Gravity

Director: Alfonso Cuarὀn

Starring: Sandra Bullock, George Clooney, Ed Harris

Written by: Alfonso Cuarὀn, Jonas Cuarὀn

Rated PG-13 for intense perilous sequences, some disturbing images and brief strong language

I felt physically exhausted after watching “Gravity.” I wasn’t simply sitting in a theater watching images pop on the screen with 3D glasses on my head and surround sound in my ears; I was careening through space for every terrifying second, fighting to survive. 

“Gravity” isn’t just a movie. It’s a metaphysical experience.

The plot of the film is ingeniously simple. Medical engineer and rookie spacewalker, Ryan Stone (Sandra Bullock), finds herself spiraling through the infinite expanse of space when debris destroys the shuttle that she’s working on with veteran astronaut Matt Kowalski (George Clooney). With a dwindling oxygen supply and no contact with Earth, Stone and Kowalski must work together to find a way home.

Just imagine how utterly horrifying it would be to be trapped in space, doomed to forever sail across a sea of emptiness without any way to steer yourself toward a destination. I imagine it as similar to being in a state of complete paralysis: conscious but helpless. It’s an intriguing thought for sure but can an entire movie be sustained on such a simple premise?

In the hands of director and co-writer Alfonso Cuarὀn, the answer is a resounding “yes.” There are some really inventive ways that he builds and releases tension, none of which I’ll spoil here. You’ll just have to trust me. The movie never fails to capture your attention.

“Gravity” is primal storytelling at its best, less focused on character arcs and more on wringing a kaleidoscope of emotion out of the audience. It’s alternately terrifying, thrilling, heartbreaking, awe-inspiring and breathtaking.

That’s not to say that the characters are undefined, quite the opposite in fact. The film gives us just enough information to connect with them as human beings without distracting us from the immediacy of the narrative. We identify with their internal struggles so that, when everything goes haywire, it feels like something is at stake.

It also helps that we’re given remarkable performances from the two leads, especially considering that they had to act mostly in front of a green screen while suspended in the air. Clooney brings his usual charm to a character who’s much nobler than what we typically see of the actor. He’s a voice to give us an occasional break from the terror that dominates the film. However, it’s Bullock who makes the film as compelling as it is.

Her desperation is evident in every facet of her performance, most notably in her erratic breathing, something she does so convincingly that I found myself involuntarily matching her pace. She’s the conduit through which the audience feels emotion and much of the film’s success is thanks to her total dedication to the demanding role. I fully expect her to take home a ton of awards for her work.

What’s just as impressive as the acting is the stunning scenery that surrounds the actors. The view of the Earth is majestic, especially when it eclipses the sun and casts varying bursts of light and color onto the screen. The effects are extraordinary and rendered in painstaking detail. You’ll marvel just as much at the destruction of a satellite – and the resulting confetti of debris – as you will at the way a person’s breath collects on the inside of their helmet.

It’s all framed by a camera that fluidly mimics the weightlessness of space, flowing and spinning around the characters in mostly unbroken takes (the first shot of the film is 13 minutes long.) It’s composed more like a dance than an action picture, recalling the iconic “Blue Danube” scene from “2001: A Space Odyssey.” The technique makes you feel like you’re a character in the film; an unseen entity tagging along for one wild ride.

I also highly recommend seeing the film in 3D, even if you’re not a fan of the format. The 3D is so thoroughly convincing that it feels like an extension of your own reality. It’s beyond immersive. It’s probably as close as you’ll ever get to actually traveling in space.

Cuarὀn cannot be given enough credit for making everything work as seamlessly as it does. It feels like an evolutionary step forward in cinema, not just in terms of technology and experimentation, but also in the way that he marries big-budget spectacle with the artistic sensibilities of less mainstream entertainment.

“Gravity” is stellar. This new classic in science fiction is worthy of being mentioned alongside masterpieces of the genre like “Star Wars” and the aforementioned “2001.” See it on the biggest screen possible. It’s one of the best and most adrenaline-inducing experiences I’ve ever had at the movies.

5 out of 5 stars.

The World's End

Director: Edgar Wright
Starring: Simon Pegg, Nick Frost, Martin Freeman, Paddy Considine, Eddie Marsan, Rosamund Pike, Pierce Brosnan
Written by: Simon Pegg, Edgar Wright
Rated R for pervasive language including sexual references

Originally published in the East Tennessean

The team behind “Shaun of the Dead” and “Hot Fuzz” are back to conclude their loose trilogy of comedy mayhem with “The World’s End,” and just like its predecessors, it’s a slice of fried gold.

“The World’s End” is the funniest comedy of the year. It’s also an exhilarating action movie, a prescient science fiction film and a heartfelt buddy flick. Brewed together, these elements make for the one of the most enjoyable films I’ve seen in quite some time.

Simon Pegg (who co-wrote the film with director Edgar Wright) plays Gary King, an alcoholic who’s so stuck in the past that he continues to wear the same black duster that he brandished in his glory days. His life plateaued in 1990, when he and his four friends attempted to complete ‘The Golden Mile:’ 12 pubs, 12 pints, one night. The only problem is that they all became so drunk that they failed to complete their journey.

Pegg's manic performance is the highlight of the film. 

Fast-forward to present day and Gary has an epiphany at an Alcoholics Anonymous meeting that sends him scrambling to get the estranged gang back together, and return to their hometown of Newton Haven to finally complete their epic pub crawl.

Pegg is perfect in the role, giving the best performance of his career thus far. Gary is obnoxious, narcissistic, manipulative, and clueless but he’s also oddly charming and endearing. You can’t help but sympathize with his pathetic plight to get the band back together because you know this adventure is all he has left in the world.

However, each of his four friends is a tough sell, having moved on to seemingly idyllic lifestyles. Oliver (Martin Freeman) sells real estate, Steven (Paddy Considine) is an architect, Peter is heir to a BMW car dealership and Andy (Pegg’s usual partner-in-crime Nick Frost) is a corporate lawyer who’s 16 years sober thanks to Gary’s past antics.

The “Five Musketeers,” as Gary calls them, decide to come together mostly out of pity for their friend, but a few drinks in and they’re all mostly back to their past brotherly rapport. There’s a wonderful sense of camaraderie. The dialogue between the gang is quick, catchy and consistently funny.

A lot of care was put into the characters’ back stories and shared history making it feel like you’re actually dropping in on the musings of old friends. As the alcohol flows, the boys share fond memories, inside jokes and even rekindle friendly rivalries.

The acting is flawless. I especially enjoyed the subtle way the characters seem to get more intoxicated as the night wears on. You can tell the actors are having a blast. The sense of fun is palpable.

And then the real fun begins.

It would be criminal to spoil what happens next, but I will say that eventually Gary and company discover that their livers aren’t all that’s being threatened by their return to Newton Haven. A battle ensues that puts their lives -- and possibly the fate of the entire world -- at risk.

Where “Shaun of the Dead” spoofed horror films and “Hot Fuzz” took aim at action movies, “The World’s End” has set its sights on science fiction, and the omnipresent theme of apocalypse that runs rampant in our popular culture.

The action is elegantly choreographed and shot with an infectious energy thanks to director Edgar Wright’s signature organic transitions and punchy editing. The special effects are dazzling for a film of this scale and really draw you in to the more outlandish proceedings of the second half.

What I enjoyed most, though, were the pauses in the action and showmanship, where the tension between the characters is brought into the foreground. At the heart of “The World’s End” is a touching and emotional ode to friendship and a reminder that it’s not your past that matters, it’s who you shared it with that’s important.

Such drastic tonal shifts would seem jarring and contrived in a less accomplished film, but Wright weaves together these disparate genres seamlessly. I will admit that some scenes feel rushed, and the third act is a little rough, but it does little to harm the overall impact. This truly is a film with something for everyone.

Edgar Wright, Simon Pegg and Nick Frost have completed the quintessential comedy trilogy. Here’s hoping that these three immensely talented musketeers can continue to collaborate well after “The World’s End.”

4.5 out of 5 Stars.