Gravity

In space, nobody can hear you scream “OH CRAP!!!!”

(2013) Thriller (Warner Brothers) Sandra Bullock, George Clooney, Ed Harris (voice), Phaldut Sharma (voice), Orto Ignatiussen (voice), Amy Warren (voice), Basher Savage (voice). Directed by Alfonso Cuaron

Some movies go for a visceral experience, using special effects to bedazzle and wow their audience. Others go for an emotional experience, using the dialogue and characters to create a response in their audience. It is a rare thing for filmmakers to attempt both in the same film.

Gravity is a game-changer in almost every sense of the word. Here, we are treated to a magnificent view of a space shuttle mission drifting in space with the curve of planet Earth hanging above them. It is breathtaking in and of itself. The mission to make some software updates and minor repairs to the Hubble Space Telescope is commanded by Matt Kowalski (Clooney), an affable, devilishly handsome country music fan on his last mission hoping to break a Russian cosmonaut’s record for longest space walk. With him is Dr. Ryan Stone (Bullock), a mission specialist on her first trip into the great big out there. Kowalski is testing a brand new thruster pack that is working much better than the repairs and upgrade to the Hubble are.

Then Mission Control (Harris) orders them back to the shuttle for an emergency evacuation. It seems that the Russians have spontaneously decided to destroy one of their spy satellites but in typical Russian fashion haven’t really thought it through. The resulting explosion set off a chain reaction of debris impacting other satellites which in turn sends off more debris to impact more satellites. Small pieces of satellite are hurtling through orbit at speeds faster than bullets, wiping out everything in their path. GPS and communications satellites are going down rapidly as the debris approaches the shuttle and its crew.

The shuttle and the Hubble are destroyed in a silent, spectacular spray of debris. Only Ryan and Matt survive the initial disaster but they are far from out of the woods. Their ride home destroyed, they will need to find some other means of getting back. The International Space Station is near enough by that they can use the Soyuz craft as a lifeboat but that too has been hit by debris, leaving only a Chinese space station as a last hope. Dr. Stone, living with her own tragedy and with little experience, must summon up every bit of training she’s received and every ounce of courage she possesses to find a way back home against all odds.

Let’s look at the visual aspect of the film first – in a word, stunning. I think it’s safe to say that this is the most immersive special effects experience in any movie since Avatar. You are brought into a world that is made utterly believable and real and at the same time utterly alien. While in Avatar that world was Pandora, here it is outer space. You never for an instant doubt that these are astronauts floating in the weightlessness of zero gravity. It is an astonishing achievement of special effects. Don’t be surprised if there are Oscars awarded for it in February.

The collisions of debris and machine take place in absolute silence. Since sound doesn’t travel in space this is as it should be. It is also completely terrifying. Don’t let the sounds of collisions on the trailer fool you – the studio insisted on them for the trailer but they are absent in the final film. We are often treated to the point of view of Dr. Stone, seeing things through her helmet. We see her breath fogging the helmet glass; see the panic in her eyes and the spinning of her horizon as she hurtles through space in the initial cataclysm. It is breathtaking in its simplicity, devastating in consequence as the audience gradually realizes what these shots mean. The enormity of what these characters face is unstated; it is left to the imagination of the audience to conjure up their own conclusions.

Looking at the emotional aspect, we have to first start with Bullock. This is clearly her movie and she is the avatar of the audience, representing us in the film. She is inexperienced because we are as well; it is far more effective to have her trying to guess and figure out what to do rather than see things through the eyes of Kowalski who is better trained. He is there mainly to offer encouragement to Dr. Stone and a bit of comic relief here and there.

As impressive as the special effects are, this is a very human film. As we see the astronauts struggle to survive and figure out a way against all hope to get back home, we see our own struggle to survive in a world just as inhospitable and unforgiving and cold as that of outer space. We become invested in Dr. Stone and in no small part due to Bullock’s performance. This may well be her crowning achievement as an actress; it’s note-perfect capturing the flaws and frailties of a character who is brilliant but terrified. She is in fact brilliant enough to imagine the negative outcome of what is happening to her. Clooney gets to essentially play himself; wise-cracking and devilishly handsome but entirely competent at what he does.

In a nice little grace note, Cuaron casts Ed Harris to be the voice of Mission Control; Harris also played Flight Director Gene Kranz in Apollo 13. That aside, there isn’t much in terms of in-film references to please the fanboy contingent which I think has stuck in the craw of some of that ilk.

From a scientific standpoint, Cuaron has said that some liberties were taken with science in order to advance the story – one of the most egregious of these is that the journey from the Hubble to the ISS was not possible with the equipment shown in the film simply because of the distance involved. Simply put, if this had happened for real (and some scientists have warned that it potentially could), the chances are that the astronauts would perish right then and there. That would have made for a depressing film and wasn’t the story that Cuaron wanted to tell. Once again, this isn’t about the effects – it’s about the human beings inside them. From that standpoint, it’s a marvelous film. Whatever your feelings about the space program – gigantic boondoggle or absolute necessity – you will be blown away by the special effects but more importantly you will be moved by the human story, a rare achievement. This is one of the best films of the year.

REASONS TO GO: Phenomenal special effects. Tense, edge-of-your-seat throughout. Bravura performance by Bullock.

REASONS TO STAY: One or two nitpicks.

FAMILY VALUES: There are a few images that are pretty rough and a bit of foul language.

TRIVIAL PURSUIT: The length of the movie at 90 minutes is exactly the time it takes for the actual International Space Station to make one complete orbit of the Earth.

CRITICAL MASS: As of 10/10/13: Rotten Tomatoes: 97% positive reviews. Metacritic: 96/100

COMPARISON SHOPPING: Marooned

FINAL RATING: 10/10

NEXT: The Tigger Movie

Babel

 

The desolation of the Moroccan landscape is reflected in Cate Blanchett's eyes.

(2006) Ensemble Drama (Paramount Vantage) Brad Pitt, Cate Blanchett, Gael Garcia Bernal, .Rinko Kikuchi, Adrianna Barraza, Michael Pena, Koji Yakusho, Elle Fanning, Clifton Collins Jr., Mohammed Akhzam, Boubker Ait El Caid, Said Tarchani, Mustapha Rachidi, Nathan Gamble, Satoshi Nikaido. Directed by Alejandro Gonzalez Inarritu.

In our multi-cultural society, conversation has become almost white noise as we try to make some sense out of what is being said. It is not by accident that “Babel” and “Babble” are homonyms.

Two young goatherds (Caid, Tarchani) in Morocco are testing their new rifle to see if the claims that it could shoot a bullet three kilometers is true by firing it at moving vehicles on a nearby road. Instead, they hit a tour bus and wind up shooting Susan, an American tourist (Blanchett). The wound is serious, and it forces the tour bus to divert to the village of the tour guide (Akhzam) which is where the nearest doctor is (the nearest hospital is far enough away that she might bleed to death before they get there). This causes an international incident when the United States government blames the act on terrorists. Her husband Richard (Pitt) is more concerned with getting her to a proper hospital but they are stuck in a small village in the interior of Morocco with no doctor, no medicine and a wound from which her lifeblood is slowly seeping away. The governments posture and issue press statements while the anxious passengers wonder if they aren’t vulnerable to another terrorist attack. Their desire to leave is met with Richard’s insistence that they stay until help arrives.

That’s not all. Her children (Fanning and Gamble) whom she thought were safe at home, were taken by their housekeeper/nanny Amelia (Barraza) and her unreliable nephew Santiago (Bernal) to the wedding of her son in Mexico, necessitated when she cannot find anyone to watch her charges while she’s gone. When they return home in the wee hours of the morning, an overzealous border guard (Collins) causes the inebriated Santiago to panic and run the border. Chased by the Border Patrol, he leaves the children and his aunt stranded in the desert, promising to lose the patrol and come back for them. Dawn comes and they are still alone in the heat of the desert with no water and little shade.

Meanwhile in Japan, Chieko, a young deaf-mute girl (Kikuchi) struggles to cope with the suicide of her mother and her own budding sexuality. She wanders around the crowded, pulsating streets of Tokyo, flirting with guys in J-Pop clubs, and gossiping with her teammates on the volleyball team. She shuts out her father (Yakusho) who is puzzled at his daughter’s hostility towards him. When a handsome detective (Nikaido) comes to their apartment while her father is at work, Chieko sees an opportunity. All of these stories are related in one way or another, and the effects of a single bullet will have repercussions in every one of their lives.

Like last year’s Oscar-winner Crash, the four main stories are told simultaneously with one another with characters from each story running like threads through the others. The stories aren’t told chronologically, so there is some overlap and information from one storyline is received in another, even though those events haven’t happened in the first storyline yet. That serves to lessen the dramatic tension some (for instance, a very important aspect of Susan’s medical condition is revealed very early on in the Mexican portion of the film, even though in the Moroccan portion she hasn’t been shot yet). While I admire Inarritu’s boldness in altering the paradigm of storytelling, it just isn’t executed as well as it could have been. 

There are some excellent acting performances here, particularly from Pitt who turns in the most complete performance of his career to date. As the anguished husband who is already having marital problems with his wife (they go to Morocco ostensibly to work out their problems alone, but as she acidly points out, they are with a tour group and consequently are almost never alone), Pitt displays frustration, despair and fear with much more emotional openness than we’re used to seeing from him. He looks much older in the movie than what he usually plays, which I think makes the role a bit more believable. 

Kikuchi also does a really fine job in a role in which she has no dialogue except for grunts and moans. She has to spend much of her performance naked and displaying her sexuality in ways that many actresses might find uncomfortable (although fans of Basic Instinct might find the performance intriguing). Inarritu has a tendency to use non-actors in some his movies (as he does here particularly in the Moroccan sequence) and they come through nicely.

I like the look into the various cultures that Inarritu provides, particularly the Moroccan and Japanese aspects (which are less familiar to those of us in the States, where the Mexican culture is much more prevalent). I was fascinated particularly by the desolation of Morocco and the North American desert; both are desolate and empty, which contrasts nicely with the lively crowds in Tokyo.

The problem here is that there is too much storyline going on. The Japanese sequence is not really necessary to the movie and quite frankly, the Mexican sequence probably isn’t either. The movie runs at 2 1/2 hours long and is a good half hour too long for my taste. This could have been trimmed without diluting the message or the power of the performance overly much. 

Inarritu is a real talent (he already has Amores Perros and 21 Grams under his belt) and will undoubtedly turn out movies that are going to be classics in the very near future. This, unfortunately, isn’t one of them, although it is good enough to recommend unreservedly. I can recommend it on the basis of some of the performances, and because of the glimpses into different cultures. However, if you’re going to do a movie based on how our lack of communication as a species leads to terrible problems, the least you can do is not keep talking so long that the listener tunes you out.

WHY RENT THIS: Well directed and beautifully filmed. Pitt turns in his finest performance to date. Blanchett and Kikuchi are also solid.

WHY RENT SOMETHING ELSE: A good half hour too long, could have done without the Japanese and Mexican segments of the film.

FAMILY MATTERS: There is some violent content, graphic nudity and sexuality and a little bit of drug use. Definitely not for the kids.

NOTABLE DVD FEATURES: Nothing listed.

BOX OFFICE PERFORMANCE: $135.3M on an unreported production budget; undoubtedly the movie was a blockbuster!

FINAL RATING: 6.5/10

TOMORROW: The Lincoln Lawyer