Nolan's best film by a long shot

Rating: 9/10 (14 November 2014)

I have to preface this in saying I went into this film expecting a lot of exactly what I got, but it was what I didn't expect that really got me excited.
The film succeeds absolutely with its brilliant visual effects, which in addition to being intense, dynamic and dazzling, focuses on the level of scientific realism agreed upon between director and theoretical physicist executive producer Kip Thorne. Although the visuals could drive the film without relying on quick cuts but beautiful vistas, stocked with bleak representation of Dust Bowl imagery, they are not even half of what had me enamored with the film.
Fully expecting what I saw, I was thrilled with what I saw of the cinematography, but the humanity that I also saw had me wondering who's film i was in. Interstellar incorporates all of the cerebral, mind-bending inner workings of Inception, but without the odd aura of disaffectedness surrounding every character and plot event. In essence, Interstellar is all of the epic sound-scape and ever-compounding plot structure that Inception tries to be, yet with characters, or at least situations, that actually stand to move the audience.
Time is a big theme in the film, so much so, and in such a similar fashion as Inception, that Interstellar almost seems to be Nolan's attempt to right the wrongs of Inception's faulty promises, and what we get is a complex story that we not only are able to understand, but are implored to listen to.
Matthew McConaughy is pretty good, and the rest of the ensemble is passable enough. The slew of references toward Star Wars, 2001: A Space Odyssey and others are consistent and entertaining enough to keep film buffs intrigued, and for once, I felt anything but cheated coming out of this film, a perfect balancing show of personal and societal concerns in a Hollywood film, a test of only their greatest screenwriters for the contemporary blockbuster film.