This is probably one of a handful times Russovoir is going to come forward from the line and admits he felt Interstellar was like a comet. We are told it could make wishes come true, and never did.
Russovoir is not pretentious. He's not going to like something because the world likes it. Conversely, he's not going to dislike something because the world does. Especially movies. His mind works on its own in that department (The Twilight Saga is a trailblazer, for example).
Memento (2000). The Prestige (2006). Inception (2010). Russovoir calls it the Nolan's Touch. Anything he puts his mind into, it turns gold. Russovoir respects - no, bows down - to his dedication, inclination, and creations. He is a star among many stars in the sky that people look up to; if he were a constellation, Russovoir thought of a perfect pattern unmistakably ascribed (below):
Set of stars to connect, Russovoir will leave that to NASA. It's easy.
You see, Christopher Nolan means the world. The world Russovoir has made for himself and the world Nolan has shown to the world for our entertainment is coexisting in harmony. Seeing this rather unfortunate unrequited relationship we have, this is then actually unsettling to raise an eyebrow for Interstellar. This is not an exegesis even. With which lack of such is because the film prevented it. Now, Russovoir isn't exactly the sharpest tool in the shed, or shall we say, the brightest star in the evening sky, but he prides himself to work with a film all the time. Humility aside, there isn't one film he didn't immediately understand. And other times, without pretense nor self-pity, the film in question will play over and over in his head, and long after the credits, long after the hike on Magnificent Mile home, before changing to his jammies, he has already understood the majority of it. Majority instead of the entirety for Russovoir reserves the right to make mistakes; after all, a film is open to several interpretations. Interstellar stole this from us.
Selfish. Lazy, and information overload, Nolan had an objective and that is to be self-righteous. Aspiring director Tyler Gotham, a good friend of Russovoir once said, "People think if they don't understand something, it's art." He was at that time referring to Wes Anderson's The Grand Budapest Hotel (2014). Strangely, this young man took the very words Russovoir has been swallowing for fear of being a snob or too critical (although, in his defense and for what its worth, the film has theatrical allure. Russovoir won't be caught dead watching yet another Anderson film in hopefully near future).
Theatrical allure. Visual orgasm. Stunning. Amazing. Visual effects tend to detour us from the heart of cinema. James Cameron's Avatar (2009), it was not only an ultimate display of the patient 10-year long hold off for computer graphic image (CGI) suitability, it also has a concrete, audience-friendly storyline. If your basis of a great film lies solely in visual effects, take your opinion up Uranus.
Nolan is a very smart man. Russovoir wouldn't want him to be anyone else but himself. There is just an element of his recent film that's just too much of himself. First, let's entertain the suspicion that Interstellar is on the same orbit as Alfonso Cuaron's Academy award-winning Gravity (2013). And if he's like any other auteur, Nolan may be on the same orbit but, he's on a different axis. Second, during which the axis has clearly established itself as a novelty, the audience has been exhausted of information. Three long hours of information with which we, or not to sound accusatory, personally Russovoir couldn't work with (nor around). And had there been information still processing - Russovoir refused to give up on its storyline - new information, obscure information comes up, as though we're astronomers, quantum physicists, space theorists, or even Sheldon Cooper apprentices, who could naturally work one's way through. The film failed to capture the audience. Audience comprising of men and women of 9-to-5 working day. If Nolan's initial goal is to a different audience than mentioned, well, Russovoir would be more than happy to be corrected. Though so much marketing has been done, and what distinguishes a dress is the designer, the venerated director preceding the film, Interstellar has had, and has been having, attention like sightings of a UFO, always curious, and yet overhyped.
There is, of course, sensibility felt for the single father (Matthew McConaughey) to his children, husband to a cancer-ridden wife. But imagine this. The exchange of communication between ground control (film) to a group of astronauts (audience) is doing fine (2/3 of the narrative), until an interference. We're simply picking up unfamiliar reception, unfamiliar information arduously (still) processing in our overwrought minds. The irony of it is that what seemed to be information overload is information withheld. Russovoir took the fair chance to ask his friends whose Facebook posts implied they understood the film. While they speak enthusiastically of it, it is of Russovoir's inherent propensity to not buy it. There seems to be a kind of enigmatic credulity in science fiction films recently; we thought Johnny Depp's Transcendence (2014) was the last of them.
This is a long review, a passionate review if he can say so himself. Both polemic and panegyric. The former at its mildest because Russovoir will have to turn gold for Nolan's next touch. Nolandary.
Memento (2000). The Prestige (2006). Inception (2010). Russovoir calls it the Nolan's Touch. Anything he puts his mind into, it turns gold. Russovoir respects - no, bows down - to his dedication, inclination, and creations. He is a star among many stars in the sky that people look up to; if he were a constellation, Russovoir thought of a perfect pattern unmistakably ascribed (below):
Set of stars to connect, Russovoir will leave that to NASA. It's easy.
You see, Christopher Nolan means the world. The world Russovoir has made for himself and the world Nolan has shown to the world for our entertainment is coexisting in harmony. Seeing this rather unfortunate unrequited relationship we have, this is then actually unsettling to raise an eyebrow for Interstellar. This is not an exegesis even. With which lack of such is because the film prevented it. Now, Russovoir isn't exactly the sharpest tool in the shed, or shall we say, the brightest star in the evening sky, but he prides himself to work with a film all the time. Humility aside, there isn't one film he didn't immediately understand. And other times, without pretense nor self-pity, the film in question will play over and over in his head, and long after the credits, long after the hike on Magnificent Mile home, before changing to his jammies, he has already understood the majority of it. Majority instead of the entirety for Russovoir reserves the right to make mistakes; after all, a film is open to several interpretations. Interstellar stole this from us.
Selfish. Lazy, and information overload, Nolan had an objective and that is to be self-righteous. Aspiring director Tyler Gotham, a good friend of Russovoir once said, "People think if they don't understand something, it's art." He was at that time referring to Wes Anderson's The Grand Budapest Hotel (2014). Strangely, this young man took the very words Russovoir has been swallowing for fear of being a snob or too critical (although, in his defense and for what its worth, the film has theatrical allure. Russovoir won't be caught dead watching yet another Anderson film in hopefully near future).
Theatrical allure. Visual orgasm. Stunning. Amazing. Visual effects tend to detour us from the heart of cinema. James Cameron's Avatar (2009), it was not only an ultimate display of the patient 10-year long hold off for computer graphic image (CGI) suitability, it also has a concrete, audience-friendly storyline. If your basis of a great film lies solely in visual effects, take your opinion up Uranus.
Nolan is a very smart man. Russovoir wouldn't want him to be anyone else but himself. There is just an element of his recent film that's just too much of himself. First, let's entertain the suspicion that Interstellar is on the same orbit as Alfonso Cuaron's Academy award-winning Gravity (2013). And if he's like any other auteur, Nolan may be on the same orbit but, he's on a different axis. Second, during which the axis has clearly established itself as a novelty, the audience has been exhausted of information. Three long hours of information with which we, or not to sound accusatory, personally Russovoir couldn't work with (nor around). And had there been information still processing - Russovoir refused to give up on its storyline - new information, obscure information comes up, as though we're astronomers, quantum physicists, space theorists, or even Sheldon Cooper apprentices, who could naturally work one's way through. The film failed to capture the audience. Audience comprising of men and women of 9-to-5 working day. If Nolan's initial goal is to a different audience than mentioned, well, Russovoir would be more than happy to be corrected. Though so much marketing has been done, and what distinguishes a dress is the designer, the venerated director preceding the film, Interstellar has had, and has been having, attention like sightings of a UFO, always curious, and yet overhyped.
There is, of course, sensibility felt for the single father (Matthew McConaughey) to his children, husband to a cancer-ridden wife. But imagine this. The exchange of communication between ground control (film) to a group of astronauts (audience) is doing fine (2/3 of the narrative), until an interference. We're simply picking up unfamiliar reception, unfamiliar information arduously (still) processing in our overwrought minds. The irony of it is that what seemed to be information overload is information withheld. Russovoir took the fair chance to ask his friends whose Facebook posts implied they understood the film. While they speak enthusiastically of it, it is of Russovoir's inherent propensity to not buy it. There seems to be a kind of enigmatic credulity in science fiction films recently; we thought Johnny Depp's Transcendence (2014) was the last of them.
This is a long review, a passionate review if he can say so himself. Both polemic and panegyric. The former at its mildest because Russovoir will have to turn gold for Nolan's next touch. Nolandary.
