2001 A Space Odyssey<\/em> into relief — makes his choices as witty and acerbic as his invention of Hal (the gay computer). By linking the two famous Viennese Strausses (Johann and Richard) for sequences illuminating how graceful a weightless space dealt with machinery, Kubrick\u00a0hit grace notes of humor and irony in his otherwise glassy feel for the future — and philosophy itself.<\/p>\nNolan’s more interested in closeups of machines coupling, introducing a female quantum physicist who relies on telepathy from her stranded future father, and Zimmer’s gunning for an Oscar. He’s outside the box just enough to be persuasive, but lends this film more pretension and sentimentality than necessary while echoing Mahler a shade too closely (I heard lots of the Third, Fifth, and Ninth). Definitely enough shit-kicker sanctimony from McConaughey\u00a0than necessary.<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Hanz Zimmer’s exceedingly literal and pressing soundtrack to Interstellar throws Kubrick’s borrowings for 2001 A Space Odyssey into relief — makes his choices as witty and acerbic as his invention of Hal (the gay computer). <\/p>\n","protected":false},"author":3,"featured_media":2784,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-2779","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/2779","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=2779"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/2779\/revisions"}],"predecessor-version":[{"id":2787,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/2779\/revisions\/2787"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media\/2784"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=2779"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=2779"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=2779"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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