NOVEMBER 14, 2016
Say the phrase “alien invasion” to a movie buff, and images of exploding government buildings and hordes of screaming extras will undoubtedly come to mind, and if that’s the movie you want, feel free to rewatch “Independence Day.” But if you’re looking for something more, welcome to “Arrival.”
The latest haunting film from rising Canadian director Denis Villeneuve, “Arrival” is not interested in polarized clashes (though they are seen in the background). Instead, it focuses on the sight of 12 huge pods, shaped like an egg standing on its base and hovering over a dozen places on Earth, in a way that invites wonder, curiosity and apprehension all at the same time.
For brilliant linguist Louise Banks (Amy Adams), the overall emotion in her life is sadness after a family tragedy, and her spirits are sustained only through her teaching at a local university. So when the U.S. Government unexpectedly asks her to join a team investigating the extraterrestrial pods, she sees an opportunity to put some purpose back into her life. She arrives in Montana at the site of the only pod that reached America and attempts to decipher the noises emanating from the giant alien vehicle.
Under the command of Col. Weber (Forest Whitaker, delightful with a totally unexpected Southern accent), Louise joins astrophysicist Ian Donnelly (Jeremy Renner, trading in his Marvel superhero costume for a pair of dweeby eyeglasses) in entering the giant pod to begin the journey of trying to communicate with the huge creatures awaiting them on the other side of a pane of glass.
What the creatures look like, how they communicate, what turns Louise from a hyperventilating observer to going where no man has gone before — these were all thrilling surprises to me. So at the risk of being a lousy reviewer, I’m going to end my set-up there and let you experience these same thrills for yourself.
I will offer this one warning — “Arrival” plays with space and time, so don’t be sure that what you’re seeing is really happening at that moment.
Such surprises are the hallmark of Villeneuve, a French-Canadian director who, at this moment, is the best filmmaker out there whom you’ve never heard of. His last two American films, the 2013 kidnapping drama “Prisoners” (with Hugh Jackman & Jake Gyllenhaal) and 2015’s drug cartel adventure “Sicario” (starring Emily Blunt & Josh Brolin) had so many unexpected yet satisfying twists that it made it impossible for me to relate their stories to anyone without giving something important away.
So it is with “Arrival,” with screenwriter Eric Heisserer (who adapted the story from Ted Chiang’s “Story of Your Life”) expertly extending Chiang’s short story to feature length and executing a whopper of a final twist that will make you want to see the film all over again.
One of the distinctive elements of a Villeneuve film is its look, and for “Prisoners” and “Sicario,” his partner was legendary cinematographer Roger Deakins, who received his 12th & 13th Oscar nominations for his work in those films. Unfortunately Deakins was unavailable for “Arrival,” so Villeneuve turned to cinematographer Bradford Young who created the distinctive look of “Selma.” I can think of no higher compliment to offer than to say that when I saw Young’s extraordinary images, I completely forgot about Roger Deakins.
The cast is top-notch, including Whitaker and Michael Stuhlbarg as members of the team, but what helps to lift the characters’ interactions is the chemistry between Jeremy Renner and Amy Adams. They’ve memorably worked together before in “American Hustle,” and they seem to have a shorthand with each other that real colleagues develop. It is particularly gratifying to see Renner being able to unlock the chains of action-hero acting and show just how many acting chops that he can display.
But “Arrival” is Adams’ show from beginning to end. She makes the wise decision to make Louise subdued — not revealing her character’s motivations with big gestures but instead inviting us to come closer so that she can show us who Louise is on her own terms. By that, we feel like we know Louise better and makes our rooting interest for her even stronger. This is arguably Adams’ best performance in the last five years, and I wouldn’t be surprised to see her receive her 6th Oscar nomination for it.
The film takes a few narrative risks that don’t quite pay off. Louise often has flashbacks to her family which time after time she uses to help her unlock the mystery of the aliens. Initially it’s a clever idea, but the more that Heisserer’s script relies on it, the less effective it becomes.
Though “Arrival” has more than enough moments of real suspense, I’m not sure that I’ve ever seen a science-fiction film that displays such beauty and such respect for the humanness that its characters display.
You’ve never seen a film quite like “Arrival.” And not a single screaming extra in sight.
GRADE: A-
