For the new sci-fi film Arrival, I felt that an unconventional review might be suitable considering that the movie is about communication. Therefore I sought out my pal Eric Muller to converse over the many qualities of this intelligent movie. Enjoy, dear reader.

General plot synopsis: a dozen mysterious alien ships hover above the ground across the globe. The government seeks out the assistance of Dr. Louise Banks (Amy Adams), an expert linguist, to try and establish a communication line with the aliens and determine whether they are friend or foe.

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Nate Zoebl: So Eric, my good friend, let’s talk about our first impressions of director Denis Villenueve’s Arrival. I was really taken with just how cerebral it all was. Given the director’s pedigree (I absolutely loved Sicario), I was expecting an intelligent movie that wouldn’t follow the same blueprint as, say, Independence Day: Re-Something or Other Go Boom, but in many ways this movie feels like you’re studying for the SATs. I don’t mean that as an insult. It’s a rather highbrow movie that follows a team of smart people doing something incredibly hard with a level of precision that brings an intense sense of realism to the scenario. It made me think of Arthur C. Clarke science fiction where if first contact were to happen it might go very much like this. It’s a linguistics puzzle box and I found that to be fascinating. The movie delivers on that front. I’m sure the casual moviegoer will be bored by the lack of intensity for two acts of movie but I was delighted. You?

Eric Muller: My first thoughts were, “Wow, Hollywood made a first contact movie that looks like how the real first contact would go.” Unlike other Hollywood blockbusters, this movie is patient. The focus of the movie is not the actors or special effects like other contact movies, the focus of Arrival is the script. The movie is a love letter to language and communication. The director did an amazing job of telling the story and also flipping conventional storytelling.

Nate Zoebl: We’ll get into more of the flipping the script, so to speak, in our spoiler section but I heartily agree. I’ll also admit that I feel much like Amy Adams as I await your next reply in this discussion (not to make any general comparisons to you and heptapod aliens). I think patience, as you cited, is one of the movie’s greatest virtues. It takes its time, it naturally develops, and this is definitely evident in the first act. The step-by-step process of Adams and Jeremy Renner and the other scientists being escorted to the alien ship, suiting up, being told the hazards and unknowns, and going inside, experiencing the different gravity, and coming up close to the giant white wall that promised so much on the other side, it’s teased out in a fashion that allows for anticipation to rack your nerves. The fear of what they’re stepping into really settles in.

Eric Muller: I’m okay with being compared to a heptapod. I appreciated the movie taking its time, allowing the audience to learn and discover at the same time as Amy Adams and Jeremy Renner. In other movies, learning the new language is usually done in a 15-minute montage. This movie is a Sci Fi movie dedicated to discovery, which is what science is.

Nate Zoebl: It’s definitely a movie of discovery and I appreciated that it doesn’t gloss over the challenges and details of that. It’s also a discovery of our heroine, but again we’ll save that discussion for a little bit. At its core, it’s a movie about language and communication. How are we able to connect and interpret others? If 12 giant alien ships, which kind of looked like Pringles chips, were to one day appear randomly across the globe, how do we interpret intent? That’s the movie’s ticking clock, uncovering the intent of the seven-legged squid-like aliens before the more alarmist elements of our society give in to paranoia and destruction. How would an alien species even begin to try and have another understand its language? That’s a fascinating starting point. I appreciated that the alien language was, indeed, alien. It’s made up primarily of inky pictographs, circles with slight variations. This movie must have been nirvana for a calligrapher.

Eric Muller: There are going to be a lot of tattoos based on heptapod language. But you said it; the language barrier would be the first and hardest barrier to overcome in this situation. And there is one scene that really illustrates that point. When Forrest Whittaker asks Amy Adams why she is showing the aliens just simple words. Adams breaks down why the question “What is your purpose here on Earth?” is such a complicated question. Especially to anyone who doesn’t understand English.

Nate Zoebl: I think that’s such a smart scene because it opens up for us dumb-dumbs in the audience just how complicated language can be. He asks why teach them words and she says so that they have a vocabulary that they can answer back with. Arrival is kind of like the most intriguing ESL class you never took at the Learning Annex. What technical elements really stood out for you in the film?

Eric Muller: My favorite thing was them getting inside the spaceship. I know it was a simple camera trick with some CGI but it looked so good.

Nate Zoebl: Villenueve films are downright impeccable when it comes to their technical merits. Sicario was, top to bottom, a beautiful movie from looks to sounds to editing. The cinematography for Arrival was tremendous and really accentuated the overall eeriness. Also, the sound design deserves an Oscar. The sounds of the aliens as well as the disconcerting musical score kept me on the edge of my seat. The special effects were best used sparingly. The aliens themselves worked best when they were somewhat shadowed, allowing our imaginations to go into overdrive to fill in the rest.

Eric Muller: Was it just me or did the aliens looks like the final form of the Elcor species from Mass Effect? For a budget of only 47 million, Arrival looks better than a lot of movies made with three times that budget.

Nate Zoebl: My question for you: was this central mystery enough for you before the pieces fell into place in the third act and the movie’s larger end design was revealed? I think we’re getting close to talking about all that good spoiler stuff, but before we do I wanted to know if the central drive was enough for you and in particular if the characters worked well enough. We’re treated to a tragic series of flashbacks to provide some back-story to Adams, but I don’t know if I’d say the movie presents much in the way of characterization until the third act (promise, we’re getting there…). Hear me out, old friend: I almost think Renner’s character is the typical “girl” part that Hollywood fills in these kind of larger movies, the co-lead which is really meant to support the main character and, typically his, journey of self-actualization or healing or whatever. I think there might be some subtle gender politics being subverted there or maybe I’m reading too much into an underwritten character.

Eric Muller: The central mystery was more than enough to keep me interested. As I noted earlier, we were discovering the events just like Any Adams. And you are right that this movie feels like if it had been made 10-15 years ago the genders for the two main leads would have been swapped. Probably have had Keanu Reeves and Sandra Bullock.

Nate Zoebl: The natural sequel to The Bus That Couldn’t Slow Down. I suppose it’s here we should start getting into spoilers, so if anyone would like to remain pure, please come back later to read the rest of our conversation.

[WARNING: SPOILERS FROM HERE]

Nate Zoebl: It’s a movie about language and our interpretation of language and I think, very cleverly, Villenueve and the screenwriter play with the language of film storytelling. We’ve been assuming from the start that these snippets of sense memories from Adams were of her tragic past. Au contraire my friend, they are revealed to be not flashbacks but flash-forwards to a future she has yet to live. Rust Cohle was right; time is a flat circle.

Eric Muller: This movie is a classic twist on a golden age Sci Fi story. Amy Adams’ character arc could have been an episode of the Twilight Zone and been just as good.

Nate Zoebl: I think the filmmakers make something we’ve seen before, and frankly have become somewhat trite, and subvert it while making the movie and the central protagonist far more interesting. We’ve seen the tragic character that has to overcome the grief over the death of a child before, even recently in 2013’s Gravity. We’re primed for that kind of familiar Hollywood back-story to provide a dollop of depth to the main character. And then when the reveal comes, it makes the scenes have even more emotional power. Adams knew that she would have a daughter who would ultimately die as a teenager of some sort of awful disease, and Adams chooses to go ahead with this future fully knowing the unbearable pain that waits. This revelation instantly makes her character so much more interesting and puts the audience in her place to ask whether we would do the same.

Eric Muller: It is a great twist on a story we have seen before. Also it puts her in the position of whether she tells her husband about their daughter’s future.

Nate Zoebl: And that philosophical divide is ultimately what dooms her marriage. Here’s my choice, and I’ll be interested if yours varies: I would have gone along with it too. Yes, knowing what is to come means that a child was brought into existence to die sadly as a teenager and will suffer, but she will also live and love and laugh for many days beforehand, and knowing the end provides a lens that incentivizes every moment spent together. Yes she will die eventually but any one of us could be snatched from the world at any moment. At least she got to know love and life for so many years before it was taken away from her. How would you choose in this scenario?

Eric Muller: I would let my wife know so we could enjoy every minute with our child.

Nate Zoebl: Let’s step away from the emotional aspects. The end reveal also provides a jolt of energy to the climax because now it becomes a race against time, but time is also forward and backwards. Amy Adams has to stop the Chinese military from striking the alien ships and she has to use information from events that have not happened to save the day in the past. It’s a heady moment of criss-crossing plot streams that really works.

Eric Muller: That reveal, that scene with Amy Adams with the Chinese general, was my favorite scene in the movie. The writing, the way it was shot, and the timing. The timing of that scene gave the audience a chance to breathe and fully take in the reveal.

Nate Zoebl: The scene reminded me of Christopher Nolan’s Interstellar, a film I wasn’t that fond of beyond its second act planet-to-planet investigations. The screenwriter in me wants to criticize the use of the future to bail out the past because it feels a tad too easy. However, while it really irritated me in Interstellar (couldn’t you be a bit more helpfully specific, Future People?!) I didn’t have a problem with its use in Arrival. Maybe I’m a hypocrite but I feel like the execution is much more impactful here and it doesn’t undo the plotting from before. It doesn’t feel like a cheap trick. The heptapod aliens experience time as a circle rather than linearly, much like Dr. Manhattan crushing through the past, present, and future simultaneously. If we could see our future selves and the actions we make, and inform our current decision-making, I think that would probably bring about a rare world peace. Also, I really liked that the aliens weren’t just these benevolent gifters but had an agenda as well because they know humans will save them thousands of years in the future. It’s like they intervened so we could save ourselves.

Eric Muller: I also liked that the aliens said they will need us in 3,000 years. We never discover what the aliens need from us then. I think we went over this earlier, but Arrival is not a new story but just a great take and twist on that story.

Nate Zoebl: I liked that open-ended nature of the story. What if the aliens had come to Earth and spoke in nothing but emojis? Lots of pictures of eggplants and “A-ok” fingers and strangely anthropomorphic poop.

Eric Muller: Then we would use Amy Adams’ soon-to-be-dead daughter to solve the mystery.

Nate Zoebl: The aliens would essentially be modern teenagers (I’ll shake my old man fist at The Kids Today). The daughter would be all like, “Whatever mom.” And then we’d all be dead. Though the ending reveal raises the question of fate versus free will. Can these future events and memories be prevented? I don’t have an answer.

[END OF SPOILERS DISCUSSION]

Nate Zoebl: So Eric, what would you rate this movie?

Eric Muller: I have to go 5 out of 5 stars. One of the best movies I have seen this year. It was a better version of Contact. When you look at it versus Independence Day: Resurgence, it did everything right that ID4 2 failed at, like how you view Civil War versus BvS.

Nate Zoebl: Fair enough, though please don’t ever bring up BvS in polite conversation without first giving me plenty of advance warning. I’m still working through that one. I think I’d rate it an “A-” myself, and I might change that in time. I think the only thing that held me back from a full “A” is that it saves the emotional investment a bit too late to have the full wallop I think it intended.

Eric Muller: I think saving the emotional investment was the wise choice. Cause we get it to start with the investment and then the ending flipflops it.

Nate Zoebl: Now, on a scale of eggplant emojis, how many eggplants are you giving this movie?

Eric Muller: Is this where I admit I’m too old to understand emojis?

Nate Zoebl: I’ll also admit that I don’t understand the appeal, especially conversations that are nothing but emojis. Fittingly, I’ll end this discussion with pictographs:

[Smiley face emoji + cat dancing emoji + little green alien with “we’re number one” foam finger emoji + movie theater emoji + eggplant emoji + “A-ok” fingers emoji]

Nate’s Grade: A-