The ‘anti-Interllar’. Sure, it isn’t really anything like the Christopher Nolan film (thank God), but it is a sort-of-sci-fi, very-spacey, somewhat-arty film. It shares some DNA with Interstellar. It is definitely more my kind of thing.
Where Interstellar bends the rules of reality to artificially create drama via cheap twists and turns, Gravity relies on the fundamentals to keep your heart racing. Space is dark, deep and scary as fuck. Sci-fi has a habit of making space seem like some sort of artistic blank canvass on which a universe can be drawn. Gravity shows it for the oppressively black vacuum it really is.
That landing sequence. The constant building of tension. The score gradually building as you sit on the edge of your seat, wondering if this character is going to survive. Absolutely brilliant stuff.
Favourite bit: The score. Stephen Price’s almost silent score, building into the titular orchestral piece at the end, is key to building the atmosphere of this film… and it was a test score!
Thirty Before Thirty 