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| The best space film ever done. |
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| (James Cameron, director) |
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| For all its stunning exteriors, it's really concerned with emotional interiors, and it goes about exploring them with simplicity and directness. |
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| (Matt Zoller Seitz, RogerEbert.com) |
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| Thanks to Cuaron’s prodigious gifts, Gravity succeeds simultaneously as a simple classic shipwreck narrative (albeit at zero-gravity), and as an utterly breathtaking restoration of size and occasion to the movies themselves. |
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| (Ann Hornaday, Washington Post) |
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| In one form or another, motion pictures have been with us since the middle of the 19th century, but there's never been one like Gravity. What's new in Alfonso Cuaron's 3-D space adventure is the nature of the motion. It's as if the movie medium had been set free to dance in a bedazzling zero-gravity dream sequence. |
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| (Joe Morgenstern, Wall Street Journal) |
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| The telling of this simple tale of survival required cutting-edge technology, but we don't notice the bells and whistles: They're on hand to immerse us in an unforgettable personal story. |
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| (Claudia Puig, USA Today) |
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| Gravity is out of this world. Words can do little to convey the visual astonishment this space opera creates. It is a film whose impact must be experienced in 3-D on a theatrical screen to be fully understood. |
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| (Kenneth Turan, Los Angeles Times) |
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| A wildly suspenseful zero-g tale of survival 350 miles beyond the ozone layer, Alfonso Cuaron's space saga is emotionally jolting - and physically jolting, too. |
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| (Steven Rea, Philadelphia Inquirer) |
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| Gravity, it turns out, is a great film, a technical and storytelling masterpiece that is buoyed by stunning visuals and which functions both as a ripping, tension-filled yarn and as a profound and life-affirming work of art. |
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| (Mike Scott, New Orleans Times-Picayune) |
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| See Gravity in theaters, because on television something will be lost. Alfonso Cuaron has made a rare film whose mood, soul and profundity is bound up with its images. To see such images diminished would be to see a lesser film, perhaps even a pointless one. |
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| (Mick LaSalle, San Francisco Chronicle) |
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| A thrill ride with a brain. |
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| (Joe Neumaier, New York Daily News) |
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| You can’t exactly call Alfonso Cuaron’s Gravity the best film of its kind, because it has no kind: It stands alone as an extraordinary balance of 3-D effects, heroes-in-jeopardy storytelling and emotional depth. |
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| (Lawrence Toppman, Charlotte Observer) |
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| The miracle of the movie is the way that director Alfonso Cuaron, using special effects and 3-D with a nearly poetic simplicity and command, places the audience right up there in space along with them. |
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| (Owen Gleiberman, Entertainment Weekly) |
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| Gravity isn’t as ambitious as 2001, but then, what is? It is, however, absolutely a worthy successor, a masterpiece of hard science fiction, and the movie to beat at this point for next year’s cinematography and visual effects Oscars. |
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| (Marc Mohan, Portland Oregonian) |
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| Gravity is a game-changer like Avatar in the realm of digital 3-D special effects, inventing trickeries to be applied by future filmmakers and possibly never improved upon. Yet its spirit is closer to Avatar's smarter descendants, Hugo and Life of Pi, with the gimmicks embellishing, not driving, the material. Less Cameron, more Kubrick. |
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| (Steve Persall, Tampa Bay Times) |
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| Gravity shows us the glory of cinema’s future. It thrills on so many levels. And because Cuaron is a movie visionary of the highest order, you truly can’t beat the view. |
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| (Richard Corliss, Time) |
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| At once the most realistic and beautifully choreographed film ever set in space, Gravity is a thrillingly realized survival story spiked with interludes of breath-catching tension and startling surprise. |
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| (Todd McCarthy, Hollywood Reporter) |
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| The director’s long-overdue follow-up to Children of Men is at once a nervy experiment in blockbuster minimalism and a film of robust movie-movie thrills, restoring a sense of wonder, terror and possibility to the bigscreen. |
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| (Justin Chang, Variety) |
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| The fact that Cuaron’s film strives to be something more than thoroughly harrowing — no small feat in and of itself — solidifies its existence as a marvel of not just technical craft but sheer imagination as well |
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| (William Goss, Film.com) |
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| Gravity is not a film of ideas, like Kubrick's techno-mystical 2001, but it's an overwhelming physical experience - a challenge to the senses that engages every kind of dread. |
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| (David Denby, New Yorker) |
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| For all of Mr. Cuaron’s formal wizardry and pictorial grandeur, he is a humanist at heart. |
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| (A.O. Scott, New York Times) |
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| Gravity is a major filmmaking accomplishment, no doubt, although it would have been interesting to see how it might have played sans dialogue. Unthinkable to Hollywood, sure, but stil.… Kowalski and Stone’s backstories and banter are, in the end, secondary to the film’s jaw-dropping visuals. |
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| (Marc Savlov, Austin Chronicle) |
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| Gravity is a celebration of the primal pleasure of movies: It shows you things you’ve never seen before, transports you out of the theater and out of your head, tricks you into believing what’s happening on the screen is happening to you. |
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| (Rene Rodriguez, Miami Herald) |
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| Bullock and Clooney make their peril our peril in this absolutely gorgeous, moving and sometimes exultant reminder that the real terrors of space are scary enough, without invented bug-eyed monsters thrown in. |
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| (Roger Moore, Movie Nation) |
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| This is one of the most stunning visual treats of the year and one of the most unforgettable thrill rides in recent memory. |
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| (Richard Roeper, Chicago Sun-Times) |
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| A science-fiction thriller of rare and diamond-hard brilliance. |
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| (Robbie Collin, Daily Telegraph) |
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| Pop quiz, hotshot: you’re cut loose 375 miles above the Earth, oxygen is running out, communication is lost, catastrophic satellite debris is heading your way and you have no hope of rescue. What do you do? What do you do? The answer is the film of the year. |
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| (Ian Nathan, Empire) |
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| A stunning space saga that takes off for new technical frontiers without leaving its humanity behind. |
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| (James Mottram, Total Film) |
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| The film thrums with an ongoing existential dread. And yet, tellingly, Cuaron's film contains a top-note of compassion that strays at times towards outright sentimentality. |
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| (Xan Brooks, Guardian) |
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, George Clooney 
