GRAVITY is every bit as good as you’ve heard. It’s not just a nail-biting thriller, not just far and away the best cinematic depiction of what it’s like to be in space, not just the finest performance ever from Sandra Bullock. Even more important, it introduces new concepts to the language of film: swirling, swooping, gyroscopic curvatures that observe no earthbound rules, that can take you inside a space helmet and out again without cuts or dissolves; the opening shot alone lasts for nearly 13 minutes. They’ll have to invent a new term to describe this constantly malleable point of view. But the story doesn’t stop long enough to let you ponder “how’d they do that?”* For all I know, they built some rockets and shot two game movie stars into Earth orbit. You’ve never seen anything like this. Nobody has.
It’s a howling, crowd-pleasing, eye-popping triumph for director/co-writer Alfonso Cuaron. His resume is already impressive: besides directing the best Harry Potter film (PRISONER OF AZKABAN), there’s also CHILDREN OF MEN (he tops the opening shot here) and the delightful Y TU MAMA TAMBIEN. His friend Guillermo del Toro, also a fan of the fantastique, must be bursting with pride. But Cuaron leads an army of technical wizards so state-of-the-art that I didn’t recognize several of the jobs listed in the end credits.
The story, by the director and his son Jonas, is simplicity itself. Two astronauts are on a space walk as the film begins. Something bad happens, and now it’s all about survival. Playing opposite Bullock is George Clooney, who knows more about this mission than her medical officer does, and delivers perfectly timed moments of lightness (he listens to Hank Williams in space and tells “Houston” – the unseen Ed Harris – “it’s not rocket science”). That’s your entire on-camera cast.
The space effects are beyond disbelief, and so is the sound design. You never hear “sync” sound unless it would be physically possible, and space is by and large silent, emphasized by an opening fanfare under the title card that gets louder and louder and louder…until we cut to space and utter silence for the beginning of that first magnificent, marathon, multigravitational, POV-shifting, “single shot.” But there’s a top-notch music score by Steven Price which ratchets up the tension almost unbearably.
GRAVITY set an October-opening box-office record here in the States, and continued its financial rampage in the second weekend, which is when I saw it, earlier today. I attended a regular-screen 3-D performance, and though the 3-D effects were leagues better than those in the trailer for THE HOBBIT 2 which preceded it, GRAVITY is probably just as enjoyable flat. But real thrill-seekers will go me one better and screen it in IMAX.
Do not miss this one. See it in a theater if you can. “Amazing” isn’t strong enough. Maybe the word we want is “GRAVITY-like.”
*3/1/14: On Oscar Eve (I doubt GRAVITY will win Best Picture, but any Best Director who beats Alfonso Cuaron will always, in his heart of hearts, wonder why), I recommend the just-released DVD version of this film, especially the backstage “special features.” These things are usually fluff, but here you really do get a good look at how the stunning effects were achieved. Another nice bonus is a lovely short by Jonas, showing you the Earthbound side of Bullock’s frustrating radio conversation near the end.
3/3/14: GRAVITY topped the 2014 Oscar list with seven awards, including a well-deserved Best Director statue for Sr. Cuaron.