An eloquent prediction of mankind’s dreaded exodus from Earth, “Interstellar” paradoxically balances the terrifying beauty of space with humanity’s obstinate drive for survival.

The film presents a logical problem to the audience within the first few minutes: What will happen to the human race when Earth can no longer support us?

Cooper (Matthew McConaughey), a former NASA pilot, is forced into an agricultural lifestyle as dust storms ravage the planet and rob them of their natural resources. But when Cooper discovers gravitational anomalies inside his daughter’s bedroom, he finds himself drawn back to the stars — with a plan to save the human race. Cooper and a team of pilots must brave wormholes, treachery and natural disasters of titanic strength if they are to secure the future of the human race.

As the movie began, one of the first things I recognized was the sheer number of familiar actors and actresses. McConaughey and Anne Hathaway provide exceptional acting for the lead roles of Cooper and Amelia Brand. Other actors who make appearances include Michael Caine (notable for his appearance in “The Dark Knight” trilogy as Alfred Pennyworth) and Matt Damon.

Directed by Christopher Nolan, the movie ran for nearly three hours yet still managed to maintain my interest. However, occasional scenes of drawn-out intensity left me in a confused state between uncertainty and seat-gripping excitement. The scientific concepts presented are reminiscent of Nolan’s “Inception” — intriguing in theory but difficult to grasp. “Interstellar” fell into the middle of the “plausible science fiction” spectrum, far exceeding the boring, documentary style of “Gravity” (2013), while successfully steering clear of the fanciful (though thrilling) action of “Oblivion” (2013). So far, four stars.

What rendered this movie absolutely astonishing was the soundtrack. In a word, or perhaps two: Hans Zimmer. Zimmer has worked on numerous films with Christopher Nolan including “Inception” and “The Dark Knight” trilogy, and has now returned to score “Interstellar.” Zimmer employs an actual cathedral pipe organ for the higher action segments, and then resorts to a more ambient and experimental soundtrack for the quieter moments. This greatly complemented the scenes which felt closer to a nature documentary than a sci-fi flick.

“Interstellar” was a brilliant movie, a masterpiece that shot for the moon, and, I believe, actually made it there. There was a refreshing lack of sexual content, though some brief language and perilous situations did earn it a well-deserved PG-13. Supported by a strong, recognizable cast and brilliant cinematic execution, this movie will not disappoint.