Interstellar is science fiction. It is not something of a space type of futuristic fantasy. It’s what the term “science fiction” means or represents. It represents a different time in the world where space travel is possible yet dangerous and uncertain. The Spaceships aren’t firing lasers, zipping from planet to planet only to find a whole new world.
Interstellar: Finding A New World
Main character travels across long distances and use a dangerous and unpredictable method of entering a wormhole, but not making the jump to hyperspace. In this situation it results to some effects happening with time. They call it time dilation. This comes into effect in the presence of a black hole. This type of movie is not like the Star Trek, or Star Wars, or Studio Ghibli‘s Castle in The Sky, and anyone who watches it with that type of expectations will be a bit disappointed. It’s more like Gravity in which it appreciates science rather than ignoring the rules of reality as we understand them.
The Interstellar movie is almost similar to 2001: A Space Odyssey. There’s a good reason for that. Christopher Nolan uses Stanley Kubrick’s masterpiece as a template. Hans Zimmer’s score is no less crucial to Interstellar than “Also Sprach Zarathustra” was to 2001. Yet, this is no proof made for Kubrick’s film; in fact, it goes far afield. There’s heroism, a la The Right Stuff. It’s also a warmer, more emotional experience – less stately and abstruse. In fact, found at the core of this big-budget adventure is the most relatable thing imaginable. The feelings of love and trust that bind father and daughter.