Sean O’Connell’s “Gravity” Review Doesn’t Mince Words, to Fine Effect
By Rochus Pomponius, Adjunct Critic
Sean O’Connell’s “Review: Gravity Is The Best Film Of The Toronto Film Festival, And The Year So Far” is concerned with not wasting its audience’s time, and it succeeds in spades.
The very agreeable work determines to “start with the hyperbole” from the first, a risky move if O’Connell’s work lacked emotional payoff. But the risk indeed pays off as O’Connell moves into a brisk and buoyant feature, the kind of review that prefers to leave more to the imagination than it does to the description—a winning narrative decision.
With threads loosely woven into other works, Best Film often leaves readers to their own devices as the chronicle focuses first on overarching themes and becomes more specific. Carefully chosen vignettes followed by bursts of exegesis thrill, but the effect is tightly controlled.
As a result, O’Connell’s work is at once subdued and expressive—but the choice is left to the reader what to make of the pieces as the review concludes with an eye to the future. It delivers on its promises, and then promises more. Audiences will no doubt look forward to what’s coming.