I honestly don’t know what to say. I went into my viewing of Arrival only knowing just enough to know that I would be uncertain as to how to approach the film; I deliberately left most of the particulars unknown to me, because I’d known from what I’d read that the best way to see the film was knowing as little as possible. How could I have possibly known what this film was going to manage to do, how it somehow transcends linear storytelling and still manages to do it in a film that one watches from the beginning to the end? If it sounds like I’m unable to put into words what the experience of watching Arrival is like, that is precisely the case; I have personally not encountered a film that one must truly see for themselves like this in quite a long time, and I am unbelievably thankful for the experience I’ve had in watching it in this way for myself.
Amy Adams shows why she is one of the best in the business as linguistics professor Louise Banks, who is brought in by military colonel Weber (Forest Whitaker) along with physicist Ian Donnelly (Jeremy Renner) to make first contact with one of 12 alien crafts that have spontaneously appeared in 12 locations across the globe. As Louise and Ian try to make contact with the aliens inside and struggle with how to get the two species to understand each other’s languages, the nations surrounding the other crafts have their own potential conflicts with an alien intelligence to deal with, and it’s when agents of several nations end up crossing lines that Louise and Ian’s timetable is shortened, forcing everyone involved to try and crack the code before certain irrevocable actions are taken. As should be apparent by now, I’m being deliberately coy about the plot of Arrival, and really about the film in general; as I said in the opener, this is a film that demands one experience it for themselves. So what can I talk about? The stunning cinematography by Bradford Young? The beautiful score by Johann Johannsson? Denis Villeneuve’s assured and confident direction? Perhaps the script by Eric Heisserer, which I would happily read a book about how either he or the writer of the original novella he adapted this from came up with this story and managed to successfully write it? I could talk about any of these elements, some of which at great length. But I won’t. Again, I say; it simply must be experienced on your own.
What this film manages to accomplish in its short, almost-two-hour running time is nothing short of standard-shattering, and unfortunately, to try and explain why is to give away the film’s very essence, its gift to the cinematic audience. I try and think about it, try and put it into words, and it truly seems that my efforts in doing so almost seem to undermine what the film itself tries and succeeds in doing in terms of redefining the very language and linearity of cinema. This film could have been so much less than what it is and still succeeded as a damn good sci-fi, and that it doesn’t, that it not only manages to raise that bar for itself but still clear it with plenty of space to spare, makes me incomprehensibly grateful. This film is a boon, both to those that watch it and to cinema as a whole; it’s a monumentally rewarding experience, one that introduces a new way of thinking about storytelling and filmmaking, and that I honestly feel, at least to my fellow writers and filmmakers, makes us better for having seen and experienced it.
Arbitrary Rating: 10/10