Peter Bradshaw’s “Gravity—Review” Hits High Highs and Low Lows
By Eugenius Antonius, Senior Critic
Peter Bradshaw’s “Gravity—review” is a sprawling piece of work that seeks to encompass within its grasp a number of disparate elements. Some work, some don’t. When things are working, - review is a very enjoyable experience. When things start getting gunked up, its far from it.
Bradshaw’s work is at its most compelling and original when it discusses Gravity‘s setting in the present day. There’s something new and intriguing about the parallels and comparisons that Bradshaw outlines, something that sets the work apart from its peers.
The worst aspect of - review is undoubtedly how it’s build. The Guardian’s reviews have always been notoriously thin, but they also tend to be short enough to still feel compact. By combining - review‘s length with its constant stream of interruptions, the text is divided up into disjointed parts. Putting them back together isn’t as seamless as you’d hope or expect.
Bradshaw spends way too much time on movie analogies, most of them finish feeling pointless and unexplored. It reads as an attempt to quash the discussion before it begins. Bradshaw is clearly an expert, so he must be right. He takes the inexplicable stance that the scientific inaccuracies of the film are of “no matter” while pointing himself at plot holes and laughable moments that he apparently thinks do “matter.”