Review: Gravity (2013) — Bringing Art Back to the Multiplex; an Out-of-This-World Big-Screen Experience


From Oscar-nominated Alfonso Cuarón, Gravity is the long-awaited directorial follow-up to the filmmaker’s acclaimed and ground-breaking dystopian science-fiction film Children of Men, released all the way back in 2006. Seven years is a long time between films — especially with the buzz that Children of Men generated with audiences — but thankfully Gravity is every bit the worthy continuation in Cuarón’s stellar filmography (which also includes the best Harry Potter: The Prisoner of Azkaban.

Gravity is minimalist sci-fi at its best: veteran astronaut Kowalski (George Clooney) leads his final space expedition and finds himself guiding rookie engineer Dr. Stone (Sandra Bullock) on her first. When debris irreparably damages their shuttle during a space-walk, the duo find themselves at the mercy of the vast isolation of space with time, and oxygen, running out and obstacles mounting.

No kidding, the WHOLE MOVIE looks like this!

No kidding, the WHOLE MOVIE looks like this!

Gravity is a visually transcendent film: amongst the best looking films in the past ten years, potentially amongst the best of all time. Cuarón made a name for himself with Children of Men with his complex visual compositions and unusually long shot takes. Gravity steps this up to another level; the opening shot of the film is a staggering 13 minutes without cuts! Considering the number of camera movements in that single shot — which starts out serenely and winds up in total chaos — along with the awe-inspiring photography (courtesy of Emmanuel Lubezki, The Tree of Life), it’s no wonder that Gravity has esteemed visual film-makers such as James Cameron and Rian Johnson gushing its praises.


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