Breaking the boundaries of space, time, gravity, and your mind — all at the same time.

This film was absolutely fantastic in every way I could possibly think of. On a scientific level? I have no idea if half the stuff they talked about was accurate — and frankly, I couldn’t care less. What they did with the concepts of space, time, and gravity was nothing short of amazing.

Interstellar is probably the first film I’ve ever seen that doesn’t just mention a black hole — it shows you what happens inside one. It doesn’t leave you to imagine what could be beyond the event horizon — it literally takes you there. Christopher Nolan really said,
“Fuck it, let’s show them what may happen inside a black hole.”

And somehow… it worked.

The one thing I couldn’t fully wrap my head around was the whole “they” situation. During the final act — when the film goes completely off the rails into some fourth-dimensional fever dream — they keep talking about these beings or entities guiding everything. But who exactly are “they”? Are they some higher-dimensional beings made of pure energy? Or was it just Cooper all along, looping through time and helping himself from the future?

I genuinely don’t know. And I feel like that’s the point.

This movie will have your brain doing gymnastics from the middle all the way to the final frame — and even if you think you’re starting to get it, there’s always some little detail waiting to flip your understanding upside down.

At its core, Interstellar is about saving the world — but not in the corny, Michael Bay, “blow shit up” kind of way. The film uses the end of the world as a backdrop to explore human connection and how far we’re willing to go for the people we love.

The expedition itself always felt off — like something wasn’t being fully explained. And surprise, surprise — Professor Brand (Michael Caine) was full of shit the entire time. Honestly, I knew something shady was going on from the moment he opened his mouth. What I didn’t expect was just how deep the deception went.

Now… let’s talk about the black hole scene — the moment your brain officially decides to clock out and leave your body behind. When Cooper gets sucked into Gargantua, we’re bombarded with lights, spinning debris, and what I can only describe as some really good acid trip visuals. Then everything goes dark — and suddenly he’s trapped inside a tesseract — a three-dimensional projection of five-dimensional space, built by the mysterious “they.”

Here’s where shit gets weird.

Cooper realizes he’s the ghost that was haunting Murph’s bedroom all along — communicating through gravity across time. The whole paradox makes your brain feel like it’s eating itself. How can Cooper be sending messages to the past if he only ended up in the tesseract because of those messages in the first place?

But somehow… it makes sense.

The movie basically says,
“Don’t think about it too hard, just enjoy the ride.”

The entire time-loop paradox is one of the most confusing yet brilliant parts of the film. Cooper was always meant to go on this journey. He was always meant to send the coordinates to NASA. He was always meant to give Murph the solution through the watch. The loop was already set in stone — he just had to live through it.

On top of all that mindfuckery, you have one of the best performances of Matthew McConaughey’s career (my opinion). The scene where he’s watching decades of video messages from his kids? That shit wrecked me. And Anne Hathaway as Brand? She absolutely killed it.

Let’s not forget the MVP — TARS — the sarcastic, block-shaped robot with more personality than the crew itself.

By the end, Cooper reunites with Murph — who’s now older than him — in one of the most emotionally unsettling reunions I’ve ever seen in a movie. Then, without skipping a beat, he jumps back into space to find Brand — who’s out there trying to start a new human colony on another planet.

Even if you don’t understand half of it, you’ll still walk away feeling like you just experienced something monumental.

Just… don’t expect to fully understand what the hell just happened on the first watch.

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Do not go gentle into that good night,
Old age should burn and rage at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,

Curse, bless me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

-Dylan Thomas