Gravity, directed by Alfonso Cuaron (PG-13, 91 minutes)
Although outer space thriller Gravity loses much of its sweeping visual impact when viewed on a small screen, it’s still a spectacular ride.
Dr. Ryan Stone (Sandra Bullock), a focused, dedicated and understandably nervous medical engineer on her first shuttle mission, joins calm, competent veteran astronaut Matt Kowalski (George Clooney) on what is supposed to be a routine spacewalk during Kowalski’s final mission. Disaster strikes, the shuttle is destroyed, and Stone and Kowalski are, for lack of a better expression, lost in space. All they have is each other, and their will to survive.
The likability of the stars keeps this sweeping space saga on a personal level, and it’s that same appeal that adds suspense and thrills to the seemingly unstoppable array of challenges that affects them. Home viewers, you don’t want to wander out of the room and miss anything; plan to settle on the couch with snacks, beverages and everything you need once the “start” button is pushed.
Muscle Shoals (PG, 111 minutes) This intriguing, somewhat inflated documentary reveals the often fascinating story of Muscle Shoals, Ala., where some of the world’s most renowned rock ’n’ roll, pop and soul artists recorded material that made them stars. Among them: Gregg Allman, Bob Dylan, Lynyrd Skynyrd, Mick Jagger, Bono, Aretha Franklin, Jimmy Cliff, Alicia Keys and Steve Winwood. The film pays homage to 81-year-old Rick Hall,considered the father of the blues-infused Muscle Shoals sound thanks to his use of a funky in-house rhythm section made up of local white guys.
Bullet (R, 82 minutes) Danny Trejo, who apparently stars in a movie every other week, takes the reins here as Frank “Bullet” Marasco, a Los Angeles-based detective who turns vigilante to take on a ruthless cartel led by Carlito Kane (Jonathan Banks), who has kidnapped the daughter of the California governor (John Savage). With Julia Dietze; directed by Nick Lyon.
Ice Soldiers (R, 95 minutes) A sci-fi thriller by Icelandic director Sturla Gunnarsson in which genetically modified Soviet soldiers, buried beneath the Arctic ice since the Cold War, are reactivated into killing machines with super-human strength. A scientist who has been searching for them for his entire life intends to stop the ensuing carnage before the soldiers complete their deadly top-secret mission. With Dominic Purcell, Adam Beach, Michael Ironside, Gabriel Hogan.
Thor: The Dark World (PG-13, 112 minutes) An entertaining and funny mix of science fiction and fantasy, Thor: The Dark World is free of the ponderousness that often weighs down most comic book superhero save-the-world tales.Two years after the events of The Avengers, Thor, Norse god of thunder and prince of Asgard, has returned to his celestial home to deal with the politics of royal life as he prepares to inherit the crown from his father and put the chaos of the universe back in order after the Battle of New York. But now an overwhelming race of dark creatures led by a vengeful enemy has other plans. With Chris Hemsworth, Natalie Portman, Idris Elba, Tom Hiddleston; directed by Alan Taylor.
Blue Is the Warmest Color (NC-17, 179 minutes) While erotic, Blue Is the Warmest Color isn’t a dirty movie. It is an imperfect, beautiful and dull study of how love works its ways into ordinary lives.The dullness provides a necessary contrast to the flood of feeling that overwhelms young working-class Adele (Adele Exarchopoulos), a high school student still fumbling through crushes. Things aren’t quite right with the cute boy (Jeremie Laheurte) she thinks she’d like to be with; she’s indifferent to his attentions. When a girlfriend teases her, something perks up.
Things begin to click into place when she exchanges glances - and more - with older blue-haired lesbian Emma (Lea Seydoux). Those initial fireworks give way to a compelling story of Adele’s sentimental education, taking her through her first real love and on to adulthood and a kind of independence.
Blue Is the Warmest Color may not be to an individual moviegoer’s particular taste. Still, it is an impressive, ambitious work that features remarkably naturalistic performances and demonstrates a genuine feel for how all of us learn to live with love, or without it, in our own messy human ways.
MovieStyle, Pages 33 on 02/28/2014