Sandra Bullock is once again riding high with Oscar buzz, this time for her performance the new film "Gravity" (out October 4). Here she arrives for the opening ceremony of the 70th Venice Film Festival and the screening of the movie at the competition in August. It's been a charmed life and career for the actress... 
In 1992, Bullock costarred with Tate Donovan in the comedy "Love Potion #9." The pair dated for a bit after filming ended. 
The actress portrays Agnes von Kurowsky in the 1996 drama "In Love and War." 
Bullock and John Travolta have some fun in Las Vegas after being named the 2007 National Association of Theatre Owners' female and male stars of the year. 
Bullock plays a single mom embarking on a new romance in the 1998 movie, "Hope Floats." 
Also in 1998, Bullock and Nicole Kidman star as witches in the film "Practical Magic." 
Bullock and Ben Affleck star in "Forces of Nature" in 1999. 
A role in "28 Days" in 2000 allows Bullock to further display her acting chops as a woman forced to enter rehab. 
Michael Caine walks with Bullock in a scene from the 2000 film "Miss Congeniality." 
"Divine Secrets of the Ya-Ya Sisterhood" brought Ellen Burstyn, Maggie Smith, Fionnula Flanagan, Bullock and Shirley Knight together in 2002. 
Hugh Grant and the actress have chemistry in 2002's "Two Weeks Notice." 
Bullock suffers as Jean Cabot in the critically acclaimed 2004 drama ''Crash." 
In 2005, Bullock reprises her role as Gracie Hart in "Miss Congeniality 2: Armed and Fabulous." 
Former "Speed" co-stars Keanu Reeves and Bullock reunite in 2006 for the romantic drama "The Lake House." 
In 2007, Bullock steps out with her then-husband, Jesse James, at the premiere of "Premonition" in Hollywood, California. 
The actress stars as Linda in the psychological thriller "Premonition." 
Ryan Reynolds and Bullock shake things up in 2009's "The Proposal." 
Mary Horowitz (Bullock) thinks she's in love with cable news cameraman Steve (Bradley Cooper) in the 2009 film "All About Steve." The film went on to be nominated for five Golden Raspberry Awards in 2010, with Bullock winning for "worst actress" -- ironically, the same year she won the best actress Oscar for "The Blind Side." 
Lily Collins, Bullock, Tim McGraw, Jae Head and Quinton Aaron say grace in a scene from "The Blind Side." 
Bullock accepts the best actress award for "The Blind Side" during the 82nd Annual Academy Awards in March 2010 in Hollywood, California. 
Bullock stars as Linda Schell and Thomas Horn as Oskar Schell in the 2011 drama "Extremely Loud & Incredibly Close." 
Bullock and her son, Louis, are spotted on the streets of Manhattan in 2011. 
Melissa McCarthy and Bullock bring the funny as law enforcement partners in 2013's "The Heat." 
Bullock is set adrift in space in the 2013 thriller "Gravity." 
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- Sandra Bullock and George Clooney star in "Gravity"
- Reviewer says ebb and flow of the story is deeply organic
- EW gives it a grade of "A"
(EW.com) -- In "Gravity," George Clooney plays a veteran astronaut who looks amusingly like Buzz Lightyear, and Sandra Bullock is a medical engineer who is taking her first voyage into space and is having a hard time keeping her lunch down.
They float around in the inky silent darkness, bobbing and gliding, with Earth spread out beneath them like a giant luminescent screensaver. Even when tethered to a spacecraft, the two are really out there, exhilaratingly and terrifyingly free. The miracle of the movie is the way that director Alfonso Cuarón, using special effects and 3-D with a nearly poetic simplicity and command, places the audience right up there in space along with them. Gravity is an awesome technological daydream of a movie, one that might be classified as science fiction, except that it isn't a futuristic fantasy. It's a tale of disaster and grief and survival rooted in the possibilities of space travel as they exist today. Part of what makes the film so thrilling is that it gives its characters no easy outs.
The famous 10-minute tracking shot in Cuarón's "Children of Men" was a bravura act of staging, yet watching it, you could tell that it was thought-out and choreographed. In Gravity, though, the director works in such an ingeniously flowing and sustained way that his images all but transcend the essential visual grammar of ''the shot.'' The camera glides through space, twirling and doubling back, following the characters through pod doors and into the cramped interiors of satellites and then out again, giving the entire movie the spontaneous feel of a single unbroken shot — a free-floating galactic reverie.
At the beginning we hear radio burbles of talk between the astronauts and Houston, and then, almost imperceptibly, a spacecraft drifts into view from the right side of the screen — it's a U.S. shuttle, and the astronauts are walking outside of it, attempting to repair a problem on the ship. You'll surely be reminded of "2001: A Space Odyssey," because what Cuarón echoes from Kubrick's great film — and what still seems eerily surreal in an outer-space movie — is the creeping rhythm of space, the weightlessness that places everything in a trance, turning the action into moment-to-moment semi-slow motion, a feeling of life suspended. Simply as an out-of-this-world, zero-friction ''ride,'' "Gravity" is unforgettable, yet the real essence of Cuarón's achievement is that the film's technical virtuosity and its emotional grip become one.
Clooney: I'm not interested in space travel 
What's behind the science of 'Gravity' Clooney's Matt Kowalski and Bullock's Ryan Stone are on a routine mission, but then there's a bulletin from Houston. A Russian satellite has exploded, causing a chain reaction. A shower of debris is about to come flying right at them, so they must abort the mission. It's too late, though: The debris hits them, full force (the 3-D places us right in the hurtling metal thick of it), tearing the ship apart. Seconds later, there is no ship. They are lost in space.
The ebb and flow of "Gravity's" story is deeply organic — it seems to be making itself up as it goes along, and that's how it hooks us. Yet what sustains our absorption is a rather tricky synthesis between our involvement in the characters' plight and our head-scratching wonder at the matter-of-fact way that the film brings the physical realities of space to life: the sheer cosmic terror of it, the images of satellites cluttered with drifting matter, from chess rooks to tears. The actors are phenomenal. Clooney shows a haunting chivalry beneath his bluster, and Bullock is as desperate and resourceful and anxious and brave as Sigourney Weaver in the last half of Alien. When Stone wriggles, slowly, out of her space suit, we realize that we're seeing a tale of rebirth, and Bullock's acting attains a new purity. She floats through this movie yet grounds it, letting "Gravity" connect with all of us these days who feel just a little adrift. Grade: A
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