“We all steal, but if we’re smart we steal from great directors. Then, we can call it influence.” -Krzysztof Kieślowski
Entire scenes are built, guided and informed by Baby’s music, where every word, sound, action and camera movement is in accordance with the song playing. As such, the film itself becomes a choreography playing in visual details – the filmic equivalent of a modern ballet, with jokes and car chases. What more could you ask for?
Ultimately, this film’s biggest fault is in not knowing its target audience. The emotionally complex storyline in which Ezra Miller plays the central character would have been delightful for nostalgic adults to explore, giving the franchise a different layer of complexity by exploring and addressing the abuse which was merely hinted at in the original film franchise.
With phenomenal acting, particularly on the part of Amy Adams, strengthening the film’s already interesting plot and cinematography, Arrival becomes nearly flawless.