Document text
'Arrival' is worth every moment on screen Amy Adams as Dr. Louise Banks in a scene from the movie "Arrival," directed by Denis Villeneuve. Paramount Pictures/TNS Thursday Nov 17, 2016 at 12:01 AM By Chris Honoré for Revels Arrival; 116 min; Rated PG-13   The arrival of extraterrestrials on Earth has been a staple of science-fiction filmmaking since celluloid clicked through a theater camera, casting grainy images on a large white screen. More often than not, the intentions of the visitors are malevolent and things generally do not end well for mankind or the E.T.s. It’s a well-established and popular genre. But know — and this is really important — that “Arrival” is far more thoughtful and cerebral than what the title implies. This is not your standard issue “War of the Worlds” sci-fi film. Instead, it’s a remarkable puzzle that bends time and situations and relationships in a series of carefully crafted reveals. Know also that writing about this film is dicey. To allow the filmgoer to screen this film with no preconceptions while reviewing it is challenging at best. What can be disclosed — and I believe this appeared not only on the movie’s posters but also in the trailer — is that 12 enormous ovoids, 450 meters tall, appear around the world, each hovering mere feet off the ground. One is in Montana. The existential questions posed by this dark shape’s ominous presence are: Why is it here? What are its intentions? How do we communicate with those inside? OK, here’s a bit more. The military (uncertain as to whether the visitors pose a threat or come in peace) reaches out to professor Louise Banks (Amy Adams), a renowned linguist, who is joined by theoretical physicist, Ian Donnelly (Jeremy Renner). They are tasked with decoding the visitors' language (strange circles and unusual sounds) and establishing contact. What “Arrival” is about is language. Can Banks and Donnelly construct a bridge of common understanding that will allow them (and those waiting) to know why the visitors are here? The stakes are high as paranoia begins to creep into the analysis by multiple countries. Meanwhile, in flashing images, shown via news stations, the world’s population is either deeply fearful, in the grips of a rising panic, or on the verge of mass riots. But this is not a story about finding out we are not alone in the universe. It is instead about overcoming a seemingly impenetrable code. The film is also intercut with images of Banks with her daughter, at first an infant and then growing into a young woman. These are touching scenes that set the stage for an overwhelming grief. How her relationship to her daughter is relevant to the superordinate narrative remains opaque throughout until the final reveal, which will likely cause much discussion. The sense of disorientation and ambiguity lasts well beyond the final credits. There is also the possibility that the film is an allegory suggesting that language is fundamental to our humanness. It allows us to understand who we are and thereby construct connections to one another, often imperfect, tentative, while understanding that when our words become muted or vague or misunderstood, when we stop believing in the magic of language, we can feel a sense of isolation and loneliness — call it ennui or angst — which can suffuse our lives. Language shapes us, defines us, and it is something we struggle with each waking moment as we strive to understand and be genuinely heard. That is the communication dilemma posed by this amazing film, based on the sci-fi short story by Ted Chiang and now directed by the gifted French-Canadian Denis Villeneuve (“Sicario”). Science-fiction has recently experienced a surprising renaissance with films such as “Gravity,” “Interstellar,” “Ex-Machina” and “The Martian.” Add “Arrival” to that list — less linear and even confounding, it is worth every moment.