In the deep movie 2016 rating
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We might intuitively "feel" the emotion, but without the word to describe it we’re inclined to lump the emotion in with another under the same heading. Or consider the phenomenon of words in other languages that describe universal feelings, but can only be articulated precisely in some culture. (Go check out the paint chip aisle at Home Depot if you’re skeptical.) A color specialist at a paint manufacturer, however, can distinguish between virtually hundreds of colors of white. All yellows are not alike, but without the need to distinguish between yellows and the linguistic tools to do so, people just see yellow. The pieces of it are the same - we live on the same planet, breathe the same air - but our perceptions of those pieces shift and change based on the words and grammar we use to describe them to ourselves and each other.įor instance, there is substantial evidence that a person doesn’t really see (or perhaps "perceive") a color until their vocabulary contains a word, attached to meaning, that distinguishes it from other colors. The film’s premise hinges on the idea, shared by many linguists and philosophers of language, that we do not all experience the same reality. Arrival is interested in how language shapes reality Arrival is serious and smartly crafted, shifting around like a Rubik’s cube in the hand of a savant, nothing quite making sense until all the pieces suddenly come together. For a movie with so many complicated ideas, it doesn’t waste any more time on exposition than is absolutely necessary.
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The most visionary film yet from director Denis Villeneuve ( Prisoners, Sicario) and scripted by horror screenwriter Eric Heisserer ( Lights Out), its pacing is slower than you’d expect from an alien-invasion film, almost sparse. It’s best not to say much more about the plot, except that it is pure pleasure to feel it unfold.
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With help from a cynical Agent Halpern (Michael Stuhlbarg), they suit up and enter the craft to see if they can make contact. She arrives at the site with Ian Donnelly ( Jeremy Renner), a leading quantum physicist, to start the mission. Banks gets a visit from military intelligence, in the form of Colonel Weber ( Forest Whitaker), requesting her assistance as an expert linguist in investigating and attempting to communicate with whatever intelligence is behind the landing. And nothing happens.Īs world governments struggle to sort out what this means - and as the people of those countries react by looting, joining cults, even conducting mass suicides - Dr.
IN THE DEEP MOVIE 2016 RATING SERIES
Louise Banks ( Amy Adams) has suffered an unthinkable loss, and that functions as a prelude to the story: One day, a series of enormous pod-shaped crafts land all over earth, hovering just above the ground in 12 locations around the world. The bittersweet feeling instantly settles over the whole film, like the last hour of twilight. The strains of Max Richter’s " On the Nature of Daylight" play over the opening shots of Arrival, which is the first clue for what’s about to unfold: that particular track is ubiquitous in the movies (I can count at least six or seven films that use it, including Shutter Island and this year’s The Innocents) and is, by my reckoning, the saddest song in the world. It deserves serious treatment as a work of art. Not only that, but Arrival is one of the best movies of the year, a moving, gripping film with startling twists and imagery. Arrival is much more concerned with deep truths about language, imagination, and human relationships than any one political moment.
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But the story Arrival is based on - the award-winning novella Story of Your Life by Ted Chiang - was published in 1998, almost two decades ago, which indicates its central themes were brewing long before this year.