Christopher Orr, the Atlantic
Like Villeneuve’s recent films Sicario and Prisoners, the movie is at once evocative and mysterious. As events unspool, we can sense that—like Louise with the heptapods—we do not entirely comprehend them. (We are correct in this.) As she and Ian try to decode the creatures’ language, they are constrained in their efforts by Colonel Weber and, especially, a CIA agent named Halpern (Michael Stuhlbarg). Until we know more of the aliens’ intentions—conquest? tourism? cup of sugar?—Weber and Halpern are greatly concerned that we do not accidentally teach them more about ourselves than we learn about them.
Moreover, there are geopolitics to consider. Eleven other craft hover elsewhere on Earth: Shanghai, Siberia, Sudan, Sierre Leone, and even a few places not starting with “s.” What if China or Russia makes a breakthrough with the aliens first and uses what it learns against the United States? What if shots are fired, bringing alien wrath down upon the whole globe? Already their arrival has enveloped America in a sense of dread and anxiety not seen since—well, this entire political season. Looting breaks out in the cities; Pentecostals self-immolate; talk-radio tough guys demand “a show of force, a shot across their bows.”
The look of Arrival is stately and elegant; its pace, sober and deliberate. This is Villeneuve’s first collaboration with the cinematographer Bradford Young, who shot my two favorite films of 2014 in A Most Violent Year and Selma. The score, by the frequent Villeneuve contributor Jóhann Jóhannsson, is multifaceted and occasionally spellbinding, not least when its low horns boom with menace, almost like an alien voice themselves.
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I'd have shortened this film about 15 minutes. Also, the time travel aspect was a little too clever. But all in all pretty good movie, though not in the category of Sicario.
The look of Arrival is stately and elegant; its pace, sober and deliberate. This is Villeneuve’s first collaboration with the cinematographer Bradford Young, who shot my two favorite films of 2014 in A Most Violent Year and Selma. The score, by the frequent Villeneuve contributor Jóhann Jóhannsson, is multifaceted and occasionally spellbinding, not least when its low horns boom with menace, almost like an alien voice themselves.
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I'd have shortened this film about 15 minutes. Also, the time travel aspect was a little too clever. But all in all pretty good movie, though not in the category of Sicario.
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