Gravity Review
Posted by Stephen Lambrechts - 4/10/2013
Seven years is a long time to wait for a new Alfonso Cuarón film. His last directorial effort, Children of Men, is a bona fide masterpiece, so following it up must've been a daunting task to say the least. Thankfully, the gifted director has spent that time honing his craft, discovering the current technical limitations of filmmaking and waiting for them to catch up to his vision, producing a film the likes of which we've never seen before. Gravity is Cuarón operating on a Fincher, Cameron or Kubrick-like level of technical directorial control, developing new technology to deliver a film that wouldn't have been possible without the expert marrying of cutting-edge special effects work and traditional filmmaking techniques. Hell, even those guys would be gobsmacked.
Thankfully, it's not all for the sake of spectacle. Every single element of this technical accomplishment is in complete service to the story, and not the other way around. Ryan (Sandra Bullock), a medical engineer, and Matt (George Clooney), an astronaut, are operating in microgravity on a routine satellite repair mission above the Earth's atmosphere when some orbiting debris from a wreckage shows up to seriously mess up their day. The debris destroys their shuttle and sends Ryan spinning off away from Earth into the blackness of Space; an absolutely terrifying scenario. Can Matt reach Ryan before she's gone for good? Will they ever be able to make it home?
There are a couple of reasons why Gravity works as well as it does; one is due to the incredible respect paid to portraying the science of Space accurately. The tension comes from the film's ability to give the audience a basic understanding of microgravity, the Earth's orbit and the velocity and trajectory of objects moving with zero resistance, without any obvious expository dialogue. Knowing that Ryan will just keep on tumbling away without any change in direction or speed, and seeing her desperately trying to grasp anything at all is a heart-stopping experience, especially because we know that the filmmakers are not cheating us in any way. We also know that there’s no sound in Space, so all of the film’s spectacular destruction is shown without sound effects. The audience only hears what the astronauts would hear from inside their suits, like their own panicked voices, or the voices of their crew members and mission control team back on Earth. That and Steven Price’s haunting, but not overpowering score.
The other reason, is the characters and the actors that portray them. This is a film about overcoming adversity in the most dire of situations. About finding the willpower and courage to not give up and die. Sandra Bullock is a revelation in the film. This is a performance unlike any she has given before. Her character is working above the atmosphere for the first time, and was already nervous from the get go, so when things really go wrong, we feel her absolute terror tenfold. George Clooney is at his most huggable in this film; a completely charming and sympathetic turn that proves to be the heart of the film, even though he is absent from it for large chunks of time. Honestly, between this and Solaris, Clooney was born to play astronauts.
The film has a few other speaking parts, but the cast really does just come down to these two. Not much time is spent on set-up or backstory; Cuarón and his cast have to immediately invest us in these characters’ lives, so it is perhaps just another element of Cuarón’s genius in casting two megastars that the audience will empathise with right off the bat. The script, by Alfonso Cuarón and his son, Jonás, is not what you’d call an all-time great, or even particularly special, but it's an economic one that gives us what we need, when we need it. We don’t know these characters at all when the film starts, and are given only moments before the accident occurs to get a feel for them, so as the film drip feeds us some elements of Ryan’s story back on Earth, we come to understand what makes her feel like giving up, but also what will drive her not to.
Fans of Cuarón’s long, intricate camera takes, used to great effect in Children of Men, will be over the moon (hehe) with one from Gravity’s opening. A 17-minute long bravura piece of filmmaking that starts far away, getting closer and closer, eventually floating around the astronauts while they work, and continuing on through the pivotal disaster, following Ryan’s character as she drifts away. The shot even moves seamlessly into the inside of her helmet, showing us a first person perspective of what is happening.
Gravity is a film that demands to be seen in 3D on the biggest screen possible. The film’s IMAX presentation is highly recommended, not just because of the size of the screen, but because IMAX is unlikely to botch a 3D presentation with focus problems or dim-lighting. As Gravity is almost entirely composed of photo-realistic CGI with actors seamlessly superimposed into the shots, the 3D works marvelously, particularly with its indoor space station sequences. We see Bullock floating through the claustrophobic tunnels of the station in microgravity, and we just completely forget that we are watching special effects and buy into it all entirely.
Gravity is a once in a generation film event -- one that demands to be seen theatrically, and one that will presumably cause many people to upgrade their home entertainment systems with its eventual home video release. Steven Spielberg and George Lucas recently predicted that in the future, the cinema going experience will become a high-end outing, akin to going to a broadway show, with really big movies that have year long runs. If any film would be perfect for that kind of treatment, it would be Gravity.