GRAVITY review.

‘Gravity’ is about letting go, despite the film’s poster proclaiming not to.

Sandra Bullock in particular has to let go, both physically and mentally.  Clooney even tells her at one point.

The film is a marvellous technical achievement. There is little complaint at the special effects and set design used.  The use of sound is especially unnerving and striking.  Anxiety inducing.

But it is a film with faults.  Lines of dialogue at times are childish, and the male role feels like it was directly written for George Clooney in mind.   References to his good looks make his character’s demeanour unconvincing.  Cringeworthy.

The film would have soared even greater if the two lead roles were ‘unknowns’.  Although Bullock does hold her own for most of the film, only to be let down by a poorly written final 15 minutes.  It may be her finest performance of her career (although that list is quite small in my mind).

Clooney is all but lost in one’s memory after watching the film.  And if you think really hard of his performance, you’re met with the realisation that it feels like he is ‘phoning it in.’   Second billed, he falls quite far behind the 29 crew members listed who magnificently created the sound design,  the set designer and special effects crew, and Bullock’s performance.

It’s a very good film technically.  Nothing more.




  1. Technically nothing more? I am not sure how you and a handful of others are not moved by “Gravity.” Sandra Bullock has that rare ability to make an audience empathize and want to protect her. This is a rare quality few actresses possess, and one of the primary reasons she is loved by many.
    I hope she wins an Oscar for “Gravity.”

  2. It’s good to hear an opposing voice on the film – I’m definitely part of the crowd singing its praise, but I’m aware that I’m contributing to what will probably become overhyping on a massive scale for people who see it a week from now.

    I lover the movie a lot. Technically it’s astounding, and I was willing to overlook some of the more obvious lines of dialogue, but the visual symbolism grated a little – it’s all well and good to tell a story of rebirth, but shots of Bullock floating in a foetal position with cabling behind her forming an umbilical cord smacked of being a bit obvious.

    But as filmic metaphors for struggling with depression go, I can’t think of any movie in recent times that captures it better in a hopeful light than this one.

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