Interstellar: Trippy Science & Storytelling

Christopher Nolan makes complicated movies. Movies about space tend to be complicated. So when Christopher Nolan makes a movie about space, you get Interstellar, a trippy glimpse into the future that features some intriguing pseudoscience, a superb cast, gorgeous visuals, and laughable dialogue. It's a movie I liked, but did not love, one that has promising ideas, but falls a bit flat on execution.

Interstellar begins a few generations into the future, when the people of Earth have completely outstripped their resources through war, pollution, and greed. Matthew McConaughey plays Cooper, a widowed former NASA test pilot who was forced to become a farmer because the world needed more food instead of astronauts. He lives on a farm with his two young children and father-in-law, where apart from the fancy technology, their living conditions resemble scenes from Ken Burns' The Dust Bowl. His ten-year old daughter, Murphy (a precocious and delightful actress by the name of Mackenzie Foy), is extremely bright but keeps talking about a ghost in her room that is trying to send her messages. Disbelieving at first, Cooper eventually realizes there are in fact hidden messages contained in the poltergeisty happenings in his daughter's room. He deciphers them and stumbles upon a secret NASA program whose mission is to travel into other solar systems, by means of a mysterious wormhole that has appeared near Saturn. They are trying to find Earth-like planets that can sustain human life before the human race is driven to extinction: quite an ambitious goal. The program is headed by Cooper's former mentor,  Professor Brand (the reliable Michael Caine), and Cooper is convinced to set off into space with three other astronauts, including Brand's daughter, Amelia (Anne Hathaway). Space adventures ensue.

Interstellar is visually stunning but not revolutionary. Apart from a breathtaking sequence through the wormhole and an (apparently) scientifically accurate depiction of a spinning black hole, space looks pretty much the same as it always has in the movies. The robots depicted in the movie are wonderful, initially seeming rather unexciting and then slowly revealing just how much they are capable of. The alien planets that the astronauts land on are not exceptionally mesmerizing and look like they've just stepped into a remote corner of Iceland. The plot is really what needs to keeps the movie moving, and by and large it does. Interstellar is almost three hours long, and I was never bored. There's a lot of head-scratching discussion about relativity, which I'm sure would either delight or infuriate physicists, and much debate about gravity, quantum mechanics, and other high-level topics that I never understood in college and don't comprehend now. While that talk is dumbed down to make some semblance of sense to the audience, the more annoying aspect of the dialogue is the hazy philosophic rambling courtesy of McConaughey and Hathaway that resembles an episode of True Detective. It's unfortunate that McConaughey has become synonymous with that kind of nonsensical speechifying, and while Interstellar is not chock-full of such moments, there are enough to get a trifle wearisome.

The movie does pack some emotional punch, with a heartbreaking arc between Cooper and his children as he disappears into space and has to miss their entire childhood. There is also a fantastic cameo, which the marketing department has done a hell of job keeping secret, and which certainly piqued my interest right when my attention was flagging. There are plenty of twists, moments of exceptional courage and horrific betrayal, and most thankfully, a complete resolution. The one thing I appreciate in a Christopher Nolan film is that you do get a satisfying conclusion. There might be a sense that more is left to accomplish offscreen, but the characters have successfully followed a story arc and most loose ends have been tied up. Interstellar may have very weird and bizarre themes, but it resolves them with a neat ending that leaves you with only a few unanswered questions that you can then fiercely debate with your friends. 

Interstellar is not Nolan's best movie, but it is still a decent film. Space is always a worthy subject for film, and Nolan's deft use of imagery and sound to alternately blast your eyes and ears with novelty and then abandon you in the dark vast quiet of space is an amazing cinematic experience. The all-star cast does what it can with a serviceable story but strained dialogue, and there's much to like and dislike. For me, the things I liked outweighed the annoyances, and ultimately I enjoyed Interstellar. Depending on your cinematic tastes and scientific background, you may or may not agree.

Yes Please: Amy Poehler's Life Lessons

My brilliant friend Laura (who knows my pop culture tastes so well) bought me a copy of Amy Poehler's memoir, Yes Please. It arrived on my doorstep last week and just the fact that it opens with a picture of Poehler's Kindergarten report card was an indication that I would love this book. I quickly devoured it, savoring every story and piece of advice from this funny, feisty, and fabulous woman.

Yes Please is not a traditional memoir that starts from her birth and ends with her present. Instead, it's an eclectic hodgepodge of remembrances, essays, childhood stories, grown-up advice, silly poems, inane acrostics, and even guest essays from Amy's friends, who contributed some stories so she would have less writing to do. Poehler is very upfront of the sheer pain of writing a book - it was not a task that came easy and appears to have been executed in stolen moments of sheer exhaustion. Yet she has crafted a combination of tales that made me laugh out loud, gave me a lump in my throat, or just made me stop and think for a bit. 

Together with Tina Fey's Bossypants, and Mindy Kaling's Is Everyone Hanging Out Without Me?, Yes Please completes the trilogy of memoirs by my most-adored TV comediennes. Amy Poehler's book did make me more contemplative than the others - there are some sadder tales mixed in, as well as much more unapologetic feminist rhetoric that reminded me of Fey and Poehler's iconic Weekend Update segment about how "Bitches get stuff done." The backstage stories about Saturday Night Live and Parks and Recreation are fantastic, and her long history of improv with Second City and UCB is equally impressive. She has done some wonderful things and it's enlightening to read about the behind-the-scenes experiences that formed the woman we all watch on our screens today. 

In Yes Please, Poehler comes off as a fearless, BS-intolerant woman with a fierce work ethic and full awareness of her strengths and weaknesses. She understands how privileged she is as a blonde white lady in America, yet she still shares some universal truths about being an ambitious working woman and proffers solid advice about how to be happier with yourself and your life. So pick up a copy of her book, start flipping through the pages, and learn how to embrace the Poehler motto of, "Yes Please."

As You Wish: Behind the Scenes of The Princess Bride

The Princess Bride is an enduring classic, a movie that spans the generations and continues to entertain kids and adults of all ages today. It has been 27 years since the movie was released, but the movie's fans are still devoted to it, flocking to special screenings a la The Rocky Horror Picture Show, having Westley and Buttercup themed weddings, and endlessly quoting the movie's eminently quotable lines. Therefore, As You Wish, Cary Elwes' memoir (co-written with Joe Layden) about the filming of The Princess Bride, is a welcome addition to any fan's bookshelf.

The book takes us all the way from Elwes' initial casting to the end of filming and subsequent reception of the movie. Despite a good critical reception and ardent support from the people who managed to see it in theaters, the film only made a modest $30 million at the box office and seemed destined for obscurity. However, as VHS technology became more widespread, the movie quickly became a family favorite and a cult classic; 25 years later, the cast were assembled at Lincoln Center for a screening and Q&A to talk about the movie's enduring popularity.

The book mostly recounts Elwes' memories of the shoot and the impressive cast and crew, but it is peppered with remembrances from the other actors, director Rob Reiner, and writer William Goldman. I highly recommend that you have the movie on hand when you read this book: there are certain scenes alluded to that you will want to re-watch now that you have the behind-the-scenes scoop of what was really going on. This by no means a scandalous memoir; by all accounts, The Princess Bride was a joyful movie to make, led by a mensch of a director, featuring a tight-knit and extremely collegial cast, a hardworking, tea-break-enjoying British crew, and an anxious but brilliant screenwriter who was entrusting his most beloved script to people who wanted to do justice to his imagination. Right after I read this book, I felt compelled to read Goldman's original 1973 novel, a brilliant fairytale that set this whole juggernaut into motion.

The tone of As You Wish can get a bit saccharine at times, but ultimately, what can you expect for a movie that is so sweet and beloved as The Princess Bride? While many of the stories recounted in the book were familiar to me from the fantastic Entertainment Weekly oral history that was published a few years ago, it is still wonderful to have a compilation of these tales in one book. The dust jacket also contains a limited edition Shepard Fairey poster, so fans can adorn both their walls and their bookshelves. The Man in Black might believe that you have to get used to disappointment, but if you're a fan of the movie, this memoir is everything you could wish for. 

Chef: A Dull Dish

Chef is food porn masquerading as a movie. If you like multiple scenes of food being lovingly prepared or are very keen on learning how food trucks operate, this is the movie for you. If not, there really isn't a whole lot left for you to sink your teeth into.

Jon Favreau stars as Carl Casper, a burnt-out chef who gets fired after he engages in a Twitter war with a food critic who gave him an abysmal review. His ex-wife, Inez (Sophia Vergara), thinks he needs inspiration and urges him to try running a food truck. Carl eventually gives in and his young son, who desperately wants to spend more time with him, also gets to help out and bond with his dad. Along the way, they make a lot of sandwiches and travel to foodie capitals of America like New Orleans, Austin, and Miami. 

It's a pretty predictable tale and the ending is a particularly gift-wrapped affair, tied up with a neat bow and offering full resolution for all characters. As such it is a perfect family movie for those relatives in your life who like their films to be uncomplicated and delicious-looking. The soundtrack is full of fun evocative Latin music and jazz, and the cast is chock-full of famous faces like John Leguizamo, Scarlett Johansson, and Dustin Hoffman, just to name a few. It's like Favreau recognized the need to throw in occasional cameos to liven up the film and prevent it from turning into a two hour food and travel documentary. 

Chef is a simple film with no real ambition. It's a perfectly acceptable movie but doesn't have a lot going for it apart from several montages of food preparation and a serviceable cast that don't have much to do. It has an inane R rating for language, nothing else, so you should feel free to watch it at your next family gathering, get hungry, and then forget about it. 

Belle: Battling Law & Propriety

Belle was released in May, which is not an ideal time for a period drama that deals with the question of the slave trade in 1700s Britain. But if you missed it in theaters, it might now be worth your while to seek it out.

Belle tells the story of Dido Elizabeth Belle, a mixed-race woman who is raised by her English aunt and uncle after her mother dies in the West Indies and her father, an English Naval captain, brings her home to his relatives. Her father freely gives her his name and exhorts his relations to take care of her as they would any legitimate daughter. Dido is played wonderfully by Gugu Mbatha-Raw, who does everything she can to bring this quiet but expressive character to life. Initially, Dido seems satisfied with the the status quo, but as she grows older, the unfairness of her position in society and the differing standards in the way she and her white cousin Elizabeth (Sarah Gadon) are raised start to wear on her. Race is of course the foremost theme, but Dido also questions the limitations placed on her due to being a woman. Despite being white, her penniless cousin still suffers in her quest to find a husband who can support her, while Dido is courted by a "suitable" man who is mostly interested in the independent fortune left to her by her father. 

Things change after Dido meets John Davinier (Sam Reid), an idealistic young man who hopes to be a lawyer. He is studying under her uncle, William Murray (Tom Wilkinson), who happens to be the Lord Chief Justice of England. Murray has to deliberate on a very important ruling regarding the drowning of slaves on a slave ship, and his decision could impact the future of slavery across the British Empire. While he strives to be impartial and legal about it, Dido and John appeal to his emotions and emphasize the need to view this as a deeply moral and ethical issue. 

Belle is a beautifully made movie with a very predictable plot. It seems like a Jane Austen novel, complete with unsuitable suitors, spinster aunts, and questions of propriety. However, it is based on a true story - Dido Belle was a real woman who was raised by William Murray, and while the movie has to imagine the events of her life, it presents a very compelling tale. The power of the movie lies in the few scenes where images or actions speak louder than words: Dido beating her chest and scrubbing her skin as though she can tear the troublesome blackness off her; her fear of having a portrait painted of her and her cousin gradually explained by viewing the portraits around her that always position the black subjects in inferior positions to the white ones; her delight when she finally meets a black maid who can teach her how to comb her hair. 

Belle is an important history lesson couched in palatable Hollywood storytelling. It features a wonderful performance from Mbatha-Raw, and is a decent introduction to slavery from the British perspective, when we are far more used to hearing the American version. It serves as a stepping stone to learning more about the real-life events that inspired the abolitionist movements of the 18th and 19th centuries and offers a tantalizing look at how one woman may have altered the course of history.

The Thousand Dollar Tan Line: Veronica Mars Keeps Going

This has been a terrific year to be a Veronica Mars fan. If it wasn't enough that the cast and creator were able to give us the Veronica Mars movie after a successful Kickstarter campaign, Rob Thomas proceeded to also write a novel featuring our beloved blonde detective. I devoured my copy of The Thousand Dollar Tan Line last weekend and was thoroughly entertained.

The book picks up exactly where the movie left off, so you should watch the film before embarking on the novel if you don't want to be blindsided by any of the numerous changes in Veronica's life. It features a spring break mystery; a girl who has been partying hard in Neptune disappears and Veronica is hired to help with the case since the local Sheriff's department is proving to be massively incompetent as usual. Another girl disappears, which would be bad enough if it wasn't for the fact that Veronica is connected to her in a way that makes her investigation even more complicated. I trust that's intriguing and vague enough to pique your interest. 

The regular cast of characters are all back and reading this novel genuinely feels like you're just watching an episode of the show. Rob Thomas and co-author Jennifer Graham know these characters inside and out and you can picture them perfectly in your head as you follow their twisted exploits. The beauty of novelization is that it gives fans more access to the character's inner monologues. We always had Veronica's voiceover to give us an insight into her thought processes but now we get a richer understanding of her friends and family and just what makes them tick. It's like a brilliant piece of fan fiction, except that it's written by the guy who created these characters in the first place so it's completely credible and amazing. 

Veronica Mars was a great show, then became a great movie, and now has been turned into a great novel. The Thousand Dollar Tan Line is just the first in a series and I am fully looking forward to subsequent novels. This book is a well-written potboiler mystery that has twists and turns, cliffhangers and red herrings galore. It's not highbrow literature but it is hugely satisfying to read and fully in keeping with the Veronica Mars legacy. If fans can't see her on screen, we'll happily settle for seeing her on our bookshelves. 

How to Train Your Dragon 2: Another Animated Treat

If 22 Jump Street was a good example of how to make a self-deprecating comedy sequel, How to Train Your Dragon 2 is a great example of how to make a sequel to a hit animated franchise. Developing old characters, throwing in some very interesting new ones, playing with dramatic conflicts while tossing in jokes, and wrapping everything up neatly in 2 hours. Who could resist?

The story picks up five years after the first movie. The Viking villagers of Berk are huge fans of dragons now, using them in every aspect of their daily lives, and happily co-existing with the previously feared creatures. Our hero, Hiccup (Jay Baruchel), is flying about on his dragon, Toothless, trying to find more species of dragons and map out the unchartered territories around the village. He is also trying to tune out his father, Stoick the Vast (Gerard Butler), who is urging him to take over as the chieftain of Berk. Things seem to be grand, but of course, trouble is on the horizon.

Hiccup and his fiance Astrid (America Ferrera) run into some dragon trappers, who try to steal their dragons. When confronted, they are told about a mysterious man named Drago Bludvist, who is collecting dragons to form an army that will be able to take over Berk. Stoick the Vast is terrified of Drago and believes there is no way to reason with him. But Hiccup believes that just as he was able to tame dragons, he will be able to reason with the murderous Bludvist and reach a compromise. Against his father's wishes, he sets off on a quest that will lead him to make unexpected discoveries about his family, dragons, and himself.

As with the original film, the animators have painstakingly rendered each dragon with a set of unique characteristics that delineate their species and abilities. Each human character is also lovingly rendered and voiced by extremely capable actors (though as ever, I find it confusing that all the adults are Scottish and the kids are American). The supporting characters provide a great deal of comic relief (Kristen Wiig is particularly hilarious as the weird Ruffnut) and the movie contains as many jokes as it does moments of heartfelt family drama or pounding action. There's also a very touching romantic interlude in the middle, which takes advantage of the fine score by John Powell and will appeal to a lot of the adults. A few female characters get to play rescuers instead of rescuees, which will be welcome to any young girls watching the movie, and overall, care has been taken to make a creative movie that still caters to a wide audience.

How to Train Your Dragon 2 is a fun film, guaranteed to please fans of the original and any people who would just like to hear Gerald Butler and Craig Ferguson sing a delightful Scottish ballad. The animators have constructed a beautiful and imaginative world, and they continue to add new characters and twists to keep it engaging.