Gravity

Gravity is a gripping film in which the levels of revolutionary technological advancement, spectacular blockbuster, physically intense suspense and personal drama are in perfect balance and symbiotically form a flawless spectacle. The film is captivating in the way that it conveys the wonder and terror of space, but it also tells a purely human story of inner rebirth that takes place through facing one’s own pain and transforming agonising loss into empowering melancholic mourning. Among other things, reflecting on the film raises the question of whether it is appropriate to describe it as science fiction. It is true that, unlike works typically associated with the sci-fi genre, Gravity does not take place in the future or on other planets, nor does it contain any elements of fantasy. However, in terms of its motifs, it simply cannot be classified otherwise. It has very little in common with futuristic equivalents of fairy tales, westerns and romantic adventures like Star Wars and Star Trek, but such stories comprise only one segment of science fiction. Conversely, the latter contains works that place emphasis on relating humanity to space, which relativises traditional values and concepts of human existence. The highlighting of these motifs and the bold thematisation of the spectacular nature of space, as well as the screenwriter’s creative license in the approach to the scientific and realistic aspects, sets Gravity apart from films relating to real space travel, such as Apollo 13, where space is essentially used as a mere backdrop. In Gravity, space and the action set in it comprise a metaphor for the inner drama of the film’s protagonist, which in turn reciprocally forms the dramatic framework for the depicted spectacle. (03/30/2014)

So Murphy’s laws apply up there in the silence of space too... Straightforward or, if you like, story-less, minimalist but still grandiose. Gravity is unarguably a breathtaking technical revolution; whether the delicious games they play with the camera or the (non)presence of sound is indescribable and what Cuarón does for 3D or for working with sound is certainly innovative. But what is the good of this if the movie is no good and serves simply as a sparkling director’s showcase? That’s right, no good. But this movie is not just good, but outstanding, intense and incredibly engrossing and fully functional in terms of emotions. And this is not in spite of, but mainly to thanks to Sandra. And also thanks to Cuarón, Lubezki and Price and... And simply if you like to spoil yourself a little, then go see this (as far as possible) realistic, little-big creation at an IMAX movie theater; it’s (and you are) worth it and it gives you a good answer to the question “why when every other household owns a home theatre with the parameters of a good movie theater" bother to go see movies at a real life movie theater. It’s like standing in front of the pyramids in person compared to a photo of them in a movie; incomparable. (10/03/2013)

Alfonso Cuarón perfectly attacks the closest emotional impression, but after the first immediate danger fades, he inevitably slows down and only sporadically dramatizes. And at that moment, it struck me for the first time how perfectly constructed Gravity is as a space attraction. With the requisite plot development, excellent cast, and explosions, impacts, and accidents, and a well-deserved climax. In every escalating catastrophic moment, I felt like I was on the highest roller coaster at the point when it almost comes to a stop before plunging headfirst downward. Which is essentially somewhat simplistic, but it doesn't change the fact that the audiovisual aspect is amazing, and when Alfonso delivers one breathtaking moment after another, it is not unnecessary repetition but rather deserved boasting. Therefore, even though the survival space trip didn't completely blow me away due to its obviousness, thanks to its form and the obvious message about the power of human will, I can only wish it the best. (10/18/2013)

Gravity is not about its story, which is practically non-existent. We learn minimum information about the only two characters and we’re able to build an emotional connection to only one of them. Gravity is about conveying a feeling. It’s a space survival drama where you dodge flying debris, save oxygen and try to get hold of something. It is a distinctive and unique film in the filmmaking respect, one of a kind. But how long will it resonate within us given that it lacks a more powerful message or a more surprising ending? Thanks to Sandra Bullock, who acts as if her life depended on it, it resonates longer than it would have without her. There is no sense in seeing Gravity anywhere but on the big screen. (09/24/2013)

Oxygen level 1%. A nerve-racking space ride that redefines the boundaries of the genre. Especially with its visual style. Cuarón is a master of choreography, a whole damn lot is happening on the screen at once and, in combination with the sound (especially Price’s music), the visuals make this one of the top space adventure movies we have seen this year or maybe ever. Sandra acts well and quite comfortably carries the movie on her shoulders, but Clooney is the real charmer here. There are a few weaker moments, but for a classically structured survival thriller, this time against mother nature and the emptiness of the space. Literally breathtaking. (10/04/2013)