Gravity, BBC One, Saturday, 8.35pm

The winner of seven Oscars, six BAFTAs and a Golden Globe, Alfonso Cuarón’s space drama doesn’t need any superlatives to recommend it – from that glittering medal haul it’s clear that every superlative you could imagine has already been applied by somebody, somewhere. A keener eye than mine would be able to say whether or not the celebrated special effects have dated any in the seven years since its blockbusting cinema release, but even if they have – and even when viewed on the small screen – Gravity is still a thrilling ride based around a stunningly simple premise: astronauts Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney) are cut adrift from their mother ship when it is destroyed by a shower of space debris and have to try to reach the safety of another orbiting space station.

Simplicity doesn’t lessen the potential for drama, however, as anyone will know who has seen Henri-Georges Clouzot’s twice-remade 1953 thriller The Wages Of Fear (truck drivers carrying explosives which could blow at any moment) or Speed (also a remake) in which Bullock has to drive a school bus at over fifty miles an hour in order to avoid the same fate of untimely combustion while flirting gamely with Keanu Reeves. Gravity’s brevity helps too. The other films Cuarón is best known for, Roma and Harry Potter And The Prisoner Of Azkaban, both clock in at well over two hours. This one runs at a shade over 90 minutes and it’s edge of the sea stuff all the way.

It isn’t above criticism, though. The dialogue is hokey at points – is it just me or is there something vaguely Buzz Lightyear-y about Clooney’s wise-cracking Kowalski? – and there are some jaw-droppingly icky moments, such as when Stone imagines her dead daughter in Heaven. There are a few too many exposition dumps and moments of clunky plotting as well. Stone and Kowalski tell each other things they shouldn’t need to, purely for the benefit of the audience, but then trade basic personal information which you would imagine they would know about each other having spent time cooped up in a space craft. Cuarón would have made an even more impressive film if he had kept the dialogue to a minimum and let the extraordinary visuals, the rich special effects and the beautifully choreographed space manoeuvres do his talking for him. But perhaps those are minor complaints: Gravity is a cinematic tour de force and don’t let anyone tell you otherwise.

Perfect 10, Curzon Home Cinema

Now streaming

This debut feature from young Edinburgh-born director Eva Riley follows on from her short Patriot, selected for the Short Film Palme d’Or at the 2015 Cannes Film Festival, and announces the arrival on the scene of a major new talent in the mould of a Lynne Ramsay or an Andrea Arnold.

Set in Brighton, where Riley now lives, Perfect 10 follows the chaotic home and emotional life of 14-year-old Leigh (newcomer Frankie Box), an aspiring gymnast neglected by her hopeless father Rob (William Ash) and grieving for her dead mother. Gymnastics coach Gemma (Sharlene Whyte) is encouraging and tries her best to be nurturing but Leigh’s inability to come up with competition money and the taunts of her team-mates that she is a “charity case” have her on the verge of quitting the sport. Enter Joe (Alfie Deegan), an older half-brother Leigh never knew she had. Joe has been kicked out by his mother and sent to live with his stranger father, though his attempts at bonding are met with aggression. Leigh is more open, though, and gradually she and Joe form a sibling relationship of sorts. At his side and (vaguely) under his protection, she’s catapulted into a nether-world of petty crime and magic hour scooter races in Brighton’s sea-fringed industrial hinterland.

Perfect 10 isn’t startlingly original – see Andrea Arnold’s films Wasp and Fish Tank for earlier examples of similar coming-of-age stories – and there’s also a flavour of Guy Myhill’s The Goob, which is set in the badlands of rural Norfolk. But Riley’s light and nimble touch belies her youth, she coaxes splendid performances out of her cast of non-actors – Frankie Box, in particular, is amazing – and her script sings with authenticity.