Arrival Review: 10 Reasons It's An Instant Classic
3. The Cinematography Is Beautiful (And Has Real Purpose)
Cinematography master Roger Deakins didn’t reunite with Villeneuve for Arrival (the pair worked together on Prisoners and Sicario, and will reunite for Blade Runner 2), with the younger Bradford Young (who’s most prominent work is on Selma and A Most Violent Year) taking control of the visuals. And while there’s not quite the astounding beauty-within-the-unexpected you get with Deakins, he does an impeccable job of conveying the wonder at the alien’s arrival.
There’s a striking majesty to the scenes showing the worldwide reaction to the vistors, which is juxtaposed perfectly with the careful placement of Amy Adams within group shots, once again keeping the movie tightly on her. The standout scene from a construction point of view is the first entry to the ship. Through some undefined alien tech, the saucer is able to create its own gravity, so as they ascend the crew pull an Inception and flip ninety degrees. It’s mind-melting, and Young presents it with dizzying simplicity.