Back in 2006, Mexican director Alfonso Cuaron created "Children of Men," a futuristic look at the apocalypse that dealt with a powerful existential crisis featuring human infertility. After the moderate box office (but huge critical) success of "Children of Men," the director took a few years off to prepare his next directorial effort. Seven years later, he is finally releasing "Gravity" and it follows up on the promise of his previous work and continues to elevate his status as one of the top filmmakers in the world.
"Gravity" tells the story of a medical engineer Dr. Ryan Stone (Sandra Bullock), who joins a space mission and shortly finds herself fighting for her life in the most dangerous environment in the universe. However, this is not simply a film about survival but one about a person learning to find the desire to live.
Stone starts off as relatively quiet and insecure when compared to her more vocal and confident companion Matt Kowalsky (George Clooney). While Kowalsky seems to enjoy floating around with freedom in space, she stands by her station hard at work with little interest for anything around her. However, when debris strikes the shuttle and sends all of the characters into survival mode, her demeanor changes and by the once withdrawn character finds herself desperately seeking human contact of some sort. In arguably the most poignant scene of the film, Stone finds herself listening in on a radio transmission of a man and his dogs. He is speaking in another language that is almost inaudible and it is clear that he cannot hear or respond to her. Despite this major obstacle, Stone starts to respond to him as if his comments were direct responses to her statements. In this manner she starts a dialogue with him that slowly transforms into a monologue in which she unveils some of her deepest emotions. The scene is both profound in its ability to portray the power of human connection, but also in its devastating display of loneliness and impotency.
Bullock gives a powerhouse performance in a film that features her alone for most of its running time. She does not usually get to utter a great deal and she has a tremendous amount of physical work to do, but she always manages to give Stone the sense of vulnerability that gradually transforms as the film develops. The aforementioned scene is easily one of the strongest moments of acting by any actor this year as it really brings the struggle between the inner weakness and the search for strength to the fore.
Clooney does what he has always done best throughout his career and provides a tremendous counterpoint for Bullock's character. He exudes charisma even as he talks endlessly about himself with a borderline egocentric abandon; any other actor might have become exhausting but Clooney's refined manner only adds to the enjoyment of the moments.
Cuaron brings his usual visual flair to the proceedings alongside cinematographer Emmanuel Lubeski in what is arguably the most visually stunning film of the year. The opening shot is extremely extensive and starts off with a massive view of earth. The camera slowly cranes away to reveal the space station that the characters are currently working on. However, it does not end there as it swoops around (almost in a dance-life fashion that reminds one of Kubrick's use of Strauss' "Blue Danube" in "2001: Space Odyssey") and follows the three characters working in the expansiveness of space. Another shot later on showcases Stone flying through space without any control. The camera moves in on her and in a moment of remarkable genius, it enters the helmet and gives us her perspective. Shots of Bullock floating through a space station are just marvelous for the amount of technical and production questions they create for the viewer. The film's long takes become less and less frequent as the film develops and the conflict rises to fever pitch; this adds immediacy to the situation that was not apparent early on.
A great deal has been noted about the 3D in this film and for the first time since "Avatar" it is a truly essential part of the viewing experience. Not all of the 3D works (it is unnoticeable in certain sections of the film), but when it works, it is peerless. The opening shot alone is worth the $3 that viewers will have to pay extra. The movement coupled with the 3D effect creates a true sense of being in space alongside the astronauts. The aforementioned scene inside the helmet also feels more immersive in three dimensions. One scene features a tremendous amount of debris flying at the screen; this is an instance in which items flying at the viewer actually feel dangerous. CGI animation has never been better as every single image on screen looks absolutely real. There is never a moment in the experience of this film where this viewer could point out that something looked too computerized; every single effect and image was flawlessly created and rendered.
The sound design is also impeccable. During the opening credits, the shimmering score by Steven Price slowly crescendos to pure cacophony. The viewer feels as if his/her ears were about to explode and then suddenly... all sound ceases and the emptiness of space takes over. Then voices slowly crop up over different speakers, each speaker one with a different voice and different sound. This effect creates the sense of isolation and utilizes the surround sound to impeccable effect. The score is ever-present throughout the film and adds a tremendous amount of tension and intensity in the film's most powerful moments.
Cuaron also has no qualms about paying homage to a few celebrated space-themed films. One of the most powerful moments in the film comes when Stone arrives at a space station and takes off her suit. As she relaxes, she slowly crawls up in front of the circular door; the image bears heavy resemblance to the noted embryo image that dominates "2001: Space Odyssey." More than a few "Star Wars" fans will likely perk up when they hear one character repeat the lines "I have a bad feeling about this mission" more than once.
The film is not flawless by any means. There are a few moments when the score feels a bit intrusive, particularly in the intimate moments showcasing the lonely Stone trying to decide between seeking a solution to keep on living or simply giving up and dying. The absence of the score would have created a greater sense of emptiness and loneliness that only silence can create. Another minor qualm features the decisive moment that creates the shift in Stone's perspective. It is hard to truly describe this scene without ruining the entire film, but its execution feels a tad bit forced in the sense that the ideas of the movie are laid out bare in a manner that borders on "spoon feeding." This portrayal is the only real moment in the entire film that lacks the subtlety of the remainder of the work.
Ultimately, "Gravity" is a tremendous work of art that is likely to push the boundaries of filmmaking technology. The amount of detail provided to the visuals, the sound design, and the acting leads to a film experience that is simply required viewing for anyone who loves the art form.
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