with a script that literally feels like a first draft --I'm just shocked that Nolan didn't develop this more. The entire core of this film is the relationship between our lead Cooper and his daughter - but this is so rushed and honestly, extremely cheesy, that we don't care what happens. They spend far too much in time in space - with a ridiculous plot involving Matt Damon - and cut back to Earth is sporadic cuts that pull us into so many directions.
This film proves that the Nolan brothers can not handle a couple of things: writing females and writing emotional characters that we're attached to. The dialogue was laughable - over the top in many places - and basically just a ton of one-liners. We cut from Cooper learning he has to go to space - says goodbye - boom on the rocket - NO ATTACHMENT. There is zero development here - just get him to space, which fails to tell the core story well - which bites this movie in its ass in the third act.
Forced. Rushed. However you want to put it - I'm sorry folks - it's not a great movie - not even a good one. Everything is spoon fed to the audience - no, not just the science - the twists - I didn't know on the nose screen writing was so acceptable in Hollywood - guess it is. They talk about ghosts so many times within the first act that anyone with half a brain KNEW there was something there - and if you know anything about space travel, black holes - or any of the stuff that is talked about in the trailers - can put two and two together and call the major twist in the FIRST ACT.
Come on Nolan, you can do better.