Gravity lets you visit space without sugarcoating its dangers. It's a brilliant portrait of technology gone wrong that uses it just right.
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The director’s long-overdue follow-up to “Children of Men” is at once a nervy experiment in blockbuster minimalism and a film of robust movie-movie thrills, restoring a sense of wonder, terror and possibility to the bigscreen.
Gravity is about as visceral an experience as you can have in a cinema, it’s a technical marvel, and it’s a blockbuster with heart and soul in spades.
Gravity shows us the glory of cinema’s future. It thrills on so many levels. And because Cuar?ón is a movie visionary of the highest order, you truly can’t beat the view.
A science-fiction thriller of rare and diamond-hard brilliance.
Gravity is harrowing and comforting, intimate and glorious, the kind of movie that makes you feel more connected to the world rather than less.
At once the most realistic and beautifully choreographed film ever set in space, Gravity is a thrillingly realized survival story spiked with interludes of breath-catching tension and startling surprise.
This isn’t just the best-looking film of the year, it’s one of the most awe-inspiring achievements in the history of special-effects cinema. So it’s a shame that – as is so often the case with groundbreaking effects movies – the emotional content can’t quite match up to the visual.
The fact that Cuarón’s film strives to be something more than thoroughly harrowing — no small feat in and of itself — solidifies its existence as a marvel of not just technical craft but sheer imagination as well
The film thrums with an ongoing existential dread. And yet, tellingly, Cuaron's film contains a top-note of compassion that strays at times towards outright sentimentality.