"Arrival": The Latest Sci-Fi Escher Puzzle

Since 2013, the autumn movie season has seen a string of high-profile science fiction releases -- one coming to theaters each year like clockwork.

Sandra Bullock's "Gravity" ushered in the trend, followed by Christopher Nolan's heady "Interstellar." Last year we were graced with the whip-smart survival flick "The Martian" (based on the brilliant novel by Andy Weir).

These movies have steered more toward the quiet, intellectual side of the science fiction spectrum -- more "Close Encounters of the Third Kind" than "Independence Day." The films have garnered awards nominations -- "Gravity" and "The Martian" were both nominated in the Best Picture category at the Oscars.

Keeping the streak alive in 2016 is director Denis Villeneuve's "Arrival."

The film is based on the story "Story of Your Life" by Ted Chiang.

Following form, it is a brooding and cerebral science fiction film that plunges our world (and the film's main characters) into a space-induced existential crisis.

Amid all the other bombastic sci-fi and fantasy films unleashed at the box office each year, it is nice to "think" at the movies every so often. And "Arrival" certainly exercises the synapse.

The film follows Louise Banks, a sullen linguistics professor who is called upon when 12 mysterious spaceship pods arrive at various locations across the globe.

It's a classic setup -- seen many times in this genre and various sub-genres.

Amy Adams plays Banks -- sans makeup and uber-melancholy.

Gingers have become "de rigueur" in this latest string of autumnal sci-fi films -- Jessica Chastain in "Interstellar" and "The Martian" -- and, like her predecessors, Adams does a solid job winding her way through well-tread territory.

We learn early on that Louise Banks is a lone soul -- a single woman whose teen daughter died via terminal illness (the audience is led to believe it is cancer). Banks is grieving at the loss, and appears to be floating listlessly through life.

Banks's fate changes when -- while teaching a college linguistics course -- news breaks that alien ships have appeared at various points on the map.

The world develops a case of "tunnel vision" surrounding the arrival. Panic, fear and anxiety set in -- despite the fact that the alien ships seem benign.

Banks is soon approached by Col. Williams (Forest Whitaker), who needs her help finding a way to communicate with the aliens.

She soon accepts the government's overtures and heads to rural Montana, where one of the alien ships is located.

What follows are several cryptic in-ship encounters between Banks, her fellow team members, and the aliens -- seven-legged creatures dubbed "heptopods" (which look like walking squid with rhinoceros skin).

The heptopods communicate using dark smoky circle symbols that look like a cross between coffee mug rings and Rorschach patterns – and Banks and mathematician Ian Donnelly (a somewhat miscast Jeremy Renner) do everything in their power to decipher the symbols.

In a number of these "alien invasion" movies, a scant amount of time is spent deciphering languages. Oftentimes, a plot device is used to expedite the process and get to the meat of the narrative.

Not so with "Arrival." The crux of the film is deciphering the language.

Many will ruminate on whether or not "Arrival" is successful on that point.

As Banks points out during the film, "language is messy."

In my humble opinion, "Close Encounters of the Third Kind" offered one of the more novel ways of communicating with other-worldly visitors (John Williams's five-note tune was brilliant).

To go any further in analyzing plot points would be to give too much away.

"Arrival" eschews big moments and head-slapping epiphanies for subtle progression and gentle twists.

There are aspects of this movie that reminded me of the aforementioned "Interstellar" (although, "Arrival" doesn't strive for the grandiosity and spectacle of Christopher Nolan's epic).

Rather, both films employ mind-bending plot points that twist and turn like Dutch artist M.C. Escher's "Relativity" lithograph -- looping infinitely along.

In movies such as this, the journey is as much the reward as the destination.

"Arrival" achieves a relative balance in terms of being both hopeful and tragic. In that regard, it might be the perfect "zero-sum game"...

"up's down, down is out, out is in
time falls, water crawls, are you listenin'?
stairways circle back to where you been
stairways circle back to where you been
stairways circle back to where you been"
-- Escher's World, Chagall Guevara (1991)

Rated PG-13, Runtime: 1 hr, 56 min

Trailer:

Check out my previous blog post:
"Allied: Being Good at This Kind of Work Is Not Very Beautiful"

Allied: "Being Good at This Kind of Work is Not Very Beautiful"

As the end credits rolled on Brad Pitt's new spy drama "Allied," I saw a familiar name at the helm -- Director Robert Zemeckis.

While he might not be part of the public zeitgeist like Steven Spielberg, Zemeckis has produced, written, and directed some of the most popular and influential films of our time.

This is the filmmaker behind the "Back to the Future" trilogy. He won an Oscar for directing "Forrest Gump." He also directed "Cast Away," "Who Framed Roger Rabbit" and "The Polar Express."

In many respects, his filmography has been "Spielberg-lite" -- popcorn movies and family films, along with robust, crowd-pleasing dramas.

So I was somewhat surprised to see his name attached to a throwback spy drama set in World War II.

More to the point, "Allied" is a small, quiet movie about a British spy named Max Vatan (a wing commander in the RAF from Canada) whose wife (a French Resistance fighter) is suspected of being a sleeper agent colluding with the Germans.

"Allied" begins with Vatan (Brad Pitt) parachuting into the deserts of 1942 French Morocco during the height of World War II. He is set to rendezvous with fellow spy Marianne Beausejour (Marion Cotillard). Together, the two pose as a married couple, and maneuver their way toward an assassination attempt of the German ambassador stationed in Casablanca.

The pair becomes romantically entangled during the mission, culminating in Max's hasty proposal to Marianne during a tense getaway sequence.

From there, we see the two marry in London, have a baby (Marianne gives birth in the streets of London during the middle of a bombing raid), and forge a spartan domestic life together.

Their idyllic existence is thrown askew when Vatan is approached by his superiors in the British military -- who inform Max that Marianne is suspected of transmitting military secrets to Nazi Germany.

They order Max to aid them in running a "blue dye" operation on his wife -- leaving a piece of fake information in the home, and seeing if she transmits it.

From there, the story steers its way into Hitchcock territory, and the viewer is presented with clues, red herrings and contradictions as Vatan tries to learn the truth of his wife's identity.

"Allied" at times feels like it would have been better suited to the look and feel of classic romantic thrillers of the 1940s and 50s -- you can almost envision Pitt and Cotillard on black-and-white film, lit "noir style," with soft lens filters capturing their every move.

To say the film is quiet is an understatement. There is little in the way of musical score in the movie, and ambient noise is kept to a minimum.

The film's retro vibe is somewhat marred by a string of f-bombs (unnecessary), and a couple uncomfortable sex scenes (also unnecessary). Zemeckis and company should have played things straight in this instance.

Whether or not today's audience will embrace a film that gently sprouts like spring tulip is another issue entirely.

What cannot be denied is that Zemeckis manages to ramp up the narrative in a manner that deceptively pulls along the viewer.

And as the story reaches its zenith, you find your mind swirling and churning. 

Here's the teaser trailer:

Rated R, Runtime: 1 hr 56 min

The Crown: How Is This Latest British Emmy Bait?

The British are coming! The British are coming! 

Let's face it, the British have once again invaded entertainment.

Ever since our fair shores were graced with Harry Potter in the late 90s, our colonial forebears have seen a resurgence in the world of filmed entertainment.

Lady Mary and the brood at "Downton Abbey" became a major hit in the states, our "inner Anglophile" bubbled to the surface, and studios have decided to infuse entertainment with a healthy dose of Britannia...

PBS has increased its profile -- and lowered its average viewer age -- with ample helpings of new shows co-produced with the BBC and ITV.

The two latest "Star Wars" films feature plucky, young, brunette protagonists -- both Brits, and both with smokin' hot accents.

Superman is played by a British guy.

Batman used to be played by a British guy.

And streaming services have long attracted subscribers with cult British faves like "Doctor Who" (a show Bridget and I grew up watching on our PBS affiliate weekday afternoons).

It's a wonder we haven't traded in "My Country 'Tis of Thee" for "God Save the Queen"...

Netflix is certainly paying honor to the queen with its ambitious new series "The Crown" which debuted this month on the streaming giant (a co-production with Sony Pictures).

This stands as Netflix's most ambitious drama to date. The budget for the 10-episode first season is a reported ~$150 million, and you can see every penny dripping in muted majesty on screen.

The first season is centered in the 1950s, and focuses on the rise of Queen Elizabeth II, after the death of her father, King George IV.

Claire Foy plays Elizabeth, and does a wonderful job navigating the treacherous world of a staid monarchy struggling to stay relevant in a changing world. Foy provides a pitch-perfect performance as a young monarch struggling to realize her idealist views as they are tamped down by long-held traditions and laws put in place by parliament and the Church of England.

Matt Smith (best known for his gangly portrayal of the titular character on "Doctor Who") plays Elizabeth's husband Lord Philip Mountbatten -- who is seen as both an ardent supporter and perpetual skeptic of the royal way.

The production is lavish and compelling. Each episode (roughly 58-minutes each) is as much it's own mini-movie as it is a chapter in this serialized series.

The sets and scenery are gorgeous, as are the costumes featured.

This featurette illustrates the care and detail that went into the costumes employed in the series: 

There is a melancholy tone to the post-World War II Britain seen in "The Crown." And while that makes this period drama less frothy than an offering like "Downton Abbey," it is an imminently binge-worthy drama with its own driving pace and structure.

Pieces of history are woven throughout the show. While this could have been heavy-handed and trite, the filmmakers had a deft touch with the material, and each instance is used to further the subtle character development.

"The Crown" was created by Peter Morgan, and is based on his stage play titled "The Audience." Morgan also wrote the Oscar-nominated screenplay for the movie "The Queen," which focuses on an older Elizabeth.

You can tell throughout the 10-episode run of "The Crown" that Morgan knows this territory well. His scripts are razor sharp, and the large cast avoids coming across as caricatures during the unfolding narrative -- which is a danger with this sort of material.

I don't want to give away too many plot points. I'd rather let you watch the show without any major spoilers.

The rumbling pulse of "The Crown" is provided by Winston Churchill, played in all his gruff, curmudgeonly glory by John Lithgow. The tired old war horse -- who likes to remind those he encounters that he saved the world from fascism -- serves as sort of an odd, arms-length mentor to Elizabeth. He provides the most lively performance in the production.

As the show delves into the drama surrounding the royal family in the 1950s, it is made all the more fascinating with the knowledge that Elizabeth is still the queen, and her husband Philip is still alive in "Merrie Olde England." In fact, the couple celebrated their 69th wedding anniversary two days ago.

It is with a certain amount of regret that I tore through "The Crown" so quickly. It will be another year before a new season is available.

"The Crown" is definitely worth your time -- elegantly drawn and crafted with care. 

Long live our noble queen...

Where to Watch: Netflix (Streaming Subscriptions)
Number of Seasons: 1
Number of Episodes: 10
Rating: TV-MA

A "Minimal" Blog Post

We had the opportunity to attend the Green Omaha Coalition's 2016 "Reel to Real" Film Festival in Oct. 27 at Aksarben Cinema. 

Our friend Barb Thompson is on the organization's board of directors, and we did some work for the GOC the first year this event took place. 

Here's the logo I created for them:

This year's event featured the film "Minimalism: A Documentary About Important Things," and a pre-show talk with a local "tiny house" family, Melody and Darren Mike and their kids.

Couple things: 

1.) My wife can attest to the fact that I love documentaries -- my favorite documentary is called "Helvetica" (it's about the font, and the world of graphic design).

2.) I am fascinated with the socio-economic underpinnings of this whole "tiny house" movement. 

Let's start with the movie.

"Minimalism" reminds me a bit of the urban-design documentary "Urbanized" that Gary Hustwit made a few years ago -- especially as it regards consumer habits in the 21st century. 

The difference here is that "Minimalism" focuses less on the impact of an increasingly urban world, and more on a de-cluttered lifestyle, and living a life within one's means. It deals with the notion that the pursuit of "things" doesn't necessarily correlate to increased enjoyment, and can sometimes cause the reverse to happen.  

It features personal testimonials wrapped in subtle advocacy. Many of the examples in the film are people who could afford more, but have chosen to pursue the minimalist lifestyle. Think of it as a diet for the soul. Less stuff equating to more freedom.

The documentary was created by Joshua Millburn and Ryan Nicodemus. They operate the website theminimalists.com. Both friends had achieved financial success in their 20s, but felt discontented as they approached 30. The two left their corporate jobs in 2011, and started a 21-day program using the principles of minimalism to take control of their life. 

They have written multiple books on the topic, and tour around the country giving seminars.

Finding ways to avoid "over mortgaging" your life -- and reduce debt load and expenses -- is a noble pursuit. 

Along with the film, the Green Omaha Coalition had a "tiny house" family on hand. 

(I'll tell you more about the Tiny House family in a future blog post!)

Read my previous post: Give It New Life