When Michael finished watching "Gravity," the first image that came to his mind was still Roger.
Unlike with "Inside Llewyn Davis," this time it wasn't because of the film's theme or core message, but because of the sheer cinematic charm Alfonso Cuarón had imbued into the film—a charm that belongs uniquely to the movie screen.
Michael was certain that Roger would have given this film a standing ovation; the lighting, the composition, the performances, the philosophical depth, the immersive experience… all of it showcased the unique allure of cinema.
Perhaps "Gravity" is not flawless, but its distinct charm is dazzling—even more moving and magnificent than "Hugo." Martin Scorsese tells a story about a cinephile, while Alfonso Cuarón presents *all* the reasons to be a cinephile on the big screen.
Every true film lover should go to the cinema and lose themselves in those ninety-one minutes of pure cinema—even if they don't typically enjoy this kind of film or this specific story. The viewing experience is irreplaceable, surpassing even "Avatar" and truly pushing the visual and sensory art of film to its limit.
And then there is the astonishing Renly.
Just imagining Roger Ebert's expression after watching "Gravity" makes Michael want to join the applause himself.
In fact, Michael had already given Renly the highest praise at Cannes: "The best performance of his career!"
That was no empty compliment. Michael is not a critic who hands out "best" accolades lightly, but when he believes it, he does not hold back. In "Inside Llewyn Davis," Renly breathed a breathtaking soul into Llewyn Davis, and even now, Michael can vividly recall Llewyn's lonely, desolate gaze.
Objectively speaking, Michael still prefers Renly's performance in "Inside Llewyn Davis"—more restrained, more nuanced, showcasing the finest qualities of his acting through his eyes and delivery. Yet Michael must also admit that the performance in "Gravity" was more demanding and profound. Those seemingly incidental details gave the character greater depth, resonating with the film and elevating its themes.
In terms of sheer difficulty and execution, the performance in "Gravity" is even more impressive!
After the screening, Michael pondered the matter for a long, long time before finally putting pen to paper.
"At Cannes this year, I said the Coen brothers' choice of Renly to play Llewyn Davis was perfect. Now, at Venice, I will say again: Alfonso Cuarón's choice of Renly to play Ryan Stone was also perfect."
In today's Hollywood, there are countless top-tier actors who could bring a different charm to Ryan Stone—but none of them are Renly Hall.
In Renly's performance, his eyes are subtle and complex, filled with the weight of experience and the turbulence of life. His understanding of the character, the plot, and existence itself is profound and delicate. The most unforgettable moment in the film—a seemingly impossible choice—is conveyed in two separate scenes where Renly reveals the profound meanings of disillusionment and rebirth.
From hope to despair, and from despair to rebirth, all that weight rests on a single gaze. Seemingly simple, yet immensely powerful; seemingly ordinary, yet rich with life's vicissitudes. Behind that façade, Ryan Stone carries the full meaning of life.
Yes, the film has the shell of a popcorn movie—a story simple enough to summarize in one sentence, unfolding entirely within the framework and rhythm of a commercial film. Yet it is infused with the essence of philosophical art-house cinema, with complex and profound reflections conveyed entirely through Renly's performance.
It contains all those meditations on the origin of life and the nature of existence.
Even upon repeated viewings, Renly Hall's performance retains its soul-stirring power!
Was this the best performance of Renly's career? I don't wish to make definitive statements again, leaving that instead to the audience's comments and feedback. But this was undoubtedly the most groundbreaking challenge of Renly's career, and he once again proved his talent and capability. The EGOT achievement may have seemed too rapid, too astonishing—but no one can deny his excellence. An excellence that is, frankly, maddening.
Thank God he is alive.
After much deliberation, Michael once again showered Renly with unparalleled praise. His final sentence carried a double meaning: on one hand, it alluded to Ryan Stone's eventual survival; on the other, it declared Renly Hall the finest actor of our time.
Overall, Michael's reaction may not have seemed as frenzied as at Cannes, but a careful reading reveals that his admiration and appreciation for Renly have reached new heights. While his personal favorite may still be "Inside Llewyn Davis," Renly is undeniably the best actor of our era—and the classic status of "Gravity" remains undeniable.
It is no exaggeration to say that, from a comprehensive perspective, "Gravity" is Renly's most outstanding work to date—one that may even achieve the status of a timeless classic.
After writing his review, Michael couldn't help but think of Roger again, and he could imagine how Roger would have assessed the situation.
"I love his performance, but I'm not fanatical about it. Why does Hollywood always favor that kind of extroverted acting these days? 'Gravity' created more dramatic twists and turns, giving the performance room to breathe and deeper layers. Does that make it better? Only those who truly understand and love film can appreciate how excellent Renly's performance in 'Inside Llewyn Davis' truly was."
"But… I can't deny that Renly's performance in 'Gravity' was still enviably outstanding; age seems to have no effect on him whatsoever. I can't believe what I've missed—I missed 'Inside Llewyn Davis,' and now I've missed 'Gravity.' God, I'm really starting to miss those days back on Earth."
Michael and Roger had looked ahead to Renly's career with both anticipation and concern—worried that the glare of EGOT might cause Renly to lose his way. Back in March, Roger had sincerely hoped Renly would not chase another EGOT, because he genuinely looked forward to the young actor creating more enduring brilliance.
But now, with EGOT achieved, Renly continues to advance steadily, step by step. Roger would have felt both gratified and regretful. That heart which loved cinema so deeply could beat no longer.
The Venice night was bathed in cool, bright moonlight, but Michael's thoughts began to churn. He couldn't help but wonder: what if Renly won his second Best Actor Oscar this year?
He knew the thought was absurd. Not only would Renly turn just twenty-four in two months, but the fact that he reached the summit only two years ago and achieved EGOT within three had already placed him at the pinnacle of Hollywood. To aim for a second Oscar now would seem too hasty, too impatient.
Even Michael himself didn't wish for it. He would prefer other actors to be recognized—not because Renly is too young, but because he hopes the performances of other talents might be richer, more varied. Seeing the same face honored repeatedly is not beneficial for the film industry as a whole.
Yet Michael couldn't help but picture it in his mind, along with Roger's likely grumbling. Before he knew it, the night had deepened, the gentle sound of waves and cool moonlight mingling with the aroma of coffee. It was another sleepless night—a night of cinematic excitement keeping him awake.
Perhaps he should pour himself a glass of whiskey.
After completing the full review, Michael gave it a perfect score of 100 without hesitation.
Although the Venice Film Festival's official program uses the same four-star rating system as Berlin and Cannes, critics still rated and reviewed "Gravity" on the usual 100-point scale since the film was not in the main competition.
Don't assume perfect scores are commonplace. In fact, this was only Michael's third perfect review this year—the first was for "Life Is Beautiful," the second for "Inside Llewyn Davis," and this was the third. Rarity signifies caution, professionalism, and above all, value.
It clearly expresses Michael's personal admiration and affection for "Gravity."
This review from *The Hollywood Reporter*, because it contained no spoilers and offered deep insight, received widespread attention and circulation in North America, garnering countless praises and responses.
Later, the magazine's editors submitted Michael's work for the Pulitzer Prize, sending a package of fifteen articles including this review. Although he did not win, it remained an important milestone in Michael's advancement as a senior film critic.
The sentiments and dreams of film critics are also the source of their passion.
Returning to the Venice premiere of "Gravity," *The Hollywood Reporter* was just the beginning. With the debut of the first major media review, others gradually followed. Despite the lack of an official program or summary, audiences, fueled by anticipation, actively sought out relevant information, gradually piecing together the full picture.
The main competition of the 70th Venice Film Festival had not yet officially begun, but "Gravity," as the opening film, had already ignited a frenzy of critical acclaim. Perfect scores! Perfect scores! And more perfect scores! It is rare for a commercially appealing opening film to receive such unanimous perfect ratings.
With a streak of fifteen perfect scores, people could truly feel the overwhelming heat emanating from Venice.