Arrival is a work that resents the necessity of violence. However, the film ditches some of the meditative qualities of the bleakness-to-idealism dialectic of .
Movie Reviews and Information: reviews/arrival
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An ambitious sci-fi film that forces viewers to reconsider that which makes us truly human, and the impact of grief on that timeline of ...
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Some film reviewers called it “spooky and sonorous, a spectral hum,” while others called it a “gaunt score,” and these are very apt adjectives.
While most scores act as mere window dressing to the greater work, “Arrival”'s score conveys the same general points about the work in parallel ...
As Jóhannsson says, I feel the main reason I enjoyed the sound in Arrival as much as I did was because it was never overdone. A large portion of ...
Icelandic composer Johann Johannsson talks about how he scored the science fiction movie Arrival with inspiration from the movie's images.
“Arrival” isn't a visionary movie, an intellectual rebus or a head movie; it's pretty straight in some respects and sometimes fairly corny.
The first and last song in 'Arrival', which ultimately disqualified the film's score from Academy consideration, is "The Nature of Daylight" by Max Richter.
The uneasy soundtrack reverberates and makes you squirm in your seat. The design of the pods perfectly encapsulates the film. These alien ...
Arrival (Original Motion Picture Soundtrack) is the soundtrack composed by Jóhann Jóhannsson for Denis Villeneuve's 2016 film Arrival.