Interstellar

Hans Zimmer pairs Nolan’s mighty shots with even mightier music, a soul-stirring score that is rightfully well-renowned. I believe that Interstellar’s success is traceable to its diverse appeal. Where your typical sci-fi movie thrills with scenes of fast-paced action, this movie captures the mundane experience of love and its transcendence through space, time, and even dimensions. The concept of this story is not so unfamiliar either, whilst set in a dystopian world, could this be a not-so-distant reality for us? Yes, this movie has its claims to the film-bro hall-of-fame, but not for no good reason. Interstellar follows an ex-NASA pilot in his self-less attempt to secure a future for humankind amidst a dying planet Earth. Centre to this story, though, is a tender father-daughter relationship, creating two recognisable and connected protagonists. Whether you’re a fan of beautiful scores (shout-out Ollie), poetic messages (shout-out Mackenzie), or the brilliant Matthew McConaughey (shout-out Victoria), there’s something in this movie for everybody. To further sweeten the deal, this 70mm film print has been specially selected by us, for you, to create a unique and remarkable experience. Interstellar is one of the greats that we show every year at WSC, but this year around it's extra special because this is the first time we’re seeing this print since 2017 — so you’ll kick yourself if you miss it.

Holly Beaumont [2025]

You all know the scene. Matthew McConaughey in a truck. Driving through a cornfield. Chasing a drone. But, wait. Hang on. There’s something else. A note. Two. Three. And soon, a melody. But it’s more than that. From the moment Hans Zimmer’s score drifts into the ears of its audience and thus sears itself into their souls, every man, woman, and child watching Interstellar knows that they’re witnessing something truly spectacular. No matter how many times one rewatches Interstellar, the journey with Coop and Murph to rescue Earth’s population from climate disaster is nothing short of extraordinary. If Memento got people noticing and The Dark Knight got people watching, Interstellaris director Christopher Nolan’s victory lap; he’s clearly not just a one-hit wonder with a couple of surprisingly good comic book movies, but one of the defining filmmakers of the twenty-first century. Nolan’s scope and visual effects are phenomenal, yes, but what sets Interstellarapart is its heart; Nolan’s emotional sterility is a common punching bag for critics, but the relationship between Coop and Murph is one of Nolan’s finest storytelling achievements. Aided by Warwick Student Cinema’s thunderous sound system and 70mm projection equipment, Interstellarwill never have sounded or looked as good as this - this is never a film to miss on the big screen.

Sam Ripley

Christopher Nolan has multiple long-length box office hits, but none of them have hit me quite as hard as Interstellar. This movie has many commendable attributes: breathtaking cinematography, a stunning cast, incredible pacing, and yet still builds on this with an inspiring storyline.

Set in a future on Earth where food and other resources are running out, Cooper (an ex-engineer and NASA pilot turned farmer) leaves his family to venture through a mysterious wormhole with fellow astronauts in hopes to find a new habitable planet and save the future of mankind. What I find with a lot of sci-fi movies is that they lack depth and emotion, with a more action-packed focus, however this movie captures that uncertainty and high-stakes atmosphere, translating that emotion to the audience exceptionally well. The dystopian world portrayed is well humanised, with the typical thought of a (debatably not so) far future provokes thought of over populous cities ridden with technology, robots, and AI (at least for me), but this movie breaks that expectation and delivers an unfamiliar and realistic story. Amidst all of this, my favourite aspect of this film is the relationship that Cooper (Mathew McConaughey) has with his daughter, Murphy. Their deep connection provides Coop with the motivation to complete this mission and avoid Murph’s generation being the last to survive on Earth, and in the end, it’s this raw human love that we see is yet another force bound by nothing. The idea of extraterrestrial life is also touched upon by Nolan, but again defying that sci-fi expectation of a gruesome creature invading our planet, and rather an incomprehensible ‘they’ with a will to help human life survive. Christopher Nolan has a reputation for directing hard-to-follow films, like Tenet or Inception, but demanding your full attention, Interstellar is a rewarding watch with a well-thought-out plot. Be sure to bring a tissue or two as this film is a real tearjerker that will leave you revisiting the thought of it for days.

Holly Beaumont [2024]

The first third of the film is spent on Earth, establishing the desperation of humankind as the last remnants of our species cling onto the traditions and habits of normal life after a blight wiped out most of Earth’s crops. Cooper (Matthew McConaughey), once a NASA pilot who now farms corn, is devoted to his children, especially his intelligent but stubborn daughter Murph (Mackenzie Foy/Jessica Chastain). When he is given the opportunity by Dr. Brand (Michael Cane) to return to the job he loved and travel to three other planets in the hope of finding a new home for mankind Cooper must leave his family behind, to the devastation of Murph.

Christopher Nolan brilliantly deploys cinema’s ability to cut backwards and forwards in time to create a poignant, emotional and powerful narrative about paternal and filial love, whilst also delivering some spectacular science-fiction. The thrilling exploration of glorious icy alien landscapes accompanied by Hans Zimmer’s portentous and eerie soundtrack give weight to the beautiful moments of silence as we are confronted with the lonely reality of outer space.

As we see Cooper’s intense remorse at abandoning his family Interstellar develops as a plea for forgiveness for mankind’s follies. In parallel to this, humanity’s ambition and our bitter resistance to our own extinction is explored as the possibility of a benevolent alien race sending encrypted advice across the universe plants a seed of hope. However, despite our lust for adventure and exploration we are reminded that it is the human desire for comfort and home, the purpose of the whole venture, that we need and value most.

Alice Saunders

The title of Christopher Nolan’s latest cinematic endeavour says it all; Interstellar is an immersive and time-bending space epic that redefines the age-old traditions of science fiction. Whether you are a die hard ‘Nolanoid’ or a regular film lover, this awe-inspiring picture doesn't implode under the weight of expectation. Instead you will find a bold, beautiful cosmic adventure that has a touch of the surreal and the dreamlike, yet always feels grounded in its own deadly serious reality.

In the near future, mankind is on its last legs with the Earth slowly succumbing to famine and ruin. Facing extinction, the remnants of NASA, commanded by Dr Brand (Michael Caine), sends their best pilot, Cooper (Matthew McConaughey) and his crew, including Brand’s daughter, Amelia (Anne Hathaway) through a wormhole and into the furthest corner of the cosmos, in search of a new home. Cooper and the crew of the Endurance must go further than any human in history and overcome time itself to save the loved ones left behind.

The true strength of Interstellar is its blend of the hard-hitting impact of realistic science with the humanistic themes of family and isolation. Matthew McConaughey is outstanding as Cooper, bringing a well-placed sense of earthy grit and family-man vulnerability to the role. Tying the film together is an array of outstanding practical visual effects and tremendous action set pieces, all accompanied by a richly imagined operatic score by Hans Zimmer. Nolan has truly reached for the stars in spectacular fashion with Interstellar; a grand yet mesmerising sci-fi epic with a real human touch.

Liam Johnston