In Spite of Length, Kirk Honeycutt’s “Gravity” Review Dazzles
By Marcus Julianus, Associate Critic
Some movie reviewers rely heavy on abridgment and recap, while others set out to tell a story. Kirk Honeycutt has long fallen into the second class, and in his lengthy but phenomenal “Gravity,” the story he tells dazzles. This is entertainment of a high order.
Of the body of reviews this Gravity season, none of it has seemed as imperative as Honeycutt’s Gravity, which is keen on the fact that things are changing—and they’re never going to be the same again. The alarming chord he strikes in his opening sequence reverberates like the decay of a gong throughout the work.
Honeycutt’s rhetorical move in the first half of his feature is truly brilliant: he details eloquently only the first chapter of an incredible journey, with a dose of unlikely (but fitting) inspiration from Jack London. Gravity isn’t interested in anymore storytelling from this point, not in the conventional sense, as he moves onto explore the first half of his work from a slightly less affected, more technical perspective.
When the narrative shifts into meta-narrative, it begins sounding more like Philip K. Dick or Pynchon than London—the author’s voice here is strong, but what speaks more strongly are the images he draws. Future subversions of form aren’t talked about with feigned credulity. In Gravity they are the future. Get ready.