Film Micrœview #17: Gravity (2013)
10.27.2013 § Leave a comment
Technically, Gravity picks up where Cuarón left off with the climactic epic long take of Children of Men. What droplets splatter on the camera this time, however, are floating. I believe that everything that needs to be said of this film is encapsulated 😉 in one single moment: one of Bullock’s teardrops drifts toward us in zero G’s and in 3D, and in this, our protagonist’s darkest moment, there is a deliberate rack focus off of her sobbing face and onto the droplet. Like the film, the droplet is a near miss. I admit my toes clenched the inside of my shoes for traction at the appropriate moments, but I found myself slightly off-put by the occasional overdramatization. To be fair, a lot, lot less restraint could have been held. Enormous potential for obnoxious writing and acting was missed here. And the SFX were top-notch. And I have much respect for the handling of the non-diegetic score in relation to the religiously observed authenticity of the diegetic sound as observed exclusively via compositions of the characters’ perspectives (power drills on space stations muffled, conducted through their bodies): used in the typical manner to cue impending danger, I was impressed that it was even superimposed over Clooney’s country-western radio in one moment. Finally I am a fan of the film’s focus: one notable tangential thread is never tied back in, and compared with most Hollywood action, there are just a lot fewer threads to boggle the mind here, and that is a good thing. So, huh, how to put this — the movie rolled my eyes with the insano spinny camerawork, which was good, but I did roll my eyes at it in places too. Overall, as far as this genre goes, more like this, please.