And I disagree. Giving a Trek film the photorealistic look of SPACE COWBOYS even, let alone GRAVITY, with seriously hard light/unfilled shadow areas, would create more of an aura of credibility.
Take a look at some of the long shots in FC when they're walking on the dish. The very distant shot that opens the sequence is pretty darn good, but then when you get into Patrick Stewart PeterPanPinwheeling over the dish, it might as well be 1955 and THE CONQUEST OF SPACE when Ross Martin gets run over by a space rock.
If you look at actual space photos, you will see plenty of lens flares. But I do agree a that a completely realistic space look would be nice. On the other hand, to complete that feel you might as well have no sound in space which wouldn't work that well.
On GRAVITY Cuaron is really doing the no sound in space thing (except musical accompaniment.) Only exception: if she touches an object, there is a sound, as if it is transmitted through her glove or suit, but that's playing pretty straight with things with respect to science, and I am HELLUVA impressed.
I think with a conventional action film (by that I mean something other than Cuaron, who is so far outside the box with his long take stuff that he is pretty much his own thing in my mind) you could do the no sound thing too, but you'd have to be doing rhythmic cutting from inside the ship to exterior, so you'd go from big interior sound effects to NOTHING, and back & forth, increasing the pace as the sequence culminates. I actually did cut some of my s8 stuff that way over 20 years ago, and I could see how it would work if you really slaved over it.