A linguist is recruited by the military to assist in translating alien communications.
Director: Denis Villeneuve
Starring: Amy Adams, Jeremy Renner, Forest Whitaker
Rated PG-13 for brief strong language
Denis Villeneuve is a very interesting filmmaker to say the least. He is the man behind several critically-acclaimed titles, including “Prisoners” and “Sicario,” but is also responsible for the avant-garde thriller “Enemy,” which wasn’t very commercially successful but received generally positive reviews from critics. His latest film, “Arrival,” is an enigma. It presents itself as an accessible blockbuster, but is far more philosophically charged than it appears on the surface, which may or may not alienate viewers. Regardless, “Arrival” is hard to dislike. Not only does the film attempt to examine extraterrestrial life, but it dissects the very idea of what it means to be human, which is more extraordinary than the average science-fiction film currently being churned out from Hollywood.
When a dozen alien ships arrive on Earth and position themselves over seemingly random locations around the globe, time seems to stand still and the world is in absolute shock. The military brings in expert linguist Dr. Louise Banks to help translate the form of communication that the aliens are expressing to humans. The ships are accessible to humans who can view the aliens from behind a glass-like barrier. The beings communicate via ink-based symbols, and humanity scrambles to determine their ultimate reason for traveling to Earth.
While “Arrival” doesn’t seem like too complex of a story given the plot alone, the film is certainly more ambitious than meets the eye. Music plays a significant role in the film. Not only does the music work perfectly, but it sets the scene for several prominent parts of the film. Whenever humans approach the spaceships, a rather bombastic, bass-heavy droning sound, accompanied with a non-lexical echoing cry, floods the speakers while its more emotional scenes are largely orchestral compositions.
What happens inside the pods is something viewers should see for themselves. The unknown is a big part of “Arrival,” something that progresses the film towards its clever and emotional climax. The “big twist,” if you will, of “Arrival” is a gut-punch to the throat, but it also represents the film’s core message – it’s not about aliens; it’s about humans. “Arrival” proves that Villeneuve is a visionary. It’s certainly not his best film, and given just how good “Arrival” is this further solidifies Villeneuve’s capabilities as a director.
“Arrival” feels uneven in its second half, but this is because the film’s big questions are slowly being answered. The best aspect of “Arrival” is that the less you know, the more engaging it is. The film doesn’t rely on mystery alone, but it’s one of the largest parts of the story. Thought-provoking and emotionally resonant, “Arrival” is captivating science-fiction, anchored by a strong performance from Amy Adams and arresting cinematography. It’s a must-see for lovers of science-fiction films – especially those like “2001: A Space Odyssey” or “Interstellar” – and its themes are more relevant than its poster or plot might suggest.