A blanket of clouds flow like water over mountains as the mist covers the landscape as far as eyes can go. The greens of surroundings are damped to a shade darker and the blue sky is cut in half with a black spherical shell. The first contact of the Aliens with mankind in Arrival stands tall as a monumental artistic vision which drips of beauty in this cinematic achievement of Denis Villeneuve.

It happens like it actually will, no amplification and as real as it can get. Twelve spacecrafts descend on Earth at twelve different locations and in the United States quest to understand their purpose, we meet a linguist, Dr. Louis (Amy Adams) and a physicist, Ian (Jeremy Renner). What follows is a diversion of time, language and intentions spiced with political undertones which sounds apt and relevant in current times. Relying solely on intellect, Arrival, during its complete run time, never for a moment takes support of rehashed action sequences or redundant plot escapes that has tired this genre.

Denis Villeneuve has always been atmosphere driven. He enveloped the world in an amber tint in his massively under watched Enemy, played with bright lights of Mexico in Sicario. And now with Arrival, he drenches the scenes in rich tonal variations to amplify various moods in the narrative. Add this with some awe inspiring cinematography and a rousing background score, you have a delight for both eyes and ears.

Arrival is a heady beast. It builds up with a progressive increase in intensity while delivering a stunning science heavy third act and wraps it in a clean foil of emotions. It transcends the barriers of time and memories while leaving you awed for the sheer ambition and wisdom it has up its sleeves. Visually stunning and intellectually rich, Arrival is one of the most accomplished and layered science fiction of this decade.

★★★★½