Gravity… or the lack there of

“Zero Gravity” or “The Quest for Gravity” might be more appropriate titles for director Alfonso Cuaron’s (Children of Men) stunning outer-space obstacle course of a movie. But maybe Cuaron was going for the double meaning in his one-word title to symbolize his setting of the beauty and strangeness of weightless space against that cold vacuum’s hostility to life. Gravity’s space is breathtaking, but also a place where danger is only millimeters away… and most grave.

The skill and technique with which these two – the spectacular and the terrifying - are combined in this film are rare… maybe even unique. Cuaron's Gravity is an epic spectacle, obviously taking a nod from Kubrick’s iconic 2001 Space Odyssey in its use of imagery in place of traditional narrative or dialogue. But Gravity is even more stunning and balletic than 2001 in its framing and choreography. The long opening shot moves us toward a space shuttle, a piece of the blue globe earth and its sun glistening behind… pure silence is finally broken by the faint sound of communications between working astronauts. The film’s opening scene is truly glorious and I felt it almost a shame when my silent trance was broken by human voices. Sandra Bullock, playing Dr. Ryan Stone, a medical research engineer on her first shuttle mission, is speaking to George Clooney who is mission leader astronaut Matt Kowalski. If you can’t picture Bullock as an astronaut, that’s ok because she’s really not in this one. She’s a novice, on board to implement and oversee experiments she designed back on earth. Clooney’s Kowalski, on the other hand, is an old vet on his last mission and looking to break the combined mission space-walk record in what appears to be a routine workday in the void. As Bullock’s Dr. Stone struggles with the weightless work environment, the gallant and self-assured Kowalski putts around the outside of the shuttle in his jet pack telling stories about his glory days, fast cars, and fast times. Early, Clooney teeters precariously close to a caricature of a G.I. Joe action figure with his phlegmatic Kowalski, but it works here somehow and fortunately the quick-arriving chaos forces a more serious commander before he becomes distractingly corny.

You already know from the trailers that the shuttle they’re working on is destroyed, leaving the astronauts marooned in space – even Houston falls silent in the initial mayhem. What follows is a Rube Goldberg-like chain reaction that poses increasingly more treacherous and impossible challenges to our space walkers and their rescue. The trip is truly stunning, heart pounding… griping. If you go, be prepared to find yourself gasping for air along with Stone as her suit oxygen level drops slowly… 10 percent… 5 percent… gone – or twisting in your seat to help her grasp on to a passing hand hold. But know that Gravity is first a real-time disaster movie and foremost a visual experience. You’ll not find the cerebral and supernatural elements of other acclaimed sci-fier’s such as 2001, or Solyaris, or even last years Prometheus. Gravity will not give you a point of view on man’s purpose or origin – it simply pits the possibility and will to survive against the seemingly insurmountable barriers of a magnificent but completely foreign realm. The film does have poignancy, however, and is strongest emotionally when conveying the human need for anchor and the power of the concept and the hope of going home. It’s just that these more ethereal points are no match for the awesomeness of what is pictured on the screen.

Watch Gravity three dimensionally. I suppose you can’t be disappointed in this film whether it has a z coordinate or not, but the imagery will have more weight and depth (literally) if you’ve got the glasses on. You’ll find Bullock and Clooney are fine of course – playing to type. And you may find Gravity more substantial emotionally than I did. But it doesn’t matter either way… you’ll be glad you bought the ticket. 8.5 out of 10.

Enough Said

The annual lull between summer-season blockbusters and the late-fall trickling out of Oscar bait seems to now be over with the release, or near release, of such titles as Gravity (Sandra Bullock) and Captain Phillips (Tom Hanks). It has been a dark, dark month for those trying to decide if they should venture out to see “Percy Jackson Sea of Monsters” or “We’re the Millers”… and then going to the park for a run instead (good decision). But if you’re looking for a good film to segue you into the critically acclaimed heavy hitters of winter, might I suggest Enough Said.

Julia Louis-Dreyfus and James Gandolfini are Eva and Albert, both divorcees with daughters leaving their homes for college. Eva is a massage therapist and Albert is a television historian. They meet at a party. Neither is really looking for anything – they even admit to each other that they’re not attracted to anybody in attendance – but it’s obvious that something has clicked. Coincidentally, however, Eva also meets Albert’s ex at the party and enlists her as a client. The ensuing Seinfeldian fix Eva gets herself into as part of this triangle provides the mechanism that moves the story along and gives Eva and Albert something to work against. But the film is really about the common fear of getting hurt, losing at love, life change and loneliness. Issues of what we want out of love and relationship, what we usually get instead, and the ridiculous (and sometimes petty) issues we let get in the way of our feelings for someone are presented and debated through a group of interesting and well played characters while chatting at dinner, or arranging furniture, or crocheting a blanket. In this sense, Enough Said has sort of a When Harry Met Sally feel but with less production. Louis-Dreyfus and Gandolfini are extremely believable in this one and have a homey chemistry that makes you want them to be together… to succeed. The film, as a whole, has a very natural and intrinsic quality.

There is nothing very weighty in Enough. But it is an insightful film, sharply written and warmly preformed. The plot, although unlikely, does not feel forced but rather flows naturally from its flawed and vulnerable pieces. The subtle and wide-ranging expressions that served Louis-Dreyfus so well when she was with Jerry and the gang are on display again and give additional likeability to Eva and those around her. There is some sadness, however, in watching one of Gandolfini’s last performances - Sopranos fans will be surprised how easy he makes playing a big softy look. Regardless of your taste… or gender, I think this film will win you over.  8 out of 10