Gravity

Gravity is the kind of film that should come with a big flashing health warning during the opening credits, because the likelihood of experiencing multiple panic attacks over the following 90 minutes is decidedly high. And before you jump to conclusions, that is meant as an overwhelming endorsement. Here is an impeccably executed science-fact thriller that harks back to a time when films pulled in audiences on the strength of their premise alone (rather than because they were based on the latest best-selling teen novel or the hottest comic book property) and the set-up for Alfonso Cuaròn’s latest offering is only strengthened by its ruthless simplicity.

Picture the scene: high above the Earth’s atmosphere, a handful of astronauts loom into view, as they casually go about repairing the Hubble Telescope. There’s a joker (Paul Sharma) having fun with his tether in the absence of gravity; there’s the seasoned pro (George Clooney), who’s treating his last spacewalk like a walk in the park; and then there’s the rookie (Sandra Bullock), doing her best to hide all signs of apprehension as she works away on the telescope. Suddenly, they get an urgent message from Mission Control, warning them that a cloud of debris is heading their way with the velocity of a high-speed bullet. Within seconds, huge chunks of shrapnel proceed to slice up the shuttle, the Hubble telescope and crucially, the rookie’s safety lead, who is then hurled into deep space…

Caught your attention yet? Good, ‘cause that’s only the beginning and it only gets better. But revealing more details of the plot would mean spoiling what is surely the most gripping viewing experience of the year, so let’s focus instead on Gravity’s other assets.

For starters, its adherence to realism is remarkable, with real-life astronauts already praising the film’s veracity (despite Cuaròn’s admission that a few liberties had to be taken in the name of dramatic license). The afore-mentioned space shrapnel, in particular, offers a new form of on-screen threat which hasn’t been employed in previous space-set movies, but is just as devastating as a tornado or a tidal wave. The dead silence of open space is also effectively recaptured. There’s something eerie and otherworldly about seeing that level of destruction without the deafening sound of an explosion, with only Stephen Price’s score providing all the cues.

With this much realism going on, you’d be half-inclined to believe Cuaròn actually shot the whole thing in space for real, a theory that is supported by the Mexican director’s long, uninterrupted shots (the first cut clocks in around the 15 minute mark). There’s no point in pretending to know how he pulled it all off, so let’s just say that, thanks to the combination of state of the art CGI and an adrenaline-fuelled performance from Sandra Bullock, you’ll get pretty good idea of what it feels like to be left alone and to your own devices all the way up there.

What’s also pleasing is that, in an age when far too many blockbusters get pointless 3D conversions just for the sake of making a few extra bucks, this is one film that truly should be enjoyed in three dimensions. Not for the novelty of seeing large objects being flung at you from the Earth’s orbit (although there’s nothing wrong with that), but because for once the 3D brings the visuals to vibrant life. After all, if you’re going to see a majestic shot of Earth from outer space, you’ll want to feel like you’re actually there.

So there you have it: Gravity is a popcorn movie that feels like a rollercoaster ride, yet also treats its audience to an original concept and is beautifully put together. The best film of 2013? Oh, go on then.

5/5