Drama / Mystery / Sci-Fi / Thriller

Rotten Tomatoes Critics - Certified Fresh 94%
Rotten Tomatoes Audience - Upright 83%
IMDb Rating 8 10 407299


Uploaded By: FREEMAN
Downloaded 2,499,548 times
February 01, 2017 at 08:38 PM


Amy Adams as Louise Banks
Jeremy Renner as Ian Donnelly
Forest Whitaker as Colonel Weber
Michael Stuhlbarg as Agent Halpern
720p 1080p
852.73 MB
23.976 fps
1hr 56 min
P/S 44 / 477
1.77 GB
23.976 fps
1hr 56 min
P/S 39 / 531

Movie Reviews

Reviewed by ryanjmorris 10 / 10

A flat out, stone cold, science fiction masterpiece

Louise Banks (Amy Adams) is a linguist who teaches at a College. One day, twelve giant spacecrafts appear in random locations across the world overnight. Louise's skills make her a requirement for the U.S forces, who recruit her - and mathematician Ian Donnelly (Jeremy Renner) - to attempt to decode and translate the language that the creatures inside the spacecrafts are using in order to prevent a global war. Alien invasion films have, frankly, been done to death. Arrival's script - penned by Eric Heisserer and adapted from Ted Chiang's short story "Story of Your Life" - is ingenious in that it finds an entirely new angle to focus the whole thing on. Rather than start a war and depict the bloodshed and trauma of an alien invasion, Arrival focuses on the struggle to communicate with the creatures (dubbed "Heptapods"), and what the aftermath of this could lead to should it not go to plan. The whole thing is pieced together like a piece of art - the performances, dialogue, cinematography, soundtrack, screenplay, editing and direction all form one elegantly structured whole. It's a simply astonishing feat of film making.

Arrival finds strength in just about everything it is comprised of. It does this to such an extent, in fact, that it's almost impossible to break it down into individual pieces. Amy Adams is superb here, giving a subdued but deeply moving performance. A lot of the film rests on her shoulders for its twists and turns to stick the landing, but she carries it without breaking a sweat. Never given any big Oscar-esque moments, Adams tells Louise's story in her softest moments and through her body language. It's an astoundingly delicate performance. Renner is also solid, and accompanies Adams nicely, even if he can't help but feel woefully overshadowed. Louise as a character is the film's most exciting element - a woman that uses her knowledge and skills to change the world in ways it has never been changed before, all of which comes down to language. When Arrival ends, you will spend hours thinking about yourself and the language you speak and use every day. The potential behind this story was astronomical, and it delivers in spades.

Much like in his previous film Sicario, Villeneuve has created a masterful aesthetic in every way. The film's soundtrack, courtesy of the terrific Jóhann Jóhannsson, is a sublime array of thumping horn arrangements and softer pieces. The cinematography (by Bradford Young) is breathtaking, bringing in references and odes to other sci-fi classics (notably 2001: A Space Oddysey) but successfully acting as a perfect match to the tone of each sequence. The flashback sequences focused on Louise's young daughter look and feel like forgotten memories, while the moments inside the spacecrafts feel entirely alien. The production design is stunning, the large pitch black objects hovering over the cities feel instantly dark and foreboding, and the brief sights of the creatures we're given reveal something wholly original. In terms of technicalities and aesthetic, Arrival is a thing of beauty - a unique, visually resplendent film that you never want to take your eyes off of.

But where Arrival hits perfection, though? The emotion. The power behind the story, and the direction the story takes in its tremendous final act. This is what makes Arrival such a phenomenal film. It sets up a story (an already thought-provoking and well paced one, at that), and then smoothly transforms into something much bigger than you could ever have expected it to be. Another stroke of ingeniousness is that the film doesn't do this in one movement. Rather than drop one bombshell and change its direction, Arrival slowly sets up a series of events, then puts them in motion one by one, binding everything neatly around its central character. Y'know that feeling you get when an absolutely killer plot twist lands? Arrival will give you that feeling for the entirety of its final act. It is, of course, entirely possible to work out where it is headed. I did, as a matter of fact, and it just made the whole thing feel that little bit more special. You either work it out and watch as it comes to life before your eyes, or you cluelessly dedicate your time to its finale and feel mesmerised at each and every turn. Whichever you experience, it is wonderful.

Arrival is a film that feels thrilling in its own unique little way. When it ends, and you discuss it for hours (which is inevitable), you'll find yourself not focusing on the aliens. You'll be focusing on the emotional power of it all, on the human side of the story. I've deliberately left a lot out of this review, just to avoid spoiling the direction the film takes in its final act. The power behind the constant twists and turns is game changing; it proves that science fiction can be, despite what the name might imply, the most human genre to make a film about. Arrival has some stunning imagery and effects to play around with, but instead it focuses on language and conversation. It focuses on humanity and time and memory, and all that is worth fighting for on this planet. It is a breathtaking achievement, and one I already cannot wait to experience countless times again. In a year riddled with emotionless superhero films and crude comedies, Arrival is a godsend. Villeneuve has been on the verge of a masterpiece for the last few years, and he has finally landed it. Arrival is a film for the ages. Seek it out at all costs, and let it transport you across time and space only to bring you back down to Earth, evoking a feeling you may never have experienced before. This, people, this right here is why I adore cinema.

Reviewed by martin-807-452270 3 / 10

so close but so far.

This should have been brilliant!


I love Amy Adams and think she is a great actress, and the first half of this films is suitably spooky, fully of mystery - but as soon as she gets in to the alien space ship and starts writing her name LOUISE, I just shook my head. Why is it so hard for Hollywood to write a decent script???

We spent YEARS deciding what to put on the side of the Voyager spaceship in case any sentient life forms discovered it, and used pictographs and hieroglyphics, but in this film the world's best linguist (allegedly) who knows Sanskrit (so therefore must know alien languages) just stands there and writes LOUISE in bad handwriting on a small white board and shouts her name whist enthusiastically thumping her chest!

That is how the English behave abroad, not how you make first contact with an alien race.

Close Encounters of the Third Kind did this so well with sound and colour, but here we just have a flip chart and a marker.

such a flippant regard for science makes all the rest of the film silly. People were laughing in the cinema when Ian started saying his name, and walking up and down 'IAN WALKS'. And then all of a sudden Lousie can recognise the word for time travel, which is a very complex concept, and all in the space of a few days.

Clearly the director and writer had a really great idea, and set up the world very well, but as soon at they go to the complicated bit - how do you actually communicate with an Alien from another planet who has no cultural references, then they bottled it and threw in a Voice Over from Ian, who we never quite worked out what he was there for. It's an old film making trick - if you are stuck thrown in a voice over that explains stuff.

They didn't even bother to try colours, or sounds, or lights, or music - just a white board and a marker and Louise has been writing in English, whilst round the world everyone will be writing in their own language and confusing the poor aliens.

And if you have got Forest Whittaker the Oscar winner in your film, for god's sake give him something to do! He has no purpose in this film, all his lines could be cut. Just have soldiers grab Alison and fly her to the space ship - give her the briefing in the chopper...

The director and writer should be forced to watch Close encounters of the third kind until they appreciate how pathetic their film becomes.

Such a shame. 8 out of ten for the first 30 minutes and 2 out of ten for the slow fart of the rest of the film.

Reviewed by lruella 1 / 10

I really don't understand the good reviews. Everybody in the cinema was bored to death

This movie left everybody in the cinema clueless and bored to death.

So many things in the movie make ZERO sense, just a few examples:

- The colonel expects the linguist to decipher some alien language that sounds like gwowodkgjdkgrowlhwkas on the spot from a dicta phone.

- Most important event in humankind and all decisions are taken by some random soldiers in the camp. President of the US or any politicians are never shown and take no role whatsoever in the story.

- Some "rogue" soldier (god knows how) gets his hands on explosives, avoids all controls, and expects to destroy with a few C4 charges a huge spaceship which defies the laws of physics.

- The way they "decipher" the alien random scrabbling are just completely arbitrary and laughable (aka there is no explanation on how anything is deciphered) but magically after a few months they have a full vocabulary with which they can have a conversation. In real history many real human languages based on actual letters (not random stains in the air) were a completely unintelligible until the Rosetta Stone was found with a key to understand them.

- The alien presence on earth is just nonsensical. They arrive, say that they have bought some "gift" to humanity because in 3000 years they will need help in return (for what?) and then they disappear in thin air without having accomplished anything.

- The attack by the Chinese general (again, no government exists, it seems that soldier can just do what the heck the want) is stopped by some phone call whose contents nobody bothers to explain.

- most of the movie is just going back and forth from the ship, zzzzzzzzzz

- The physicist is practically useless. He just sits around without giving any scientific contribution. His only role is to represent the love interest of the linguist. He could have been a janitor for all I know.

People saying that this is the best movie ever have probably never seen a movie in their life or have suffered a concussion. Proof of this is that, while we're still talking about 2001 a space odyssey after 40 years, in 3 months nobody will remember this onsensical, boring, badly written piece of garbage.

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