The second set similarly uses science as a backdrop for noir. These are the darker films, the dystopian adventures. They may not be as hopeful or as fun, but they tend to be more pointed. These films typically propound on a "what if" premise, plumbing the dingy depths of possibility. The best are often imaginative, twisted interrogations of human nature or society. This is Blade Runner, The Matrix, Dark City.
Finally, there are what I like to call "thinking" films. They are headier, and explore ideas that fundamentally change reality or alter our perception of it. They eschew spectacle and adrenaline to allow the audience to dive deep on a single premise. These films are typically smaller in focus, slower, often centering around the journey of a single character. Usually less accessible movies, Hamlet might opine that these "pleased not the million, (but) 'twas caviar to the general". I would count 2001, Interstellar, K-PAX and others as "thinking" sci-fi. Arrival fits securely in this group.
Arrival is a big budget take on a small story, focusing almost myopically on Louise, a linguistics expert who is conscripted to help communicate with extra-terrestrial beings who arrive suddenly above the Earth. Her journey of consciousness as she learns to comprehend the aliens serves as the plot, using the events of the story more as context than narrative. Director Denis Villeneuve deftly uses arresting visuals and frank, realistic sensibilities to relate a story that might otherwise be esoteric. It's fantastic elements are believable because of his steady hand, and even the few quibbles i had in hindsight melted away while watching the screen.
Arrival is an experience. It is thoughtful and beautiful, and has lingered in my thoughts since viewing.
9/10
Content is appropriate for teens
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