Arrival (2016)

2016 #179
Denis Villeneuve | 116 mins | cinema | 2.35:1 | USA / English & Heptapod | 12A / PG-13

This review sort of contains spoilers.


An intelligent sci-fi movie released by a major studio?* What madness is this? A good kind of madness, because Arrival is one of the best — and, importantly, most humane — science fiction movies for years.

For one thing, it takes an unusual, but completely pragmatic, approach to alien first contact: how would we communicate with them? Most sci-fi movies gloss over this — either we don’t because they’re just killing us, or the aliens are sufficiently advanced that they already speak our language. Here, however, the focus is on Amy Adams’ linguist. The problem is approached as it would be in real life — the production sought advice from real linguists, and the only tech used is stuff we have access to today. Far removed from the usual glossy high-tech sheen of most sci-fi movies, the most important pieces of kit here are things like whiteboards and scissor lifts. It’s very mundane, and that’s the point — it’s grounded in a world we know. Apart from the aliens, of course. But while the process Adams’ character undertakes may be factual, as she begins to work on the aliens’ language its unique properties begin to have a surprising effect on her…

At the risk of sounding like one of those people who boasts about guessing a twist, I did develop a fair idea of where the film was going. (Not completely — at one point (massive pseudo-spoiler here) I thought it might be that Jeremy Renner’s character was the future-father of Adams’ past-child, in some wibbly-wobbly timey-wimey all-things-happen-at-once way that I was curious how they’d explain.) But whether you work it out in advance or not doesn’t matter, because Arrival is not a middling M. Night Shyamalan film, dependent on its twist. That it’s a revelation to the characters is enough. The emotional journey they go on is what’s more significant, and Arrival is a powerfully emotional movie. This is all carried by Amy Adams in a subtle, understated performance; one that quite possibly deserved to win the Oscar but, bafflingly, wasn’t even nominated.

We're only human after all

Despite the high-concept setup, Arrival is really a character-driven emotional drama that just happens to be about first contact with aliens. Because of that, it’s not a Sci-Fi Movie in the sense that it needs to explain why the aliens are here — despite what some commenters on the (now defunct) IMDb message boards (and similar places) seemed to think. If you’ve seen the film and are thinking “but it does explain why they’re here?”, you’re right, but apparently we need to know more specifics, otherwise the film hasn’t achieved its “stated objectives”. Yes, I agree, people who say that are talking utter bollocks.

Part of what makes Arrival so good is the way it does work on multiple levels. Despite what I just said, you can enjoy it as a pure science fiction movie, about both the logistics of first contact and some big theoretical ideas that I won’t mention because of spoilers. A lot of effort was put into the concepts underpinning the film, both the scientific theories and the functions of linguistics (the Heptapod language was developed for real; the software used to translate it is a functioning program), so it’s got a dedication to detail that rewards those interested in that aspect. It’s also, again as I said, an emotional drama; effectively a dramatisation of Tennyson’s famous adage “better to have loved and lost than never to have loved at all” through a unique lens. The author of the original story, Ted Chiang, started from more or less that place and then found a sci-fi concept he could use to explore it.

I think I'm turning Heptapod, I really think so

In addition to both of those, it’s also got a timely message about the state of humanity and global politics. This factor is even more pertinent now than when the film came out almost a year ago, mainly thanks to Trump. Just look at the recent willy-waggling between the US’s President You’ve-Been-Tango’d and North Korea’s Supreme Leader It’s-My-Party-And-I’ll-Blow-You-All-Up-If-I-Want-To — it’s the very stupidity that Arrival is warning against. In the film, some soldiers who watch too much nutty television and swivel-eyed internet rants almost fuck things up, while level-headed scientists and experts save the day. If only we could take some of the morons in power these days, and the even-worse people who voted for them, and strap them to a chair in front of this movie until they got the point…

While its greatest power lies in these analogies and emotional beats, it’s also a beautifully made film. Bradford Young’s photography is a little on the gloomy side at times, but it creates a clear mood — director Denis Villeneuve refers to it as “dirty sci-fi”, by which he means “the feeling that this was happening on a bad Tuesday morning”. It’s a pretty accurate description. That doesn’t preclude the film from generating some fabulous imagery, however. The sequence when they first arrive at the spacecraft by helicopter — which follows the choppers over amassed civilians queuing to see the ship, then transitions to a long oner that flies over the makeshift army base towards the giant, unusual alien craft, as clouds roll in over the hills, before continuing on down to the landing site — is majestic, and indicative of the entire film’s attitude to pace. It’s measured, not slow, and all the more effective and awe-inspiring because of it. That’s emphasised by Jóhann Jóhannsson’s atmospheric score, which almost lurks in the background, his work supplemented by Max Richter’s On the Nature of Daylight during the emotional bookends. (The latter is such an important piece to the soundtrack’s effect that Jóhannsson’s work was deemed ineligible for nomination at the Oscars, which is a shame but I can kind of see their point.)


Arrival is a multifaceted film, which works well as both a sci-fi mystery and a reflection of current sociopolitical quandaries, but has its greatest power in the very human story that lies at its heart. The mystery and the twist are almost a distraction from this, actually — I watched the film again last night before finishing this review and enjoyed it even more than the first time. That it’s a movie best appreciated when you can see it in totality, watching it with an awareness of how it will end from when it begins, is only appropriate.

5 out of 5

Arrival is available on Amazon Prime Video UK from today.

It placed 6th on my list of The 20 Best Films I Saw For the First Time in 2016, which can be read in full here, and also featured on my list of favourite movies from the past decade, which you can read about here.

* Only in the US, mind, which presumably means they just bought it after someone else made it, so let’s not give them too much credit. ^

19 thoughts on “Arrival (2016)

  1. Great write-up. I was blown away by it when I caught it at the cinema last year and, like you, was surprised it did not receive greater recognition by the Academy. That said, even the cinema I was sat in was decided, as one happy patron at one point bellowing ‘BORING!’ advised…

    Liked by 1 person

  2. This is such a fantastic movie. I’m not normally a Sci-Fi person but Arrival makes it all so plausible and realistic. I would have loved to have seen this on the big screen. Can you imagine the sound effects on big screen with surround sound???

    Liked by 1 person

  3. i do think this film will be considered one of the best sci-fi films of the decade, or even the post-millennium. I just hope the new Blade Runner shares the same serious, level-headed, don’t-pander-to-the-bubblegum-happy-cineplex-masses approach that this one did. Arrival remains one of the most emotionally devastating films I have ever seen at the cinema (mostly because of personal things going on at the time) but it has delivered on repeat viewings at home too. Quite exceptional, and as time goes by, its stature just rises in my eyes. We don’t see it’s like very often- just look at the genre films we’ve suffered through in 2017 so far.

    Liked by 1 person

    • It’s kind of weird to think Villeneuve might be on track to being a renowned sci-fi director, considering the first few films that established his name are nothing of the sort.

      The signs are still looking good for Blade Runner 2049, I feel, like the recent R rating — they’ve not just gone for the PG-13 to be mass-market friendly. Fingers crossed…


      • It’s a bit weird, I mean, I don’t consider myself obsessive, but as we now get closer to it’s October release date, I have found myself getting rather tense about the new Blade Runner. I even had a dream I was watching it the other night (it turned out to be crap, a vacuous action flick). It’s like it’s more than just a movie. I intend to watch the original one last time pre-sequel, like watching Alien prior to the release of Prometheus. At the moment the 1982 film, a piece of my teenage life, is a unique jewel prior to being possibly tarnished by its modern-day upstart. It’s scary, it’s exciting. Everything Blade Runner changes in October. Crazy! The internet will implode I’m sure if it.

        Liked by 1 person

        • It is a strange thing, having a ‘modifier’ appear so much later. On the one hand it can’t actually change the original, but on the other, does knowledge of it unavoidably alter the original after it’s happened?

          Liked by 1 person

        • Regards new films modifying originals, I used to think the same. Then Prometheus came around. Now I find it so hard to enjoy Alien without that whole Space Jockey/ Engineers stuff. So I do worry that Blade Runner as a viewing experience, after all these years, may be altered and not necessarily for the better. We’ll see in October.

          Liked by 1 person

  4. And Amy Adams was ROBBED. Good grief. I saw La La Land (Emma Stone won Best Actress) and I was left speechless that Adams wasn’t even nominated and the award went to Stone for that bubble-headed love-letter to old Tinsletown dreams. I quite liked the film but Best Actress? An appalling demonstration of the lack of any depth or integrity in the Oscars.

    Liked by 1 person

    • I’ve still not got round to La La Land, but I find Emma Stone’s continued success at the Oscars a bit baffling. I quite like her generally, but nothing I’ve seen from her (including Birdman) strikes me as awards-worthy.


      • Emma Stone is fine in La La Land but really, its nothing particularly special (or ‘Oscar-worthy’, whatever the hell that means with them proving so irrelevant), whereas in Arrival, Amy Adams is the heart and soul of the entire bloody movie. Its almost funny that she didn’t even get a nomination, but I guess it just makes the whole Oscars circus dead to me- as I said, completely irrelevant.

        Liked by 1 person

        • I do wonder if it was the old bias against a sci-fi movie. Or possibly they didn’t understand how complex her performance was because of the sci-fi filter. Or maybe they just have poorly-decided taste in general.


  5. I liked how this movie had smarts and metaphors. It boasted a timely message of thinking first before taking aggressive action. Amy Adams was the subtle but emotional anchor of it all, I loved her performance.

    Liked by 1 person

  6. Very well said! I am an avid sci-fi fan and I absolutely loved this film. I loved that it was about Amy Adams’ character, and her emotional journey, rather than more recent ‘kill the bastards’ type sci-fi. And I completely agree with your point about communication between humans and aliens always being overlooked or glossed over in sci-fi. In ‘Independence Day’ they used lights to try to communicate, and I always thought that was not explained very well. This movie was a masterpiece, and brought an entirely different feeling and emotional connection to a sci-fi film, which I don’t think has been done before.

    Liked by 1 person

    • Thanks! It would be nice if others follow the example of Arrival‘s success and we get some more thoughtful sci-fi movies in the future. There’s a time and a place for action spectaculars, but emotional and/or thought-provoking fare is welcome in the genre too.

      Liked by 1 person

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