The Gravitas of Gravity

Sandra Bullock and George Clooney in Cuarón’s Gravity

(95% Spoiler free, read without caution)

If Kieslowski had ever been inclined to tackle science-fiction, Gravity, I suspect, would have been something close to the film he would have made.

Ostensibly a loose remake of Kieslowski’s first film in the Three Colors Trilogy, Blue (1993), Cuarón’s return to film after an agonizing eight-year absence similarly features a bereaved mother struggling to cope with the loss of a child. Indeed, if I explained it is a film that illuminates the startling vicissitudes between life, death, faith, hope and the universe of human emotion, bound up in a work of sublime grandeur, you’d be forgiven for thinking I was still talking about Blue. Cuarón’s singular feat, however, is the way in which he gracefully navigates between the chaos of the universe and the supreme beauty of its idiosyncrasies that we as mere spectators in a cosmic dance have the supreme fortune of observing, and more amazing still, are sometimes called to participate within. Continue reading


Ocean’s Twelve

“Every problem is an opportunity in disguise.”

—Danny Ocean

In a nutshell: It’s swanky without trying, it’s sexy without sexualizing, it’s le hot jazz in a freezer full of cool.

Not-so-secret confession: I love Ocean’s Twelve, more than I do any other film in the series. It came as a great shock when I learned that Ocean’s Thirteen owes its existence to the cast and crew’s mutual hatred of this film. Perhaps because it has been all but abandoned by anyone who ever laid eyes upon it, I’m compelled to take in this bastard film and bestow it the distinct honour of becoming my inaugural film commentary. Continue reading