Arrival is a
deliberately paced science fiction film that effectively uses chronological
disorientation to enrich its story. The
real danger in making a movie that deals with aliens is that almost assuredly
the aliens will disappoint. If we’re
honest with ourselves, the only aliens we really like are the ones who look
exactly like us, i.e. Luke Skywalker, Princess Leia, Han Solo, and
Chewbacca. We find all other aliens
either scary or irritating. Therefore
every great film that contains aliens (excluding Star Wars) must be about something other than aliens.
It doesn’t take long to realize that the aliens in Arrival are not its focus; rather the
film is centered on a linguist played by Amy Adams. The storyline involving a race to interpret
the alien’s true intentions before the rest of the world starts World War III
is the films weakest point, allowing clichés from the genre too much time. Yet interwoven into the standard plot is a
more interesting thread of self-sacrifice.
The question is asked, if you knew
how painful the consequences would be, would make the same decision? The choice that Adam’s character is faced
with is unambiguous; either she can pursue happiness, or she can save the world. Let me suggest that another layer is alluded
to; not only does Adam’s character have to make this terrible choice, but she’ll
also be eternally subject to experience the effects of her decision. This concept was explored in a lesser movie
earlier last year; Doctor Strange had
a really long battle in which the title character locked the antagonist into a
seemingly never-ending loop. Because
nobody wants to leave a superhero movie without a conclusion, Doctor Strange
devised a clever technicality to end the never-ending loop. Arrival
doesn’t give it’s protagonist a loophole; the difficult decision she must make
is final.
Arrival also deals
with the concept that it is better to have loved and lost than never to have
loved at all, but I’m out of time for today’s review.
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