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October 02 2013


Watch Gravity Full Movie Streaming

Watch Gravity Full Movie Streaming Watch Gravity Movie easy Download Some movies are so tense and deeply affecting that they shave years off your life as you're watching, only to give back that lost time, and more, at the end. Alfonso Cuarón's Gravity is one of those movies.

Sandra Bullock and George Clooney play astronauts—one a medical engineer, the other, as he puts it, the guy who "drives the bus"—who find themselves adrift in space, cut off from all (or almost all) Earth communication. This is Cuarón's first movie since his stunning dystopian fantasy Children of Men, from 2006, and his first in 3D. After several years of 3D pointlessness, I'm thoroughly sick of the format, and you may be, too. But instead of attempting to make us believe 3D is a new language, Cuarón and cinematographer Emmanuel Lubezki use it simply to expand the emotional vocabulary of filmmaking, to explore both wonder and the thing that makes wonder possible: despair. Forget stretched-out blue people, Peter Max–colored flora and fauna, and explosions comin' at ya: To see Clooney and Bullock floating and circling one another, nearly drifting into oblivion only to be reeled back, all captured in takes so long it's as if Cuarón's camera can't bring itself to look away—this is what 3D was made for.

Gravity is remarkable because it's both a spectacle and a platform for its actors, especially Bullock. Cuarón has some fun with stock 3D effects: Wrenches, bolts, fountain pens, a little Marvin the Martian figurine complete with scrub-brushy helmet all float by at some point in that optical neverland between the screen and our fingertips. As astronauts Ryan Stone and Matt Kowalski, Bullock and Clooney float, too, but it's a different and generally more marvelous thing. In the early moments, the duo have left the comfort of their space station: She's intent on installing a very important whatchamacallit into a thingie—doing so successfully will give her a chance at better funding for her research back home. He, on the other hand, is just fooling around, trying out a new jet pack—he resembles a toy, a human Buzz Lightyear who, thanks to NASA technology, really can fly. While Stone sweats, perhaps literally—she's not feeling well on this particular day—Kowalski busies himself with being a goofball, entertaining ground control in Houston with tall tales and general waggery. (The voice you hear from the home planet belongs to Ed Harris, who played John Glenn better than anyone else could have in Philip Kaufman's superb adaptation of Tom Wolfe's The Right Stuff.) The setup makes sense: Clooney is the clown, Bullock is the grind. It's a match made in heaven, or at least the heavens.

What follows is a romance, with elements of romantic comedy and dream logic mixed in. If Clooney's is the encouraging voice you want to hear when you're trapped in the vast nowhere of space, Bullock's face is the one you want to see. An early scene shows her drifting farther and farther from everything she knows, tetherless, possibly losing oxygen. She's terrified but also astonished at what might be happening to her, and she has never looked more beautiful—Lubezki renders her skin as luminous as platinum. Even the sound of her breathing, strained and intensified, draws us close to her.

For all the dazzling technique, this really is Bullock's movie. Stone continues to talk even after contact with home has been lost: Kowalski has reminded her that even though she can't hear Houston, Houston may be able to hear her, which is as apt and unsentimental a metaphor for prayer as I can think of. And so she takes us, if not some unseen and unheard God, into her confidence with her soliloquies—we might be the last human beings to hear them, but Bullock treats them like casual conversation. She's the perfect opposite of a grand dame actress: Instead of making pronouncements, she strives to connect.

Gravity is both lyrical and terrifying, and sometimes Cuarón merges the two, sending us into free fall along with his characters. In Gravity's vision of space, all the whites are whiter and the darknesses darker: From the astronauts' point of view, the world looks like a kind of sky, a bright bowl of day turned upside-down over night. It's gorgeous, but it's also a solemn reminder that these two are just one small step away from eternal isolation. The score, by English composer Steven Price, captures that tension perfectly. Its tones are broad and low, the province of the contrabassoon and of undersea monsters, except we're not just talking about the sea or the musical staff. To go deeper into space means going farther out, and Kowalski and Stone find themselves at the edge of an ocean with no bottom, an infinity of unimaginable loneliness.

No space movie arises from a vacuum, and while there may be a mad rush to compare Gravity with 2001: A Space Odyssey, Cuarón's vision is a world apart from Kubrick's. Kubrick approached space with a cool, confident master plan; Cuarón proceeds with awe. Gravity has more in common with The Right Stuff and Brian De Palma's sorely underloved Mission to Mars. The Right Stuff isn't so much about space as about the space program, and Cuarón—who co-wrote the script with Jonás Cuarón, his son—likewise captures the mingling of duty and curiosity that motivates human beings to leave the Earth's atmosphere. And Cuarón, just as De Palma was, is alive to the empty-full spectacle of space and to the workaday poetry of the words astronauts use to describe it. To this day, detractors of Mission to Mars make fun of the picture's allegedly stiff dialogue. But have you ever heard astronauts—who are usually men of science, not Iowa Writers' Workshop grads—speak when they get that first long-distance view of Earth as a glowing orb? They grab for the simplest words, which are often the best. See Also: Watch Prisoners Full Video Online
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Watch Gravity Full Movie Online Megavideo putlocker

Watch Gravity movie Download File Watch Gravity Live Streaming George Clooney also stars in the director’s follow-up to “Children of Men”

Although it unquestionably ennobles the pursuit of space exploration, “Gravity” feels like the polar opposite of a recruitment film for NASA.

Alfonso Cuaron’s overdue follow-up to “Children of Men” captures the beauty and terror of weightlessness as accurately as one imagines is possible — or a civilian could probably tolerate, anyway. A hard-science tale that offers a uniquely poetic portrait of hope and survival, “Gravity” is a both a virtuoso technical achievement and a powerfully visceral cinematic experience.

Sandra Bullock plays Dr. Ryan Stone, a civilian engineer who joins the crew of the space shuttle on a mission to test an experimental scanning device. But after a cloud of debris destroys the shuttle, its scattered crew — including cucumber-cool commander Matt Kowalsky (George Clooney) — is forced to band together to avoid drifting off into space. As their oxygen supply dwindles and their prospects for survival grow increasingly dim, Stone and Kowalsky make a last-ditch effort to find sanctuary in a nearby space station. But even if the duo manage to make it 100 kilometers with little functional equipment and even less breathable air, they still have to contend with the impending return of the orbiting debris, whose destruction of their one refuge may scuttle any chance they have to return to earth.

In assembling the film from a concentrated series of vignettes — each of which is photographed in long, fluid takes — Cuaron creates an immediate feeling of verisimilitude, which is amplified by sound design and sustained by denying the audience a consistent horizon to remind them which way is up.

Notwithstanding the massive blue marble that occasionally cascades across the astronauts’ viewfinders as they’re tumbling through space, their environment is basically a pitch-black backdrop of nothingness, and Cuaron’s first-person perspective — including shots from inside Stone’s helmet — makes it impossible for the audience not to identify with her paralyzing disorientation.

Moreover, Cuaron’s ceaselessly inventive camerawork manages to be artistic and functional at the same time, creating set pieces of breathtaking dexterity while also showing the literal physics of how Stone navigates space in zero gravity.

Clooney manages to be a little too Clooney, oozing Danny Ocean levels of confidence and charm as the more experienced of the pair. Bullock, on the other hand, carries the weight of the film on her shoulders and maintains a delicate balance between debilitating fear and pragmatic resilience. After aging out of the ingénue roles that relegated her early in her career to playing spunky go-getters or romantic interests, she has become an increasingly — and successfully — adventurous actress, and she seems to apply her professional uncertainty in the unfamiliar territory of science fiction to the gradual empowerment of her character.

At the same time, the film works best when it communicates character through action rather than exposition, and the only time its emotional power wanes is when Stone and Kowalsky are put in the position of providing themselves with an “arc.” Because, quite frankly, their battle for survival in humankind’s most hostile environment is enough by itself to generate drama, and it needs no additional trauma or back story to give it poignancy.

That said, it’s understandable that the film chooses to supply the audience with a form of verbal expression other than panicked breathing, but with such a straightforwardly potent concept to explore, the deeper underpinnings of their behavior provide an embarrassment of riches — superfluous, but effective, dramatically speaking.

It seems a bit early to declare the film a bona fide masterpiece, but no film released in 2013 thus far has the singularity, and the impact, of “Gravity.” While “Children of Men” is far too accomplished to serve as a trial run for almost anything, this film’s sophistication feels like a direct outgrowth of the experimentation — the alchemy of a unique idea and universal feelings – of its predecessor. Because if that film brought to life a childless world and made you understand the significance of its first new birth, this one not only shows you the fear and desperation of character in a seemingly inescapable environment, but makes you feel like you’re trapped there along with her.

In other words, Cuaron’s technical virtuosity makes it possible to experience a catastrophe without actually having to endure it first hand — which is why “Gravity” may eventually enlist more people to become filmmakers than astronauts. See Also: Watch Prisoners Full Video Online
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