Gravity*: If you really wanted to, you could easily sum up Alfonso Cuarón’s brilliant space flick “Gravity” in as little as 3 sentences. First, Dr. Ryan Stone and Commander Matt Kowalski, along with other fellow astronauts, attempt to install one of Stone’s prototype programs (something to do with the medical field, although I don’t believe it’s ever fully delved into) onto the Hubble Telescope situated hundreds of miles above the Earth and its atmosphere. Then, a recently blown up satellite creates a debris field that inhibits this expedition, so much so that it destroys the ship they came up in and they’re stranded in space, tethered to one another. Afterwards, the remainder of the movie goes about documenting how the two get (or don’t get) back to solid ground on Earth. That’s the basic premise of the movie. Sound exciting? Well, if the trailers didn’t pull you in immediately, with George Clooney’s Kowalski yelling for Sandra Bullock’s character of Stone as she drifts off into oblivion uncontrollably, then let me say that not only is “Gravity” an astounding marvel of what technology can do in film-making, but an amazingly potent film that documents more the resilience of the human condition than anything else. The first shots audiences are treated to in “Gravity,” after an opening frame of how temperature in space fluctuates so wildly that “life in space in impossible, are some gorgeous images of Earth—no sound for a whole minute or two, just a visual of this blue and green sphere of a planet as the Sun presides over it. Throughout the movie, Cuarón continues with this vibrant and naturalistic visual palate. As the Sun sets and rises, and the Moon circles around the Earth, there was no more perfectly exquisite an image than that of the Sun rising on half of Earth and the Aurora Borealis, with its shimmering light greens and blues, on the other. It’s awe-inspiring to see the very least, and, at least in my theater, there was basically a collective “wow” of sorts. Staying on the visual side of things, “Gravity” was constructed—no, composed, Taylor-Made—for both the 3D and IMAX formats (I combined the two together with my ticket). Much like “Avatar” was considered a movie that needed to be experienced because of director James Cameron’s revolutionary usage of the then rather newly-minted motion capture technology, “Gravity” exists on the same plane. As with any great 3D picture, the extra dimension enhances the experience, puts you into the movie rather than inviting for you to watch. Cuarón, alongside some serious visual effects wizards, has made extraordinary use of the more-often-than-not unnecessary format, and has officially set the bar extremely high for just how excellent the 3D can be utilized in cinema. Things don’t simply float on the screen in zero gravity or pop up at you; tear droplets don’t merely trail off. They shine in the 3D, and each and every shot seemed as well done as the last. No cheap oh-here’s-something-we-can-throw-at-people type of moments. “Gravity” is all grace, all substance, and no diluted substitutes. Hearing the sounds through IMAX-grade speakers, and seeing it on that type of screen, only places you further into the movie, one that is, at times, leaves you utterly stuck to your seat in suspense and dread as you watch these two go through whatever they must to survive. IMAX and 3D, together, amplifies these feelings tenfold—but in the most glorious and entertaining of ways. Besides the perfectly executed imagery, the acting, especially from Bullock, also holds some incredible power. Clooney shouldn’t be forgotten, however; his presence adds a definite and must-needed comedic aspect to an unbelievably tense piece. Being downright honest, though, this is really Bullock’s movie; her portrayal as a fraught doctor lost in a haze of her dark emotions, unable to release her past or grasp onto a possible future, is heart-wrenching. Of course, we’ve all seen that before. Nothing new treaded there. What makes this particular performance a true testament to her dynamism as an actress, though, is how she gives Stone an ultimate rebirth of character. The Stone at the end of the film is nowhere near the Stone at the start. This can be partially contributed to a layered screenplay (written by Alfonso Cuarón himself and his son, Jonás), but the way Bullock carries this material is nothing less than masterful, creating an aura of poignancy and sincerity that whole-heartily deserves a Best Actress nomination (maybe not a win, saying the incomparable Meryl Streep is headlining the ensemble-casted “August: Osage County,” based off a Pulitzer Prize-winning play—which screams Oscar bait, as anything else with Streep does). At one point in “Gravity,”, when the two are traveling hopelessly in front of Earth and amidst a backdrop of innumerable stars and universes, Clooney’s Kowalski states, “the consequences of exploring are catastrophic.” For Dr. Ryan Stone, this couldn’t have been more prevalent. She doesn’t want to leave the security of her daily job, of her nightly drives to nowhere that would go on ceaselessly had she not had work the following morning. She’s in her box and she’s content—maybe not happy, but she’ll take security over that any day because there’s no risk. No exploring means no hurt feelings, no disappointments or failed expectations or rejection. But Cuarón gives Stone an innate sense of hope that exists within all human beings, the little spark that doesn’t want to give up, and won’t give in. Survival can be based on that sometimes miniscule flame, and while we may not be experiencing zero Gs like Stone, seeing her grapple with this hope hits us with all the power, adrenaline, and chills that being in zero gravity must feel like. There comes a point where everyone must choose whether or not to stay in that box, whether or not to live out a human life or stay shunted in comfort; what Stone decides is a detail I’ll leave out of this review. The journey of discovering what Stone will do is exemplary enough to frame a very good movie. Fortunately, Cuarón doesn’t stop there, adding in gorgeously rendered sequences and a touching score by Steven Price that give texture to each shot, each second of film, culminating in what is likely to be the best picture of 2013. “Gravity” shattered even the high expectations I had for it; with this masterpiece, gravity is virtually non-existent. “Gravity” deserves to be placed in a league of films that have gone to infinity and beyond in terms of cinematic advancement. If you didn’t know Alfonso Cuarón’s name before (although he’s been attached to both indie gems like “Y Tu Mamá También” and blockbusters such as “Harry Potter and the Prisoner of Azkaban”), put it in your memory because you’re likely to see so much more from this accomplished film-maker. But first, how about that Best Director Oscar? Hell, add on the Best Picture for good measure. As much of a landmark achievement as “Gravity” is, it certainly deserves it. 4/4.
Posted on: Sun, 06 Oct 2013 09:31:46 +0000
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