Magazine article The Spectator

Cinema: Arrival - Review

Magazine article The Spectator

Cinema: Arrival - Review

Article excerpt

Arrival is a big budget sci-fi film with a smaller, more pensive, cleverer film trying to get out, which has to be an improvement on a dumb film with an even dumber film trying to get out, as in the manner of Interstellar , say. So we have that to be thankful for, at least.

The film stars Amy Adams, who appears to be everywhere these days. (Check your sock drawer and under the bed; you never know.) She plays Dr Louise Banks, a university linguist who lives in a beautiful, modernist lakeside house, as any academic in any American film always does. (Do such houses come with tenure?) As we see right at the start, she is mourning the death of her daughter. You are not meant to understand how this figures until the 'twist' in the film's final moment, which has been much applauded by other critics, although I have to say I saw it coming a mile off, if not ten miles off. Not bigging myself up here. Simply a plain fact.

But the main action in Arrival starts when alien pods ...you know ...arrive. These pods, which look like ginormous pumice stones hovering just above the ground, are eerily and richly realised, and have taken up residence at 12 sites across the globe. World governments are perturbed, naturally, and Louise is visited by a colonel from the US military (Forest Whitaker) who plays her a recording of the alien's growly, echoey sounds, like tummy rumbles amplified. He wants to know: do we think they missed lunch? Shall we offer them a baguette from Pret? I'm toying with you. He wants to know: could Louise learn this language? And determine what the aliens' purpose on earth might be. Are they peaceable? Or not?

Louise is shipped to a field in Montana, where one such pod hovers, and so far, so good. Adams is everywhere -- did you check behind the sofa cushions? -- because she can deliver extraordinary emotional heft and depth while seemingly doing very little. Directed by Denis Villeneuve (Prisoners , Sicario ), the scenes leading up to Louise's first encounter with the aliens are by far the best scenes. They're tense, unnerving, grandly sombre and visually impressive as she dons her biohazard suit and enters the pod via a tunnel that seems to be no respecter of gravity. I won't describe the aliens in detail here because the reveal is 87.4 per cent of the fun. I will say only that they're monstrous but also strangely balletic and tender. …

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