Arrival is that vanishingly rare thing: a major sci-fi release with a brain. When was the last one? Probably Christopher Nolan’s Interstellar in 2014, and its brain was pretty small: the whole film seemed based, as I wrote at the time, on a Queen song, while its striking time-dilation planet scene will be familiar to any fan, as Nolan is, of the works of Alan Moore (Halo Jones Book 3 on the planet Hispus, I’m looking at you).
Directed by the awesomely talented Denis Villeneuve (Sicario) and based on a short story, it imagines what would happen, and how people would feel, if alien ships suddenly took up position over the earth. Spoiler-free hint: it’s nothing like Independence Day.
I don’t want to give away too much about the film, as ever, but I will just give you one example of why and how it works. Doctor Strange has several striking fight scenes in which gravity is spectacularly upended. They are fun. But they don’t make you think. It’s all just special effects. The moment in Arrival when the heroes realise that gravity is no longer working according to accepted laws is a hundred times more powerful. Communicated through the panicked breath of Amy Adams and Jeremy Renner, it feels real. We’re there, with them, as the enormity of the situation takes hold. There really are aliens, and they really are changing the laws of physics.
It’s that level of realism, applied to a science-fictional premise, that makes this a great film. I had thought, coming out of a preview a few months ago, that Amy Adams would be a lock for Best Actress at the Oscars. I’ve since seen La La Land, and without question that will sweep the board, including, probably, for Emma Stone. Nevertheless, Adams is terrific: Arrival rests entirely on her slender shoulders, and she Atlases it. Go see.