Gravity

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)

Dear film fans, those of you who missed a story and sophisticated dialogue raise your hands. No, not you Pomo, you always raise your hand. Anyone else? Anyone? Now seriously. Cuarón has created a technological marvel that will make you forget to eat overpriced popcorn and might even make you realise that our life-giving ball called Earth, floating through deadly space, is truly unique and beautiful. Only the 3D seemed unrecognizable and unnecessary, for that we have only the master of three-dimensional experiences Jim Cameron. (10/13/2013)

2001: A Space Odyssey, which this film reminded me of several times during the screening, confronted man with the great unknown. In Gravity, like in the most classic folk tales (which are usually dominated by a man, not a woman), man is confronted mainly with himself and his (limited) possibilities. This is not the only indication of the film’s classic nature. Another wager on certainty is the three-act narrative structure (three sanctuaries provided by three space stations, each of which representing a different religion) with precisely doled out story complications and exemplary use of deadlines, which contribute to the impression that the things we see are happening in real time and thus nothing is decided and certain in advance. As others have previously described in detail, Gravity is gripping not in spite of but thanks to the use of classic Hollywood narrative formulas. The intensity of the experience is aided by limiting the narrative to what Dr. Stone sees, hears, knows and experiences, as she becomes our avatar for roughly eighty minutes. Perhaps during the most intense moments, we don’t so much fear for her life, but for the perspective that we might lose if we lose her. If there is no Dr. Stone, there will be no way for us to see. What happens in the global context is irrelevant. The film does not disrupt our emotional connection to the central character by dealing with any conflicts other than her internal conflict. Bad things simply happened (her daughter’s death, the debris impact) and now it is up to her to deal with them. In any case, the powerfulness of the Rd. protagonist’s rebirth (including the foetal position and the cutting of the umbilical cord) is due not only to the highly cohesive screenplay and the detailed technical rendering, but also to Sandra Bullock’s performance. Her “howling” at the Moon will remain in my memory as one of the most moving film moments of 2013 and, also thanks to Bullock, the purgative final shot, when the ordinary definitively becomes extraordinary, was also a powerful experience for me that goes beyond film (and beyond sensory perception). In my eyes, that moment, despite its content, elevated Gravity from the level of technical wonder and unique crisis simulator (not only in space) to an encounter with something otherworldly that cannot be described with words or conveyed in images. If we leave aside the theatrical reversals, we could even call it Art. 95% (12/31/2013)

Together with Man of Steel, the most intensive movie experience of the year. Where the new Superman banged with its hectic and endless action, Gravity amazes with the visuals. But not only that, it also makes you root for the fragile protagonist in her struggle against crushing loneliness and the feeling of utter hopelessness. I was expecting a slow, philosophical and depressive movie, but Cuarón surprised me delivering a brisk sci-fi survival that’s very, very far from philosophical boredom. (10/22/2013)

A film about the importance of the metaphor of "standing on solid ground," whose 'Making of...' will be about two levels more interesting in terms of plot. Or it’s a space arcade game about jumping between stations with perfect graphics. (10/20/2013)

Gravity is simply excellent. The premise, interpretation, acting performances and shots that are sometimes literally breath-taking are simply excellent. Alfonso Cuarón proved that even now a movie can be created which is able to overcome all kinds of film boundaries. Almost the whole movie takes place in zero gravity and creates a new atmosphere, which I haven’t experienced before. I admit that this movie would be even better in IMAX. I have to admit that after a long time there is a movie where 3-D makes sense. The only issue might be with the story, but personally it did not bother me at all. I will spoil a bit now, but I have to add that the movie 127 hours also proved how a coincidence can create a perfect celebration of life. So why it couldn’t be the same here? (10/16/2013)

The saying of finding solid ground under your feet will never be the same again. A visually ingenious, revolutionary, liberating experience of overcoming loneliness and finding gravity (hope). With the exception of the deus ex machina and the overly literal emancipation scheme in the last third, this was an absolutely brilliant and captivating experience that moved me to tears in the middle part through the image of endless solitude. Bullock took my breath away. A juicy variation of brave babes in spacesuits. Clooney as a space trucker is economical and charismatic in every line of dialogue. It's not revolutionary in terms of ideas, profound and dizzyingly metaphysical, yet at the right time it got to me like nothing else could this year (and very few in recent years). A pure visual celebration of the fragility of existence. Somewhere out in space. One of the best sci-fi films of all time, which can easily withstand its admitted simplicity (who needs more metaphysical diarrhea from The Tree of Life? I don’t). A Space Odyssey for the new millennium. Goodbye... I'm drifting forever and only answering the phone when Ed Harris calls from Houston. [90%] (09/25/2013)

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 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)

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)

There are several things that bothered me, like references to a daughter, the meaning of life, the barking, but Alfonso Cuarón always messed up dramaturgically, so there's nothing to be surprised about. Technically, however, this film in a different league. In its 90 minutes, it presents incredibly captivating scenes that will make your head spin and maybe even take your breath away, because something like this is truly rare to see. There haven't been so many elements and details utilized "against the viewer" for a long time – I felt something similar, for example, in Jurassic Park (the work with reflections, sounds, shadows, etc. in the legendary scenes with raptors), and that was already some time ago. Remarkable within the adventure survival genre, although a bit flat. George Clooney is better than Sandra Bullock. (10/06/2013)

First of all, I'm glad that Sandra Bullock got a proper role again and with it the opportunity to change peoples’ opinions. Secondly, of course, it's great that she got the part in such a huge movie like Gravity. Alfonso Cuarón charms with image and sound, the script adheres to the motto “What can go wrong should go wrong", there is always something going on and yet there is room for the characters and their believable emotions. There is no need to comment on the special effects in any way, but I would highlight the ominous and magical music by (practically) newcomer Steven Price, who did a great job. Gravity lasts 90 minutes, 85 of which of which I sat with my mouth open and enjoyed everything.___P.S. A really great experience in IMAX, but that doesn't mean the 2D version I saw for the first time was any less impressive. (10/05/2013)

There’s a lot to admire in Gravity – at first glance, in particular, with regards to style – but the best thing about it is that, as a whole, none of its components stand out or cover the rest and everything is in a wonderful balance, as we are used from Hollywood top films. The length of the shots and the deep spacial staging, i.e. the two main components of the opening thirty minutes, gradually change to meet the needs of the narration, always providing full support both for the smooth development of the story built around the necessary shifts and stops in that infinitely deep space, and for the maximum involvement of the viewer, whose attention is inconspicuously led from the deliberate fascination with space (not only thanks to the camera, but also through the sincere poetic rhetoric of Clooney, who provides order and direction to otherwise disorganised movement) towards the feelings of the protagonist and the fear for her life. Those 90 minutes leave no room for stumbles and everything is perfectly connected, not to mention the flawless use of other style resources like the sound, the music and the mise-en-scène, which in Cuarón’s style is a performance on its own. I don’t see any reason why not to call an expensive studio film like this a masterpiece, which, in a perfectly deliberate and organised way, manipulates the viewer, who ends up not wanting anything else. The last ten minutes are bloody nasty. I’m really looking forward to its re-release in cinemas. 95% (10/31/2020)

If there is a reason why 3D technology was invented, it’s Gravity. I have never, and let me stress it again, never seen such an audiovisual masterpiece like Gravity. For 90 minutes, I just sat and watched the most amazing spectacle that current technology has to offer, and about three times during the movie, I caught myself staring at the screen with bated breath. With this movie, the film magician Alfonso Cuarón convinced even the most ardent opponents of 3D technology, who had considered 3D to be just a fancy gimmick for raking in more money. The long, captivating shots can’t be fully appreciated anywhere else but the movie theatre. All those pieces of satellite debris hurtling through space and scenes where a module is pulled around on parachute cords are probably the most perfectly filmed scenes ever. Camerawork, sound (!!!) everything is absolutely (un)believable. Hats off specially to Bullock for her performance and Clooney, as a seasoned space veteran. Both of them are simply brilliant. Perfection in all respects and a clear candidate for a movie of the year! (10/10/2013)