Stranger Things explores the healing process of three children with traumatic past experiences who may only begin their journey towards overcoming their troubled realities by indulging in gothic staples of childhood.
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.
The script is at best weak, and the story is overall predictable and filled with tired tropes which aren’t touched upon in a very new way, however, watching the immense work of talented animators, voice actors, and musicians build something truly artistic within these constraints is a definite joy.
If the individual is only truly free when he is at peace with himself and trusting of the truth of his interpretation and critical thinking, then any major controlling force (such as the government) becomes, in and of itself, anti-human. Love is, as framed by Michael Radford, anarchy.