Very, Very Slow and Boring – Might Be the Best Film of the Year.
Yo, this be Reuben. 2016 hasn’t been an incredible year for films, per say, as we’ve been graced with a selection of crappy films in Batman v Superman (although not as crappy), Zoolander 2 and Independence Day Resurgence, and that selection is much bigger than I’m used to seeing in a year. However, we’ve also been given a li’l handful of great-uns, like The Nice Guys, Kubo and the Two Strings (I mean, wouldn’t you be proud of this many links?), and now Arrival. Arrival, in fact, both competes with Kubo for the topspot of most recommendable movies this year, and is up there as one of the greatest sci-fi’s of the decade.
Arrival achieves this such a feet primarily with its mind-bending story, which follows Louise Banks’ journey from the day of “arrival” and onward, with freaky-deaky timing and language skills. When the extra-terrestrials arrive on Earth, the world is left in utter confusion and shock, and experts and military officials alike are sent to the mysterious vessels that have arrived on the planet – Louise and her team are sent to the Montana vessel to investigate what the hell is going on.
The plot is an interesting one, which somehow manages to put language, science and sheer awesomeness in a blender without it being some kind of hipster-infested mess. It’s captivating as there is always something new slapped onto the table, and thought-provoking as there are many questions explored – and, for the most part, answered – at the same time as the world being on the brink of global war with growing tensions and all dat.
The inventiveness on show is fantastic in Arrival, as the ominous spherical spacecrafts. fantastic camerawork and progressive pacing that make the film a gradual, atmospheric and thus memorable flick – which is exemplified by the bassy and spacey score, which along with sounding like if Opeth went into space rock, shows why soundtrack is such an important aspect of a film.
That ‘fantastic camerawork’ I mentioned includes a number of awe-inspiring scenic shots and close character shots, which give Arrival a claustrophobic layer that adds to the intrigue of the plot and gives the atmosphere some extra spice.
Of course, a film needs good characters and casting to top it all off. Arrival gets both spot on. Honestly, I only saw Amy Adams before this in Man of Steel and Batman v Superman, and she was oh so average in both. However, in this doohickey she absolutely steals the show (as ol’ Louise). Another great one is Jeremy Renner as Ian, her partner in research and being good at acting, and he is very strong, giving a light-hearted and genuine layer to the character of the film.
You might be thinking I’m gonna give this a perfect score at this rate. Well, I’m not. Because, for one, I think that it’s a little too gradual, and a bit of extra cutting could have done it good – although I do think the gradual feel is important. There’s also the issue in that if there was a bit of action in there, I would have enjoyed it a bit more, because I’m a stupid teenager. So, it’s not the complete film.
To conclude, Arrival is, as I said at the start, possibly the best film this year, although it might have to fight Kubo and the Two Strings for that title. Its awesome aesthetic, brilliant score, characters, story and performances totally make up for a lack of action (which is a genuine sorta kinda qualm of sorts), as it is one of the most atmospheric films I’ve ever seen — and that’s a very good thing. Any sci-fi fan should go and see this right now.
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