Edgar Cochran’s review published on Letterboxd:
Cuaron's strongest directorial trademark is his immaculate attention to detail. He is one of the few commercial directors working today that does two things with impeccable precision:
- He spends a lot of time creating an environment and developing it. The amount of attention and time that Tarantino invests in his characters is proportional to the time Cuarón invests in his scenarios.
- Every single object is there for a reason. From the living to the inert, every single object and being play a role and interact with the chain reactions that characterize his sexy, endless continuous tracking shots.
Gravity is success beyond doubt. Character development is explored differently: instead of offering a background, the film is completely concerned with the scope of the present state of things. We totally forget about any additional information we could be provided about their pasts, or alternate stories. Instead, we are fully immersed into a new form of terror: silence and nothingness. Several films have implicitly explored the idea of space as the place in which "nobody can hear your scream", the endless extension of silence in which "you are far away from home".
This time, we feel it for the first time. There is no paranormal activity, no 1979 plastic-bag monsters that burst out of stomachs, no time traveling or Dark Sides. For the first time, we are invited to see the planet Earth and mammoth-sized technical difficulties literally from Sandra Bullock's space helmet. It invites you to contemplate what you wouldn't have if a scenario hadn't been built so realistically, despite the fact that some obvious reality-challenging aspects impossible to replicate in real life transformed the film into science-fiction (it IS sci-fi). More importantly, and to sum up, Gravity portrays space as the incredibly dangerous and merciless environment that it is, even worse than the ocean.
Despite that Gravity is rather far from becoming a piece of groundbreaking, longstanding sample of revolutionary science-fiction celluloid, and despite its uneven pace in the last act, the ordinary acting of Bullock (who, once again, plays the role of herself instead of a woman that admirably pulls herself together in the middle of adversity) and the short running time, it can be fairly considered as an exciting experience taken to new heights thanks to its gorgeous visuals, a consistent tone of rhythm and Steven Price's almighty score that makes us feel that the events depicted in the last chapter were triumphant achievements that should make humanity proud.