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Gravity

Gravity

Gravity is a knockout.
It’s also a rare example of a mainstream movie that defies pigeonholing. It is
science-fiction? Yes, in the broadest sense, but it’s the fundamental human
story that matters most. Is it a showcase for dazzling visual effects? Yes
again, but they exist to illustrate (as seamlessly as possible) the main
character’s journey, not to show off a lot of cinematic bells and whistles. Is
it a highbrow think-piece in the tradition of 2001: A Space Odyssey or simply a piece of entertainment? The
answer is simple: it’s both. Co-screenwriter Jonás Cuarón says he wanted to
take audiences on a thrill ride but admits that he and his father (director and
screenwriting partner Alfonso Cuarón) were thinking in larger, metaphoric terms
as well.

In many ways the most important ingredient in Gravity is Sandra Bullock. Without her
movie-star charisma and everywoman relatability, the film wouldn’t work nearly
as well as it does. It is essential that we identify with her character and
connect with her roller-coaster swell of feelings as she finds herself adrift
in outer space. I hesitate to describe her adventure any further, as I think
audiences should experience the journey for themselves.

George Clooney is ideal as her lighthearted partner in the
space mission; his casting is as canny as Bullock’s. Cuarón counts on the
friendly, familiar personas of these stars to make us feel comfortable as we
begin our odyssey into the unknown.

It takes a supremely confident filmmaker to trust his
content (and cast) by shooting long, unbroken takes, but that is the visual
hallmark of this daring film. Cuarón doesn’t feel the need to show off, and he
knows that Bullock and Clooney will hold our attention. (I can’t wait to see
the making-of documentary to learn how he and cinematographer Emmanuel Lubezki
accomplished their goals, using unprecedented techniques and custom-made
machinery.

Gravity is a
genuine original in every possible way: involving and immersive, moving and
memorable. It’s definitely worth seeing in 3-D, although the real dimensionality
lies in the concept and the screenplay as much as any photographic technique.

For once, at least, the hype over a new Hollywood movie is
justified.

         

 

 

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