Tag Archives: Gravity

Living in Science Fiction

Is the movie Gravity science fiction? This was the discussion a friend of mine and I were having while talking about science fiction and fantasy winning Oscars — Gravity got Best Director, but is it really science fiction?

Wikipedia, IMDb, and such call it science fiction, given that it’s, well, in space. That’s usually the threshold for science fiction.

But something in space is hardly imaginative anymore. An astronaut who just returned from spending an entire year in space. SpaceX launches rockets on the regular. Of course, there is the room for an outlandish situation; Moon was grounded, but had mining on the moon, countless others have aliens. Gravity, though, is about someone being stranded in space because of a freak debris field. For all intents and purposes, the setting of Gravity is as much science fiction as Apollo 13. That is to say, it’s not, it’s really not.

Gravity is, in many ways, a more modern Castaway. In both stories relatively unqualified people are, due to an event beyond human control, stranded in the middle of nowhere by themselves that then prove the resilience of the human spirit by making their way back to civilization. Granted, Gravity takes place over a far shorter period of time, but that’s kinda due to the fact that it takes place in modern reality where people can’t breathe in space.

In other words, labelling Gravity science-fiction is a product of an outdated standard that something in space is automatically considered science-fiction. That’s something that makes science-fiction so weird as a genre: what’s scifi might not always be scifi. We don’t consider the first episode of Sherlock science-fiction, even though its heavy use of smartphones would definitely qualify it as some sort of techno-thriller were it produced in the eighties. Same with Gravity; it isn’t science-fiction today, but to, say, the sixties it’d be what The Martian is to us today.

Science-fiction, at least the sort inhabited by movies like Moon, The Martian and Ex Machina (more fantastical fare like Star Wars and Star Trek are another matter entirely), are rooted in having some bit of futuristic technology. Moon’s got lunar mining, The Maritian’s got a Mars base, Ex Machina incredibly advanced AI. But if we were to develop any of those technologies the fiction part of the science would be closer to the events surrounding them. If we were to develop both rogue AI and hover cars, the biggest incongruity in Blade Runner would be that Atari was supposed to still be a major brand.

I think that’s one reason why I’ve always loved science-fiction — there’s this air to it of asking what if. What if there was something new that would change the world. It takes what you know and twists it to be something, well, more. It’s a dreamer’s genre. What if you could live on a submarine deep beneath the sea? What if we made contact with aliens? What if there were giant monsters trying to kill us and so we made giant mecha to fight back? What if we could carry phones out of the house and in our pockets?

So is Gravity science-fiction? If it is, it’s still a good movie, but it’s pretty low-grade science-fiction.Yes, it fully utilizes the genre’s capability for telling parables, but it doesn’t really do anything with the almighty What If. Not to mention it’s something that, given the right circumstances, could happen tonight. I realize I’m going back on what I said some time ago in another blog post (the one I just linked to), but no, I don’t really think Gravity should count as science-fiction.

‘cuz we’ve already got people in space doing space things on space stations.

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Top Nine Movies of 2013

I have weird taste. I love pulp, but I love heart, and I love a movie well done. In light of that, here are my top nine movies of 2013. Some movies didn’t make the cut. I really liked 12 Years a Slave for what it managed to do, that is create a story about slavery was genuinely moving yet not a white guilt tract. And I thought Her was fantastic as I did Star Trek Into Darkness, but all those aren’t on this list.

So what movies are? These are the ones I loved and the ones that stood out. They may not objectively be the best films of the year, but to me, they are.

(Wait, why nine movies? There are a bunch of movies I haven’t seen yet [Fruitvale Station, Desolation of Smaug, Dallas Buyers Club, etc] so there’ll be a tenth spot open should something else really stick out)

9. Rush
This movie will surprise you. It seems like an über macho racing flick. What it is is a slick drama, with more time spent on the emotional lives of the drivers than the race track. What we end up with is an engaging, beautifully shot film. And c’mon man, F1 cars are great.

8. Drinking Buddies
There’s a lot to be said about this movie, especially because it says so little. It’s a quiet film about relationships that’s gorgeously shot. It sticks to you not because a lot happens, but because it feels so true to life.

7. Much Ado About Nothing
I like Shakespeare. I like Joss Whedon. That combined with a fantastic cast (Clark Gregg and Amy Acker and Nathan Fillion and Sean Maher and Ashley Johnson and BriTANick!?) yields a really fun interpretation of the play.

6. Iron Man 3
Yeah, Iron Man 3 had to be here somewhere. I wrote a bunch on it when it came out and I stand by everything I said. It’s a blindingly fast paced movie that takes Tony Stark’s arc to a brilliant conclusion.

5. The Spectacular Now
Here’s a movie by the guys who wrote (500) Days of Summer and it feels a lot like said movie. Which is a good thing. It’s a coming-of-age story that discards a lot of the usual tropes of the genre in favor of a far more compelling, quiet story that rings of Say Anything… It’s great.

4. The Way Way Back
Yeah, another coming-of-age film. What The Way Way Back does so well is layer its film in charm and sweet without ever coming as trite and saccharine. We’ve got great performances (Sam Rockwell never disappoints) and a beautiful score that serves to create a story that feels very true.

3. The World’s End
This one could be classified as a coming-of-age story too, seeing as it’s about Gary King dealing with having to grow up. Only because this is Edgar Wright it’s a lot more than that. What we have is a moving story that’s part about friendship, part about old dreams, and part about the end of the world. It’s all balanced beautifully between drama and comedy with enough heart sprinkled throughout.

2. Gravity
As I touched on before, Gravity is what science fiction does best. It’s a story about reality, about people, set against a backdrop that heightens the entire affair. A brilliant performance by Sandra Bullock adds to the intensity of the film that really should have won Best Picture.

1. Pacific Rim
Yes. Pacific Rim. I’ve written a lot on this film since it came out and I stand by all of it. What could have easily been a big, dumb, testosterone fueled movie is instead a much more nuanced film that’s still about giant robots beating the crap out of giant monsters. Amidst all the spectacle there’s a strong emotional core about friendship and family. It’s an unusual movie rife with heart and a touch of social commentary.
There are so many reasons I’d enjoy this movie even if it was big and dumb, but because it’s so much more, because there’s so much behind the spectacle, it’s my favorite film of 2013.

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Science Fiction, Parables, and Gravity

Yes, I’m still on my science fiction apologetics kick. As I’ve established over and over again, as a genre, science fiction can say a lot that normal fiction can’t, or say it in ways it can’t. Gravity is a fine example of this. Because like it or not, Alfonso Cuarón’s masterpiece is science fiction. If Super 8 and Moon are science fiction, then so is Gravity.

Super 8, like E.T. before it, is fundamentally a movie about growing up and moving on. Moon isn’t about Sam Rockwell mining Helium-3 so much as it questions ideas about what it means to be human. Pacific Rim is as much about togetherness as it is about canceling apocalypses. Similarly, Gravity is a movie about faith,the will to live and what exactly being alive means. All these movies use the trappings of science fiction as the backdrop for their stories and to tell stories that could not be told otherwise.

Pacific Rim communicates its refusal to settle for the world we’re given though Jaegers and Kaiju. We’re presented personifications of fear and devastation and then told a story where those beasts can be stood up to and defeated. The movie’s centered around this idea, with other themes wound into it. It’s the clear-cut line of all of humanity against the invaders that allow it to be conveyed so clearly and yet so artfully. It plain works.

Moon uses its lunar setting to heighten the feeling of isolation that permeates the film. It also uses its twenty-minutes-into-the-future time period to address its central issue in a unique way. Duncan Jones’ film gives physicality to the question of identity and humanity; rather than having characters discuss it they’re forced to confront it. We, as an audience, don’t choke on the philosophizing, instead it’s presented to us through the story. Through the use of science fiction, storytellers are able to smoothly communicate themes and ideas that, in another setting, could feel heavy handed or just plain out of place. Gravity does this magnificently.

Gravity could be called Life of Pi in space without a tiger. Like Yann Martel’s novel, Gravity centers itself around people trying to survive where people aren’t supposed to survive. Also like the book, it examines the meaning of life, insofar as what’s the point of being alive? Gravity explores this theme through its two astronauts drifting in space, dying to survive. Where better to ponder God then miles above the atmosphere? Where else to examine humanity’s need for connection than in the isolation of space? By setting Gravity in space as opposed to in the middle of the ocean, a desert, or vacant island, Cuarón can hone his film to what he wants to address and mask it beautifully in a sublime story about survival. There’s little preachifying, instead its message is communicated through the story and characters.

Science fiction, like fantasy, can be a parable. Within its lack of limits we’re able to personify evil itself or present a helplessness beyond the scope of anything we know. Within it lies the capability to eloquently communicate a message unique to itself. Does all science fiction explore the depth its afforded? No. But then does all non-genre fiction?

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