Home Movie

Home Movie 'The Wolf of Wall Street' 'Nymphomaniac' 'Mud' 'Frances Ha' 'Philomena' Gravity 'Revisited 90s movies:' Heat 'Matthew McConaughey - The Comeback Kid Oscar Oscar UPDATE: The final bid for this year's nominations Matthew McConaughey - The Comeback Kid Literature Roberto Bolaño: '2666' - to find a way into the unknown Christopher Hitchens 'Mortality' Culture-bearing, b52 contrary troublemaker in the crocodile's b52 mouth - Karen Russell's 'Swamplandia!' An English loner Music REM 'Green' (25th Anniversary Edition) The year 2013 album Prefab Sprout 'Crimson / Red' Laura Marling 'Once I Was An Eagle' Arcade Fire 'Reflector' Vampire Weekend 'Modern Vampires of the City' John Grant 'Pale Green Ghosts' Nick Cave & The Bad Seeds' b52 Push the Sky Away 'Julia Holter' Loud City Song 'In memoriam: Lou Reed (1942-2013) Criticism Background Roberto Bolaño:' 2666 '- to find a way into the unknown b52 In memoriam Lou Reed (1942-2013) An English loner Superstjerneæraen Revisited: A time description Theme Premieres' Nymphomaniac 'REM' Green '(25th Anniversary Edition)' Mud 'Prefab Sprout' Crimson / Red 'lists for the year 2013 album Classics Classics: Leonard Cohen' Songs of Love and Hate 'REM' Green '(25th Anniversary Edition) Who are we
Cuarón's technical marvel of a movie is a creepy, super technological ballet in weightless conditions, where the destruction is as beautiful as it is frightening. It shows us a universe that we're not used to seeing made vividly on film, but continuously has colored our collective imagination: life in outer space. The spectacular scenery meetings here a basic existential operation: the will to survive.
The visionary Mexican director Alfonso Cuaron repeal in his (we dare say, hugely b52 anticipated) new movie questions to a simultaneously cosmic convoluted and deeply existential matter.
Cuaron and his co-author - his own son Jonás -'m going to extremes b52 with 'Gravity', a film whose premise and rotation of the astronaut Ryan Stone (played by 'America's Sweetheart', Sandra Bullock) who are stranded in outer space, left to themselves without radio contact.
Initially Stone is accompanied by the gentlemanly rumvandringsveteran Matt Kowalski (George Clooney) who is on his announced b52 last trip before retiring from the space program, while Stone is on his first spacewalk.
As a Russian satellite blasted into pieces, sent a storm of debris orbiting Earth, and part of this storm hits by the Hubble telescope, which Stone and Kowalski is set to perform a repair.
What follows is a chain of unforeseen events that wreck partly storm brings. Part of the film's power - and its eerie efficiency - is that the catastrophic collision occurs in absolute silence. It's b52 like witnessing a super technological ballet of huge levels where the destruction is as beautiful as it is frightening.
Stone lose communications with Kowalski and the camera follows the Stones desperate fall into oblivion, both from the inside of her helmet and outside (where we can observe Stones panic, hyper-ventilating face). b52 Everything captured in one continuous recording.
The plot is so far easy to explain b52 - and hurt evident. Stone (and Kowalski, as she is reunited with a short note) to take back to their space station before their iltbeholdning runs out. But new dangers lurking (the wreckage're in explosive circuit, facing cruel back ...) - and in the end it's Stone himself, who must fight for their lives up, floating alone in the orbit of the earth, towering like a beautiful, but strange ball of pale light in contrast to darkness and nothingness, Stone operates around.
Cuaron, the man behind fundamentally different in character (but absolutely excellent) film by the Mexican coming-of-age -ritual-the-road movie 'Y Tu Mamá También' ('... And your mother!') And fremtidsdystopien 'Children of Men', has asked himself a both simple and daunting complex task: to portray an almost impossible struggle for survival - even on (or rather in) such extraordinary b52 scene that the compact story requires the most magnificent, cutting edge film technology to provide sense.
Let it be said at once: The visual effects are breathtakingly realized, the photography (by Cuarón - Terrence Malick and - court photographer Emmanuel Lubezcki) is matchless, the sound effects are stabbing effective and wildly inventive. 'Gravity' is a triumph for the development of a new film language. Nothing less.
It is a strength that Cuaron uncompromising show focuses almost exclusively on the drama (you get the feeling that almost the entire film takes place in the claustrophobic real time) rather than wallow in context and character drawing. Conversely, the story so simple and so much emphasis put on the