Gravity

Films taking place in space rarely seem to capture what’s it’s like above the atmosphere. Spaceships move around more like aircraft on Earth, turning and maneuvering with ease instead of flying off into the unknown by their sheer momentum. Spacewalks and zero gravity scenes always seem to have some sort of anchor point the people onscreen gravitate towards. And, of course, all the movie sound effects we’re used to wouldn’t exist in a vacuum.

Scientific accuracy isn’t necessarily a hindrance to making an exciting outer space film, however. One picture that comes to mind is Apollo 13, which turned a true story into a captivating thriller based solely on solving each challenge with real science. Gravity depicts a fictional space disaster, but with a similarly high (though by no means perfect) level of accuracy. Only Gravity goes even further, utilizing excellent filmmaking techniques and amazing special effects that let us not only watch the film, but feel it, too.

The very first scene is incredibly tense, and nothing even is going wrong, yet. As we in the audience hear radio chatter and a space shuttle floats into view, it feels like if we even move a tiny bit in our seats, we’re going to float away. But everything onscreen is going smoothly, as Sandra Bullock, a medical doctor on her first mission (pretty unrealistic maybe, but it works because her fear and inexperience makes the protagonist much more relatable to the viewer), works on the Hubble Telescope. Veteran astronaut George Clooney jokes around with Mission Control, and we gradually relax and get used to watching them in zero gravity.

That’s when the bad things start. Namely, debris from an old Russian satellite collides with the shuttle, sending Clooney and Bullock tumbling off into space. Battling increasingly depleting oxygen and the vacuum of space, the two attempt to make it back to their shuttle, or any other save haven that could help them get back to Earth. And the debris cloud is still out there, orbiting the Earth like a hail of bullets.

Director Alfonso Cuarón’s penchant for long, unbroken shots is masterfully suited for this picture. Extended sequences that don’t cut away for several minutes take us from up close on the actors’ faces, to wide looks at spaces stations or just the great maw of space, to point-of-view shots that almost put us in an astronaut’s helmet. It’s like the camera’s floating in zero-g, capturing everything as it happens. And Bullock, Clooney, and everything around them look convincing. Feels that way, too, as their terror at possibly drifting off to their death and desperation of clinging to anything for dear life is as palpable as if we’re experiencing it with them. It also trades the lack of sound effects for just ominous music combined with subtle visual cues, which arguably builds more tension.

Things slow down a little between bursts of conflict, and the overall tension somewhat dissipates in the final third. But the movie never ceases to be engrossing even in its more tranquil moments. There are many mesmerizing things to look at, from small elements like liquid or fire floating freely without gravity, to giant, awe-inspiring views of Earth. Lots of those. It also captures a quiet, almost dreamlike state of peace in residing in the Heavens. For all the intensity the film throws at us, it also makes space seem like it wouldn’t be so bad.

I usually don’t choose to see a movie in IMAX or 3D if I have the option of just a regular screen, as I mostly forget about the difference in format after about ten minutes. There are exceptions, though, where these formats actually do enrich the viewing. Gravity is definitely one. It’s not just a film you simply watch, but one you experience. At the very least it requires some sort of big screen to get that experience, for its effect, its awe, and its often high intensity will probably be lost in home viewing.