Right.... so you initially said it lacks imagination yet in the next breath you're saying it delves into concepts beyond any existing theory. That's pretty much showing imagination, albeit in a faux-Spielberg type of way.
I can't really disagree with you there, however that's only the first act - which is only 45 minutes. When we hear '4,3,2,1' that's when all these relationships that the film planted go out the window. I feel as though, the acting carried the interactions throughout the first act, not the dialogue and script. The time that he tells Murph he's leaving and when he leaves, feels like its paced too fast. You don't manage to get a bearing of where both of them sit and he's gone.... which is mostly down to the film's time constraints, but the relationships never feel full and realized. And by the time we get into the second act, the interactions are so baseless they verge on being comedic. Then that Thomas' villanelle uttered over and over doesn't work, the humor doesn't work (oddly enough only the moments with TARS do), really the only dialogue that works, is the commentary of theory, which I think was great and not too 'let's see how far I can go over your head'. That spiel about the transcendence of love was beyond drop-my-head-and-shake-profusely status... Nolan couldn't make the females any more emotion-over-logic driven if he tried..... like why the fukk did he carry that daddy issues symptom throughout the entire second act, it ruined a natural growth of their father/daughter bond..... Murph had what two-three decades of practicing astrophysics and half-knowing why her pops had to leave..... yet this bytch took like 20 years to make her first video (probably because they didn't wanna add a teenage lookalike or make Chastain look young enough), and was still holding that shyt against Cooper... I can understand some bitterness towards him, but her anger and childish antics were just as strong as they were when she was an adolescent. Then the film's build alluded to her brother as if he was some psychopathic murderer-type dude.... that whole scene prior to her encounter with her pops while he was in the fifth dimension, and the tension that Nolan built, while she was trying to find an answer in her room and Getty waiting outside trying to tell her to hurry up because her brother was about to come back..... was beyond pointless. All the women were weak as fukk in the film. Murph, Brand, Cooper's daughter-in-law, even those extras around town looked mad vulnerable and had turtle-in-its-shell gait. Do Cooper and Brand ever build enough rapport or realistic friction that highlights the scale and despair of the situation.... i mean that relationship was pretty thin.
That whole scene where Mann's character does a 180 +his fight with Cooper was
That whole scene where Mann's character does a 180 +his fight with Cooper was
Wait, what..... so at the top you he goes into concepts beyond any existing theory (going into fantasy) and now you're saying that he doesn't extend beyond theory to the point where he goes into fantasy?
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