This is truly appalling. It seems each and every year, film critics lose all perspective on films and filmmaking. If anyone out there believes GRAVITY to be a well-written film that reveals anything beyond the most one-dimensional and least introspective narrative created for the sole purpose of offering an audience what is essentially an overlong roller-coaster ride, then you’ve probably spent far too much time watching bad film after bad film for something like GRAVITY to even be considered for an award outside of special effects.
And maybe that’s exactly what’s happened. Critics have to see SO many films — most of them not particularly daring or good — that when they sit down to watch something that even moderately engages them, they jump out of their seat with unabashed excitement and toss awards at it. And maybe the same is true for the average audience member who doesn’t even know films made outside of the Hollywood system exist.
But that excuse doesn’t keep these annual abominations from being any less embarrassing. Anyone who has followed my posts for any length of time knows that I get my knickers all in a knot come this time of year since it is as traditional as Thanksgiving and Christmas that awards and accolades be given to at least one film that simply has little-to-nothing of value to offer. At least by my personal standards. Which I realize are not necessarily anyone else’s standards. But I’m exhausted standing by and watching daring, introspective and genuinely creative films take a backseat to movies that barely scratch the surface of the human experience, no less minimize it to a series of predictable plot points and sanitized stereotypes.
GRAVITY, while quite possibly being a great thrill ride (I, to be honest, got bored after a time), offers nothing else to a movie-goer who desires an experience that extends beyond the closing credits. Now don’t misunderstand, I definitely believe there is value in escapist cinema. Not every film need challenge us to the very core of our beings… But when we award a film Best Picture Of The Year, what exactly are we saying? Are we honoring the craft of filmmaking, of storytelling, of cinema? Or are we just saying, “Yeah, that was fun.”? Because GRAVITY’s technical achievements hide an overwhelming lack of story or character. One friend wittily commented that he recommended taking Dramamine before seeing GRAVITY just for the dialogue alone! So clearly I’m not the first or only person to point out the wretchedness of this film’s script. And yet the Los Angeles Film Critics Association bestow their highest honor on this poorly written thrill ride and effects extravaganza.
And speaking of effects, I still think the effects in Kubrick’s 2001: A SPACE ODYSSEY capture a sense of outer (and inner) space more poignantly and effectively than GRAVITY managed with all its 21st century technology. There is not a single image or sequence in Cuarón’s vision and choice of compositions that hold so much as an ounce of the insight and (yes, I’m gonna say it) gravity that a single frame of Kubrick’s opus did. And that film was made 45 years ago! Yes, I know, I’ve been told we’re not supposed to compare a fun film like GRAVITY to a masterpiece like 2001, but then I must return to my original inquiry and ask what, then, are we celebrating here exactly? George Clooney playing a dashing rogue in space? I often enjoy Clooney as an actor. He’s charming and likable and smart. But in GRAVITY, he is a constant reminder that we are nowhere near outer space; we have our feet firmly grounded in a soundstage with a PR machine inches away and at the ready. There’s not a single moment when the actor, director or writers allowed this character to be even subtly human. They all seem to be far more interested in his star-power and charm than they are in the situation this character finds himself in.
Now I could go on and on about why I believe GRAVITY is a poor film whose effects and 3D experience loosely veil its vast emptiness, but the film itself doesn’t actually deserve any more time than I’ve already given it. But it’s critics and audiences who have allowed themselves to believe they are getting something rich, something wonderful, that I take vehement issue with.
Sadly, film critics these days (of the “professional” variety) are largely made up of folks from other areas of a newspaper or magazine that have been moved over to the Film Section and found themselves suddenly being asked to present themselves as film critics. There are so few out there writing who have any real knowledge of cinema or the language and history of film. They are often no more than a collection of people who maybe like movies, but they are NOT in a position to be intelligently critical of film. And in pretending to be, they diminish the artform itself by publicly celebrating its most mediocre entries en masse. And that, to put it in the simplest terms possible, makes me sad.
After writing this post, I went back to the theaters to see GRAVITY in 3D as I had only seen it in 2D at the time of this writing. If you would like to read my thoughts comparing the two experiences of the film, please go here: GRAVITY: 2D vs 3D.