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It looks like Sandra Bullock will be going back at the Oscars for her latest film "Gravity" after a triumphant premiere in Toronto International Film Festival. "The Blind Side" actress is certainly up for an Oscar after her zero gravity performance, a great work of art in many different ways.Gravity" is a cinematic masterpiece of space odyssey that features visual complexity and great narrative that highly speaks to Cuaron's gifts as a filmmaker.

Instead of using the "Vomit Comet" - a plane that allows you to achieve weightlessness - Director Cuaron utilizes a new technology that facilitates "Gravity's" thrilling and chilling outer space scenes.In many other ways, Gravity is an astoundingly complicated movie.

It certainly doesn't hurt that our astronaut heroes are Sandra Bullock and George Clooney, but again: Cuaron doesn't use his movie stars as flashy props. The names might sell some tickets, but both actors are simply great here. Clooney is his comfortably charming self as the veteran astronaut; Bullock, as a computer genius on her first space mission, is sweet and frightened, but also sharply intelligent, noble, and brave. Sandra Bullock and George Clooney could find chemistry in any premise you can cook up, but they're an especially appealing team in Gravity.

The crew of the space shuttle Explorer is engaged in tuning the Hubble telescope in orbit and, along the way, is conducting other experiments in space. In Gravity 3D, Sudden Catastrophe - colliding with a cloud of space debris - turns a technical mission into a fight for survival. Two astronauts in a link find themselves completely alone, with no connection to the Earth and no hope of salvation. Oxygen and fuel are running out, and the only opportunity to return home alive is about to disappear if the lander burns up in the upper atmosphere. By and large, "Gravity 3D" is a simple film. There are a dime a dozen stories about people trapped in a desperate situation, seeking an opportunity for salvation and desperately clinging to life. They differ only in the place of action, the number of heroes and the presence or absence of a happy ending. Yes, and the "gravity" indicated in the title is the main binding force of the film, here in Alfonso Cuaron everything is also quite simple.

What was done in this movie, in terms of the graphical effects, is surreal. Simple story, not so realistic, but that manages to push the plot well, George's character with his funny way, comes to relieve the tensions experienced by Sandra.The film is good, don't expect anything from the plot as it is a bit simple, but visually the film is excellent.

Gravity (2013)A ridiculously visual movie. The photography is astonishing. Astonishing. Add to that a story that never relents with suspense and emotional intensity and you have a remarkable movie.The idea of being under constant stress, worrying for your main characters, should not be new if you know the director Alfonso Cuaron's previous major film, "Children without Men." And like that film, he works with his same cameraman, Emmanuel Lubezki, who has become a co-conspirator in his films. That's a good thing. This movie is a visual stunner. Yes, it has a lot of "effects" if you can call them that, but that have such visual coherence they remain logical and reasonable, even as they tip into the fabulous. It's an achievement.Sandra Bullock is the main character here, even more than her co-lead George Clooney. And she's pretty amazing. You might think she doesn't get much room to stretch her abilities, trapped in space the whole time, but this is exactly where it shows how good she is. Even when she's talking to herself she makes it real, and moving, not a canned or cheesy sentimental or filler kind of moment. Clooney is also strong, playing the more experienced astronaut to a T, including his enduring calm in crisis.Once you are done watching and leave the theater (or stand up from your couch) you might actually feel disoriented. Certainly in 3-D (and I saw it in the IMAX version) the effects are visceral. But looking back in the light of day you might also ask what the movie was about. Or rather, if it was about anything more than the one, relentless trajectory of surviving a series of near-death mishaps.The answer is no. And that's a strength. It's definitely good that the writers (including the director) did not push the sentimentality too hard (there's a little). And there is no great sense of finding God or discovering your inner self. No, this is a survival film as gripping and down to earth (haha) as the vivid "Grey." No distractions here.Except the visuals. Even in 2-D this must be something to marvel at. The 3-D was really really good, and this might seem odd to say given the theatrical mechanics of the camera and exploding spacecraft, but it's also really subtle. There are few moments (memorable ones, like Bullock's tears) where the dimensional aspects come forward. But the film basically uses the 3-D effects to enhance what is already there, nothing more. This of course, enhances a lot, but in respect to the story.The photography is remarkable for the long takes at work, including the almost laugh- out-loud spectacular first long scene where Bullock and Clooney are doing spacewalks. The intelligence of how the camera pulls you into the scenes, with fluidity and without breaks (no edits, no cuts), is both beautiful and effective. There are even moments that are so virtuosic you wonder how they even thought they could do it, let alone then do and succeed. The best example for me was watching Bullock spinning against the fixed starry sky, then the camera pulls closer and seamlessly starts to spin until the spinning becomes the same as Bullock's. The camera continues its approach, getting in on her helmet with reflections, and her face, and then finally her eye (yes that close), and with an incredibly deft wide angle swing we are in her head, looking out at the spinning universe, listening to her panic. Then the camera reverses and undoes all of this, step by fluid step. It takes a really long time, it happens without a single break (which means you are given no emotional escape), and it's both gorgeous and taut with terror. There have been some questions raised about the feasibility of the various events--the different orbits of the real shuttle and space station, or the high speed of the spacewalker in a jetpack, or getting a visual on a space station 100 miles away--but you have to just let all that go. It doesn't really matter. It's not about likelihood on any level. And the movie is so accurate in so many ways it will seem very conceivable. It's hard to imagine not liking this movie on one level or another. No, it isn't crazily imaginative like a Tarantino or Coen film, and it doesn't work its way into social or psychological significance, but what it deliberately does focus on is flawless.a postscript: be sure to see the Cuaron directed parallel short film "Aningaaq" which is recently posted all over. Google it.

Why is it called Gravity when there's zero gravity for most of the film? Wow, this was a lot of floating and spinning and deja vu. Could it have been any more dragged out? At times it felt the film wasn't moving forward at all and I wanted to give it a push. How much of the same thing can one stomach in one film??? They could easily have shot this film in a small, square blue screen room, since they hardly did anything and everything was CGI anyway. Why is a medical doctor fixing things on a space ship anyway? And why is the astronaut telling the doctor what happens when you run out of oxygen, and how you should act? The final moment as the craft entered Earth's atmosphere was quite spectacular, though...oh well, about 3 minutes or so...Yawn.

Ryan is our stand-in. The movie makes this notion plain by shifting between points-of-view within unbroken long takes. A lot of the time we're in what you might call third person limited, watching Ryan and Kowalski move through their treacherous environment and taking note of objects drifting with them, some menacing, others oddly poignant: a chess piece, a ballpoint pen, a Marvin the Martian doll, a puff of electrical flame, a lone teardrop. But then, gradually, subtly, "Gravity" will morph into first person, drifting towards Ryan and then seeming to pass through her helmet, edging closer to her face, then finally pivoting so that we're gazing out through her visor, hearing her voice and breath echo inside her suit as she looks for a space station, for Kowalski; for someone, something, anything to grab onto.

But even if we grant that the movie doesn't have the philosophical ambition of "2001", the space adventure to which it's most often compared, fairness demands we recognize that it's trying for something else. "Gravity" is reminiscent of "2001" mainly because it feels like a feature-length expansion of the sequence in which astronaut Dave Bowman gets locked out of the Jupiter spacecraft without his helmet. Beyond that, it's its own thing, and its storytelling is as simple as its visuals are complex. A surprising number of scenes are theatrically spare: just people talking to each other, telling stories, painting mental pictures for us. 2b1af7f3a8