Cynics may think of Gravity as any ordinary sci-fi spectacle that’s heavy on visual effects and light on plot and character development. Some might also think that, based on Gravity‘s hectic trailer, it’s a mishmash of generic action and Sandra Bullock’s screaming for 2 hours. But what most people don’t realize is that Gravity‘s most imperative qualities come in the hands, eyes, and ears of prolific Mexican director Alfonso Cuarón. Known for his visually and thematically compelling films, such as Pan’s Labryinth, Harry Potter and the Prisoner of Azkaban, and Children of Men, Cuarón uses his gifted writing, directing, and producing to boldly craft Gravity. Based on responses from numerous critics and audiences, the result is both satisfying and stunning.
Gravity proves to be a fantastic addition to the sci-fi thriller genre with mesmerizing visuals, intimate cinematography, and intriguing storytelling. At moments, its visual grandeur reminisces to other acclaimed space films, such as 2001: A Space Odyssey and Solaris. But one major difference between Gravity and other space films is the centralized and meditative performances on the story’s two protagonists, the neurotic rookie astronaut Ryan Stone (Sandra Bullock) and the talkative space veteran Matt Kowalski (George Clooney). While reconfiguring the Hubble Space Telescope adrift in space, Stone and Kowalski are hit by debris from a damaged Russian space station, setting them into a series of unfortunate events. Without going into much plot, as to not ruin the rest of the film for interested moviegoers, Gravity‘s minimalist approach is much more unique and unconventional than any other space film. The film juxtaposes both the engrossing splendor and agonizing terror of being in space and that nothing in space is controlling you but “gravity.”
Despite the surprising 1 hour-30 minute running time, Gravity‘s scenes are lengthy and detailed, as a means to draw and pull (pun intended) the audience into the story. Though it could look and sound boring for some, Emmanuel Lubezki’s brilliant cinematography concentrates on using different camera angles to keep each scene both entertaining and alluring. In addition, instead of containing Bullock and Clooney in zero-gravity rooms during production, Cuáron shot most scenes using CGI and inside a mechanical rig attached to the actors and the camera. Although the use of CGI is common in most action films nowadays, with the inclusion of 3D, both come with great use in Gravity‘s captivating special effects.
Thematically, Gravity draws upon spiritual and psychological motifs, such as survival, fear, and resilience in the duration and aftermath of catastrophe. Cuarón’s practical and realistic portrayal of Bullock and Clooney’s characters embody clarity of mind and knowing what to do in the face of danger and isolation from everything and everyone else. Though these protagonists are the only two characters for most of the film, it actually cultivates a much more insightful perspective on people involved in perilous situations, whether it’s in space or down on Earth. Bullock particularly evokes a lost and fearful but ultimately durable character similar to Sigourney Weaver as the pivotal character in the Alien franchise. Of course, these themes are apparent through the film’s visuals and music score and help contrast the film’s multiple perspectives, the dichotomy of Earth’s beauty with the dark depths of space, as well as the silence of the space with the sound of the score. Furthermore, Gravity‘s modest yet perceptive script, written by Cuarón and his son Jonas, is another strength of the film’s qualities. Though some of the dialogue tends to be slightly melodramatic and cheesy, it helps build the film’s suspense and emotional depth for the most part.
Gravity succeeds on almost every level, not just as an aesthetically powerful sci-fi film, but as an emotionally compelling survival story, as it grasps universal ideas on persistence in the midst of doom. It could just be another visually spectacular film that most moviegoers would regard as just OK or dull, but with Cuarón’s intuitive style, Gravity should surpass expectations.
Watch the trailer for Gravity here:
It’s amazing to see how an unlikely rapper turn into one of the decade’s most popular and celebrated hip hop artists. Drake’s journey has led to many roads that include Grammy awards, rap feuds, and platinum records. But he’ll ultimately be remembered several years from now not just as that award-winning, record-selling rapper, but as an individual who helps bring humanistic and emotional issues into hip hop, instead of solely centering on wealth and fame.
Suggested Tracks: “Tuscan Leather,” “Started from the Bottom,” “Worst Behavior,” “Hold On, We’re Going Home,” “Too Much”
It’s been more than a week since hip hop icon Kanye West released his sixth studio album, Yeezus. Around the same time, Kanye’s daughter, aptly named “North” West, was born. Though the coincidence of his album release and his newborn’s birth have nothing to do with one another, there is some strange significance. West recorded his new album, Yeezus, sporadically between last summer and over a mere 15-day period in Paris this year, which indicates that West might’ve had some apprehension making music while caring for girlfriend Kim Kardashian. In addition, Yeezus was neither promoted commercially nor did it advertise a lead single, much like electronic duo Daft Punk for their recently acclaimed comeback record Random Access Memories. Interestingly, Daft Punk also became some of the many unconventional producers and guests on Yeezus, which included Bon Iver’s Justin Vernon, Chief Keef, Kid Cudi, TNGHT, Travis $cott, Frank Ocean, King L, and music mogul Rick Rubin. Although some rumored musicians, such as Skrillex and Odd Future, didn’t appear on Yeezus, the aforementioned guests and producers still make up an extraordinary group of experienced virtuosos, some of whom have worked with West in the past, particularly on 2010’s universally lauded My Beautiful Dark Twisted Fantasy. On Yeezus, West delves deeper into the musical darkness and lyrical genius that Twisted Fantasy brought forth in 2010. Early reports suggested that Yeezus would be his “darkest disc yet.” Fans were most likely worried about the troubling news of a Kanye West album much different from his other LPs, despite West’s widespread recognition, media gravitation, and mesmerizing artistic integrity. However, because Kanye is also a mastermind at making music and a persevering collaborator, Yeezus has trascended expectations as another great Kanye West record and one of this year’s best hip hop albums.
Moody, abrasive, and unrelentingly provocative, Yeezus is not only Kanye West’s best work to date, but also a haunting, modern example of racism, materialism, sexuality, pop culture, and the perils of fame. Musically, Yeezus incorporates a much more raw sound, using acid house synthesizers, industrial music, Jamaican dancehall, and experimental post-punk. Artistically, Kanye applied a much more minimal approach to create Yeezus, its album cover being a regular CD packaging with bright red tape on the exterior. Though it was a surprise to many, the cover represents Kanye’s raw emotion, which he successfully displays throughout the album’s 40-minute length. Lyrically, West comes off angrier, more explicit, and much more sexually perverse than before. On “New Slaves,” the first unofficial single off of Yeezus, West extrapolates racial tension and misogyny in both a vivid and controversial way. Yeezus’ lyrics and music became even more startling when West performed both “New Slaves” and “Black Skinhead” on the Saturday Night Live season finale. As Daft Punk’s Thomas Bangalter described when working on the album, Kanye was “rapping – even screaming primally,” especially on “Black Skinhead.” Fortunately, “Black Skinhead” is a powerful and breathtaking foot stomper, encompassing tribal drums and those raw, primal screams Bangalter described.
The rest of Yeezus is equally as edgy and unlike anything Kanye has made before. Take the album’s third track, “I Am a God,” which, frankly, speaks for itself. It may be the most controversially titled Kanye song, but in a way, it’s a bit amusing, considering that Kanye has perhaps the biggest ego in the hip hop industry. It’s already enough that the rapper named his own album “Yeezus,” comparing himself to the Biblical figure (a la John Lennon), and that the only official guest on the track listing is God. But what most mistake as shock value and blasphemy is actually Kanye’s own self-deprecation of being a celebrity, somebody who is bigger and better in modern day society, but is self-obsessed and dangerous. He even boasts his braggadocio on the classic line, “Hurry up with my damn crossants!” However, twice on the song we hear those primal screams again from “Black Skinhead,” only louder and scarier. These booming shrieks evoke Kanye’s illustration of a supreme celebrity, like himself, descending into madness. Maybe that explains his apprehension over the birth of his daughter, but it seems too odd to call it a “mid-life crisis” just yet because Kanye’s energy never wavers, both live and on Yeezus.
Throughout the album, he continues to push his vanity and musical influences over the edge. Some examples include the funky, acid house thrill ride opener “On Sight,” and the bleak, ambient “Hold My Liquor,” which features Atlanta rapper Chief Keef and Justin Vernon. The Bon Iver vocalist also stars on the overtly sexual track, “I’m in It,” alongside Jamaican musician Assassin. While both of their lyrics are incomprehensible, Kanye’s verses are wry and witty, but occasionally go into contentious territory especially on lines like “eatin’ Asian p***y, all I need was sweet and sour sauce.” Several female fans and non-Kanye West fans have described “I’m In It” as misogynistic and emotionally traumatizing. But really, misogyny is just the bizarre art of being a hip hop artist. The only difference with West is that you can’t take something like “I’m In It” too seriously.
The second half of Yeezus continues to stock up on complex lyrics, ingenious production, and a sound reminiscent of his previous albums. Kanye’s Auto-Tuned vocals on the 6-minute centerpiece “Blood on the Leaves” recall the Auto-Tuned songs and dark themes from his fourth record 808s and Heartbreak. The song also features unusually paired yet exemplary samples from R&B singer Nina Simone’s soulful “Strange Fruit” and trap duo TNGHT’s ardent “R U Ready.” “Guilt Trip” is another similar 808s track, comprising of video game synthesizers, Auto-Tune, and morose vocals from rapper Kid Cudi. “Send It Up” is another noisy, sexually graphic song that features raps from King L. Yeezus closer, “Bound 2,” sounds much like the Southern hip hop from his first three records, The College Dropout, Late Registration, and Graduation, respectively. In addition to the sound, Kanye’s themes of family and unrequited love appear on “Bound 2,” as well as a repetitive Jackson 5-sounding sample and R&B singer Charlie Wilson’s exquisite vocals. It might not be a great outlier on Yeezus, but it reminds us of Kanye’s softer side and nostalgia.
Yeezus is definitely nothing anyone has listened to before, speaking on behalf of critics and Kanye’s fans. It extends the boundaries of hip hop and rap and carefully integrates various music genres, thanks to its exemplary collaborations. Despite the album’s meager amount of material (only 10 tracks), there’s a lot leftover, according to producer Rick Rubin. This could mean that nobody is really ready for what Kanye will unleash. All we know is that the new father will always keep us on our toes and that he keeps the virtue of unpredictability intact.
Top Tracks: “On Sight,” “Black Skinhead,” “I Am A God,” “New Slaves”
Man of Steel‘s director, Zack Synder, has had some critical setbacks with his earlier movies. Despite the commercial breakthroughs of 2007’s 300 and 2009’s Watchmen, the 47-year old filmmaker had trouble finding a way to evoke his interest in sci-fi thrillers and make it into a compelling and visceral cinematic experience. As a result, he made 2010’s underwhelming Owls of Gahoole and 2011’s vapid Sucker Punch. However, after talks of a Superman reboot in 2008, Synder found his way back in the movie industry with a sense of optimism, ethos, and stability, after he collaborated with The Dark Knight trilogy director Christopher Nolan. Together, they’ve formulated what would become one of this summer’s most highly anticipated blockbusters, Man of Steel.