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Amy Adams

Zack Snyder’s Justice League: Reborn Film Finally Does Justice to the Franchise

September 7, 2021 by Steve Norton Leave a Comment

You could forgive me if I doubted.

After years of hearing about the mythological ‘Snyder Cut’, there was simply no way that this film could meet expectations. After all, the original film was such a tepid piece of fodder that there was simply no way that a few tweaks or additional scenes could self-correct a franchise that had fallen so far off the rails. Now, with a refreshed budget and a new home on HBOMax and Blu-ray, Zack Snyder’s Justice League has finally arrived. 

And I admit that I was stunned by the results.

The details of the Snyder Cut’s resurgence has been well-documented. Determined not to copy Marvel’s roadmap to success, DC chartered their own path that rushed the process. By the time that The Avengers came around, standalone films had charted a path that allowed audiences to connect with the characters before they attempted to work together. Falling behind in the box office, the release of Batman v. Superman: Dawn of Justice gave DC the chance to try and regain some traction in the pop culture world. In their attempt to speed up the process, they threw their characters into films without any proper introductions. Whether they were attempting to ‘catch up’ to Marvel or simply afraid of being accused of ‘copying’ Disney’s juggernaut franchise, the result was a middling mess of confusion that left no time to create something special. 

After Joss Whedon’s cut of the Justice League failed to catch on with audiences, WB may have thought they were free of the franchise with a chance to reboot things once again. However, they underestimated their fans. After an unprecedented fan campaign that lasted three years and a hashtag (#ReleaseTheSnyderCut) that simply wouldn’t die, WB found themselves portrayed as the villains of a fiendish plot to suppress a director’s vision. Even so, they held firm to their comment that any other version for the film simply did not exist.

All that changed with the creation of HBOMax. Even if Snyder had been able to complete the film initially, there’s simply no way that the WB would have allowed a four-hour cut to be released in theatres, especially for a franchise that had been viewed as flailing. Although, with the move to streaming, Snyder suddenly had the opportunity to lean in to his longer take on the film. All of a sudden, he had the time (and freedom) to tell the story his way. Given more space in the world of digital media, Snyder’s League feels less like a theatrical release and more like the first chapter of a mega mini-series event. At a time when binge-watching has taken over the ‘theatrical experience’, Zack Snyder’s Justice League leans into our current obsession with long-form storytelling, complete with ‘chapters’ marking breaks within the film. 

Most importantly though, what about the quality of the film itself? 

The truth is that it’s good. Very, very good. 

Shockingly good, really.

In the new cut, Zack Snyder’s Justice League picks up immediately following the events of Batman v. Superman: Dawn of Justice. After Superman’s (Henry Cavill) death, the world is left with a need for heroes. As such, Batman (Ben Affleck) and Wonder Woman (Gal Gadot) begin building a team of super-humans who will stand together against an ancient evil that is preparing to return and exact revenge on humanity. 

Although I have never considered myself a ‘Snyder-apologist’, one can’t help but recognize the quality of his epic saga. The ‘director’s cut’ is far from a new concept in our culture. Even so, the extent of these re-edits usually amounts to a few additional scenes or some updated special effects. In the case of the new League, Snyder offers an almost entirely different story with new subplots and expanded character beats.

In fact, it’s not an exaggeration to suggest that it improves on the original theatrical cut in virtually every way.

While Whedon’s original film attempted to ‘lighten’ the tone with more quips and less exposition, that vision never truly fit with the world that Snyder had already created. Marked by rushed character arcs that never satisfy and a bland villain, the original film rarely works. Nevertheless, with the move to HBOMax, Snyder’s version has the proper time to explore the stories of new characters without betraying the larger superhero story. Though this saga would obviously have benefited from prior stand-alone films, Snyder’s League does its very best to compensate by giving meaningful backstories to its new additions, especially Ray Fisher’s Cyborg. Once a side character with little relevance, Cyborg has suddenly become the film’s emotional core with an arc that has a significant impact on the outcome of the story.

In addition, the most notable change comes through a more fully realized villain in Steppenwolf. Whereas Whedon trimmed the brute’s story down to almost nothing, Snyder’s new footage offers a meaningful role to the character. Instead of a standard ‘big bad’ who’s forgettable (at best), the new League highlights his motivation and relationship to the larger impending force of nature in Darkseid. As a result, not only does Steppenwolf become more interesting to the viewer but his actions simply make more sense. (What’s more, new special effects give the character a much more menacing look, a factor that was lacking in the original cut.) 

Of course, it’s also important to know that the film ends on an enormous cliff-hanger. Originally conceived to be the first of three films, League operates in grand strokes but never fully concludes. (For the record, Snyder has currently stated he has no intention of returning to the world.)

What’s more, despite its overall quality, this League will not likely win any new converts from those who struggle to connect with Snyder’s vision. Although it goes without saying that this a vastly improved version of the film, all the Snyder-isms that will cause derision remain front and centre. Off-putting to some for his showmanship, there’s little question that his visual polish drives his work. Featuring a litany of stylized effects, slow-motion action and dark, gritty story-telling, League is Snyder is at his free-wheeling best yet he will still likely alienate viewers who are looking for something more along the lines of Marvel’s lighter, more humorous tone.

However, these vast differences are all very intentional. Whereas Marvel has taken a much more scientific or ‘human-centred’ approach to their content, Snyder’s vision for the DC Universe has always included viewing these heroes as modern gods. Though Marvel seems to create heroes on par with mankind, Snyder views characters like Superman, Batman and Wonder Woman as super beings who have been sent as examples to inspire humanity to greatness. (One need not look further than the giant monument to Superman to see that this is true.) There’s a deep admiration for his characters within Snyder’s work that hints at the spiritual longings of a culture looking for heroes. As such, his vision for the League meets every superhuman act with a grand crescendo. Bursts of electricity, clangs of metal and a bombastic soundtrack give the film an epic scale that highlights his vision. To Snyder, the DC Universe is an example of our modern mythology and, as such, he is unapologetic in his reverence for the material.

With the release of his ambitious superhero opus, Snyder truly does come out as the winner here. With grandiose storytelling and vastly improved character arcs, Zack Snyder’s Justice League shows what the director can do when given the time (and money) to bring his vision to life. As a result, this reborn League certainly feels like the unexpectedly epic conclusion that this chapter of the DCEU (and Snyder himself) needed.

That is, until #RestoreTheSnyderVerse takes effect.

Zack Snyder’s Justice League is available to stream on HBOMax and on Blu-ray. The special feature included is “Road to Justice League” as Snyder reflects on the three DC films he made for Warner Bros.

Filed Under: Featured, Film, HBO Max, Premieres, Reviews, Television, VOD Tagged With: Amy Adams, Ben Affleck, Ciarin Hinds, DC, DCEU, Ezra Miller, Gal Gadot, Henry Cavill, J.K. Simmons, Jared Leto, Jason Mamoa, Jesse Eisenberg, Ray Fisher, ReleaseTheSnyderCut, superheroes, Superman, Wonder Woman, Zack Snyder, Zack Snyder's Justice League

Vice – Humble Servant to Power

January 4, 2019 by Darrel Manson Leave a Comment

John Nance Garner (one of FDR’s Vice Presidents) observed that the Vice Presidency “is not worth a bucket of warm spit.” But that was different when Dick Cheney became Vice President. Cheney seemed to many to be the real power during George W. Bush’s presidency (at least the early years). Adam McKay’s Vice is a wide-ranging, sometimes satirical, sometimes cynical, sometimes funny, sometimes deadly serious, sometimes factual, sometimes imagined biopic of Cheney. It is by no means free of prejudice (many might call it ‘liberal spin’), but even with that understanding, it raises important questions for us to consider about how power is used by some.

The story follows Cheney (Christian Bale, in a superb performance) and his wife Lynne (Amy Adams, also great here) from his “ne’er-do-well” or “dirtbag” days after flunking out of Yale to being perhaps the most powerful man in the world. The terms “power” and “opportunity” come up frequently in the first part of the film.  It should be noted that if we think of Cheney as the power behind the throne, this film portrays Lynne as the power behind the power. As a woman, she knew that the road to power was not open to her at that time. Instead, she formed Dick into the one through whom she would access power.

Christian Bale (left) stars as Dick Cheney and Amy Adams (right) stars as Lynne Cheney in Adam McKay’s VICE, an Annapurna Pictures release. Credit : Matt Kennedy / Annapurna Pictures.2018 © Annapurna Pictures, LLC. All Rights Reserved.

As Cheney progresses up the ladder of success, there are many of those moments that he sees as a key opportunity to enhance his power, beginning with interning with then Congressman Donald Rumsfeld (Steve Carrell), who becomes a mentor. It moves through his own congressional career and into his time in the White House and Defense Department, before heading to the private sector before he found his way to become George W. Bush’s (Sam Rockwell) Vice President. It also shows how Cheney took the opportunity (there that is again) to fill the Bush White House with his people.

Christian Bale (left) as Dick Cheney and Steve Carell (right) as Donald Rumsfeld in Adam McKay’s VICE, an Annapurna Pictures release. Credit : Annapurna Pictures 2018 © Annapurna Pictures, LLC. All Rights Reserved.

McKay has put together a film that constantly surprises us. While much of the film follows the basic plot, there are some twists in the way that the story is told. For example, in one scene the Cheneys have an iambic pentameter pillow-talk discussion of the possibilities of power that would have made Shakespeare jealous. And there are times when a narrator (Jesse Plemons) breaks the fourth wall to speak directly to the audience to add some commentary or teach us about certain concepts such as Unitary Executive Theory. (The narrator’s relationship to the story is kept secret until near the end.) At one point, McKay creates a happy ending and starts rolling credits, but the film is only half done at that point. Through all this there are edited in some scenes of fly fishing (Cheney is an avid fisherman), which seem to symbolize the way he would lure people into a situation and then reel in the power. (And be sure to check out the flies that accompany the credits at the film’s end.)

So what kind of picture does this paint of Cheney (and others in the story)? Is it a political hatchet job? My thought is that for the most part the film portrays Cheney as a generally sympathetic person. He is a good family man. When his daughter comes out as gay, his response is to affirm his love for her. And before accepting to run for Veep, he makes it clear that he won’t run against LGBT rights. (Although later, when his other daughter is running for Congress, that position is set aside in the struggle to win.)

Jesse Plemons as Kurt in Adam McKay’s VICE, an Annapurna Pictures release. Credit : Annapurna Pictures 2018 © Annapurna Pictures, LLC. All Rights Reserved.

But even though he is treated sympathetically, we also see him as willing to do what is needed to achieve more power. Early on, he makes the statement that he would be a “humble servant to power”. We never see any evidence that he serves anyone or anything other than that. (The story of the temptation of Jesus may be applicable here.)

Christian Bale as Dick Cheney in Adam McKay’s VICE, an Annapurna Pictures release. Credit : Annapurna Pictures 2018 © Annapurna Pictures, LLC. All Rights Reserved.

And when we consider some of the policies that Cheney advanced, we may find that the film serves as a shibboleth that defines orthodoxy of either the right or the left, giving insight into our own understanding of what we want from our leaders. Do we want a strong leader who will never apologize for what they have done? Do we support the kinds of things done in the aftermath of 9/11? We continue to be divided on such issues. I suspect that some who watch this film will have a very different take on it than I did. I think that is especially true when we consider the final scene, as Cheney is doing a TV interview and himself breaks the fourth wall to turn to us and deliver a final aside.

As to the idea that this is a liberal political hatchet job, the film itself addresses that in a coda (another reason to stay for the credits) that explicitly makes that charge. Here too I think there is a bit of a chance for each viewer to think of their own reaction to the film and to the political situation it speaks to.

Filed Under: Film, Reviews Tagged With: Adam McKay, Amy Adams, Christian Bale, comedy, Dick Cheney, drama, Jesse Plemons, politics, Sam Rockwell, satire, Steve Carrell

Yes, One Last Top Ten List

February 26, 2017 by Steve Norton Leave a Comment

Yes, tonight is Oscar night

Yes, it’s the end of February.

Still, I wanted to wait until I’d seen enough of last year’s films to truly give a proper ‘Top Ten’ list… and that takes time.  While there were many films that could have been on here, I felt that these were my picks as the ten most engaging film experiences I had in 2016.  Do you agree?  What would be on yours?

10) Doctor Strange – I admit it.  Over the last two years, I’ve grown tired of Marvel’s overall repetitiveness.  While they often create interesting characters, they often lack in bringing anything particularly new.  Doctor Strange was the exception to the rule.  By introducing magic into the MCU, director Scott Derrickson also introduced a heart of spirituality that has often been lacking from the franchise.  It would take a lot for me to enter a Marvel film into my Top 10 but I couldn’t deny this pleasant surprise from an appearance.

9) Sing Street – This little rock n’ roll film film from the director of Once is pure joy.  The film moves along at a solid pace and the characters fit well with the world in which they exist.  Despite their youth, they struggle with the effects of poverty and tensions within 1980s Ireland but they find hope as the come together in their music.  Also, it’s a ton of fun.  And ‘Drive It Like You Stole It’ will stick in your head all day.

8) Kubo and the Two Strings – While this likely won’t win Best Animated Feature tonight, it really should.  This surprise is all about the power of our stories and how they drive us.  The animation is simply beautiful–given to look like paper themselves, re-emphasizing the story motif–and the film is simply amazing.  See it.

7) Birth of a Nation – Yes, it has it’s issue.  Yes, it’s controversial… but there’s a lot of good in this Braveheart-style film (which was, incidentally, ‘mentored’ by an uncredited Gibson.  Much of the backlash towards the film was related to writer/director Nate Parker but the film itself is focused and has much to say.  The story of Nat Turner is one that Parker wants you to experience and feel, and personally, I felt he accomplished this.  In addition, the film has lots to talk about who owns the Scripture, which I found very interesting.

6) Silence – This film breaks my heart–not because of the torture scenes of Christians but actually due to the lack of support it received from the Evangelical community.  Seen as one of the biggest bombs of Scorcese’s career, it really is only because people didn’t show up.  The quality of the film is superb and provides a riveting challenge to faith while also demonstrating the value of it.  Frankly, the church missed out on an amazing opportunity.  This film was brilliant.

5) Jackie – To me, this was undoubtedly one of the best scripts of the year.  Following Jackie Onassis on the week after JFK’s assassination, this character study was a fascinating exploration of the relationship between fame and politics.  Portman’s performance is, in my mind, the best lead actress of the year (though she likely won’t win the Oscar).  She plays Jackie O with ferocity and fragility and it’s truly something to see.

4) Hail, Caesar! – Clooney arguing the Communist dialectic.  Channing Tatum tap dancing on a table.  “Would that it t’were so simple?”  This Coen brother’s comedy is hilarious in its absurdity but also an interesting look at Hollywood’s connection with faith-based culture.  I laughed.  A lot.  And it earned them.  Definitely one of my favourites of the year.

3) Arrival – I love thoughtful sci-fi… and Denis Villeneuve… but this film earns the position based on it’s own merits as well.  While not truly a ‘twist’ ending, the film’s finale does bring everything together in an engaging and thought-provoking matter.  Plus, I found the exploration of language and suffering is moving.  I’d say more but the less you know before you see, the better.

2) La La Land – Yes, it’s good.  I’ll admit it.  I simply don’t get the emerging backlash against the film.  It’s fun, the music is wonderful and the performances engaging.  Chazelle proves yet again that his direction is something to be noticed and the set design is eye popping.  More importantly though, the story does have something to say by talking about the tension between nostalgia and moving forward.  Does it deserve 14 nominations?  I struggle with that… but it’s a worth Best Picture film should it take gold tonight.

1) Moonlight – No other picture surprised me as much as this film did this year.  Moving and powerful, Moonlight explores sexuality and masculinity in an urban African-American setting that is rarely explored.  The slow, panning camera let you feel each moment as Little grows to Chiron and transforms to Black.  In the end, this film simply gave me more to think about than any other film this year.

Filed Under: Film, TIFF Tagged With: Academy Awards, Amy Adams, Arrival, Birth of a Nation, Caesar!, Dr. Strange, Hail, Jackie, kubo and the two strings, La La Land, Moonlight, Oscars, Silence

Nocturnal Animals – Unhappy Perfect Life

February 21, 2017 by Darrel Manson Leave a Comment

“What right do I have to not be happy? I have everything.”

Susan Morrow (Amy Adams) seems to have a perfect life in Nocturnal Animals. She has a top job in the art world, a beautiful home complete with its own works of art, her clothes and makeup are flawless. Yet we learn very soon that this is a world of artifice and pretension. Even from the opening credits that happen as we watch several naked, grossly obese women dancing as part of a performance art piece, there is a juxtaposition of what we might think of as beautiful and the ugliness of reality.

Academy Award nominee Amy Adams stars as Susan Morrow in writer/director Tom Ford’s romantic thriller NOCTURNAL ANIMALS, a Focus Features release. Credit: Merrick Morton/Focus Features

We soon discover that her marriage and financial life are on very shaky ground. When her husband leaves on one of his too frequent business trips, she receives a package from her ex-husband Edward Sheffield (Jake Gyllenhaal) whom she hasn’t heard from for many years. Inside is a novel he’s written entitled Nocturnal Animals (a term he had used to describe her late night habits). She begins reading the manuscript and is immediately caught up both in the story and in memories of her marriage to Edward. The film is an intricate structure of Susan’s present day life, flashback, and the story-within-a-story of the novel.

The novel tells the story of Tony Hastings (also portrayed by Gyllenhaal) and an ill-fated vacation with his family through West Texas. They have a run in with a carload of coarse young men who end up taking Tony’s wife and daughter in one car and him in another. Tony is left stranded in the middle of nowhere. When he makes his way to the police, the story becomes even darker. Police detective Bobby Andes (Michael Shannon) is determined to have justice done—even if it has to happen outside the law. He and Tony set out to find the men who were involved.

4100_D002_00311_R3 (l-r.) Academy Award nominees Michael Shannon and Jake Gyllenhaal star as Bobby Andes and Tony Hastings in writer/director Tom Ford’s romantic thriller NOCTURNAL ANIMALS, a Focus Features release. Credit: Merrick Morton/Focus Features

The interrelatedness of that novel with events in Edward and Susan’s past sheds light on the depression that lurks behind the seemingly perfect life that Susan is leading. In the novel, Tony loses everything he holds dear, and is encouraged by Bobby to get revenge for the pain he has suffered through. For Edward, there is a sense that Susan has taken away everything that gave him happiness when they were married. But now, Susan is discovering that the life she has chosen is empty and meaningless, even though it seems to be filled with life and beauty.

Director Tom Ford makes great use of visual comparisons as the stories unfold. The art world that Susan inhabits is filled with beautiful things, but also seems very sterile. The West Texas countryside seems bleak and desolate, yet it is there that matters of life and death play out. There are also times that Ford connects the stories with shots that seem to echo each other. As we watch the various stories evolve and weave together, we begin to understand what Susan has lost on the way to the apparent success she enjoys, but now finds unfulfilling.

Susan is discovering that the world around her is full of illusion. Not just artistically, but emotionally and spiritually. Happiness is not found in success or possessions, both of which she has in abundance. It is through looking back that she begins to see that she has lost the very things that could have given her happiness.

Photos courtesy of Focus Features

Special features on the Universal Blu-ray Combo pack include “Building the Story” (the trifold manner of the narrative), “The Look of Nocturnal Animals,” and “The Filmmaker’s Eye: Tom Ford.”

Filed Under: DVD, Film, Reviews Tagged With: Amy Adams, art, Jake Gyllenhaal, Nocturnal Animals, Oscars, story within a story, Tom Ford

ARRIVAL: Guess Who’s Coming to Earth?

February 14, 2017 by Steve Norton Leave a Comment

amyadamsarrival

America needs Arrival.

Directed by Denis Villeneuve, Arrival begins on the day that (the latest) aliens appear over major cities around the world. Resting silently and still above the earth, these objects send the population into a moment of fear as everyone awaits what will happen next. When the military begins the process of communicating with their visitors, they assemble a team led by linguist Louise Banks (Amy Adams), theoretical physicist Ian Donnelly (Jeremy Renner), and US Army Colonel Weber (Forest Whitaker). As humankind teeters on the verge of global war, Banks, Donnelly and Weber take a chance that could threaten their lives, and quite possibly, humanity.

Despite the familiar premise, Arrival is far from your traditional ‘alien invasion’ film. While films of this genre generally play out with intergalactic space battles or wanton destruction (yes, I’m looking at you Independence Day: Resurgence), Arrival carves out it’s own unique and compelling place amongst the very best of science fiction by focusing on the pratfalls of language.

arrival

Caution: Potential spoilers ahead…

Playing out like a sci-fi vision of the Cold War, humans and aliens wait anxiously to see who will make the next move. Will it be an act of aggression? An offer of peace? Unlike other sci-fi entries, the real tension within this film exists in the realities of learning how to communicate with another who you neither understand nor trust. Of course, the obvious implications of this are between human and alien… however, the film reveals that similar issues lie amongst the people of Earth themselves.

Having first seen the film at the Toronto International Film Festival in September, I found myself struck by the boldness of this film. However, to be honest, I could never have predicted how timely it would become. Living in the shadow of the Presidential election, it has become frighteningly clear of the breadth of the divide amongst the American people. As thousands of people protest the election results in rallies across the country, philosophical differences have never been more apparent and anger and fear appear rampant amongst the people. The ability to humble ourselves and have conversation has given way to bitterness and resentment.

screen-shot-2016-08-16-at-9-21-56-am

As a pastor, I wonder where ideas like either ‘Judge not, lest ye be judged’ or ‘love your neighbor as yourself’ have gone in a moment like this.

But Arrival hasn’t forgotten.

Here, as military officers increase the pressure to attack their visitors, linguist Banks cries out for patience, even when the communication seems as though it’s gone awry. As the challenges of communication increase, Banks and her team recognize the value in the other and fight for the reality that words matter. They understand that one narrative doesn’t tell the whole story—and that that builds bridges.

arrival-movie-4-e1471529984165

In a time where American culture seems primed to rip itself in two, the notion of seeing beyond our own views and truly listening to one another couldn’t seem more poignant.

In the end, Arrival is a film about risking our lives not for a cause, but for the benefit of others. It’s a film about leaning into suffering for the sake of receiving blessings along the way.

It’s a film that shows that every life matters and that communication requires humility on our behalf to connect us.

America needs Arrival.

screen_shot_2016-08-16_at_10-25-44_am-0

Special features include a look at language (“Xenolinguistics: Understanding Arrival”), sound and score (“Acoustic Signatures: Sound Design”, “Eternal Recurrence”), the editing (“Nonlinear Thinking”), and time (“Principles of Time, Memory & Language”), all the main elements (in addition to Adams) that make the film great. 

Filed Under: Film, Reviews, TIFF Tagged With: aliens, Amy Adams, Arrival, Denis Villeneuve, Forest Whitaker, Independence Day, invasion, Jeremy Renner, science fiction, SciFi, TIFF, TIFF16, Toronto, Toronto International Film Festival

tiff16: ARRIVAL

September 18, 2016 by Steve Norton Leave a Comment

arrive

When mysterious spacecraft touch down across the globe, an elite team, led by expert linguist Louise Banks (Amy Adams), is brought together to investigate. As mankind teeters on the verge of global war, Banks and the team race against time for answers — and to find them, she will take a chance that could threaten her life, and, quite possibly, humanity.

With ARRIVAL, Denis Villeneuve takes his first steps into the science fiction genre (he is currently filming the highly-anticipated sequel to BLADE RUNNER) and manages to surprise us in the best of ways.  Rather than succumbing to the temptation to develop the more traditional ‘alien invasion’ piece, Villeneuve opts for a more poignant approach by focusing the story on character development and relationships.  In doing so, Villeneuve creates an atmosphere of tension and intrigue as communication between the alien species and human race unfolds like an intense game of chess with the future of the earth hanging in the balance.

amyadamsarrival

What’s more, the film is anchored by an incredible performance by Adams as she seamlessly moves between hearts of both courage and emotional trauma.  With strong outings in both ARRIVAL and Tom Ford’s NOCTURNAL ANIMALS, she could very well finally be poised for recognition come Oscar time.  Although it also features solid performances from its supporting cast (Jeremy Renner, Forest Whitaker), there’s little question that this is Adams’ film and she seizes the opportunity.

Without giving away any spoilers, Villeneuve also has much to say within the film about the nature of language and communication.  Is communication what brings us together or a roadblock?  Or is it possible that truth can get lost in translation?  These questions, in addition to the theme of ‘leaning into fear’ provide more than enough content to  lift ARRIVAL beyond your run-of-the-mill sci-fi piece.

Without question, this was one of my favourite films of the fest this year and could receive significant notoriety come awards season.

Trust me.  The film is not what you expect.

And that is a very good thing.

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Filed Under: Film, Reviews, TIFF Tagged With: aliens, Amy Adams, Arrival, Denis Villeneuve, drama, Future, Jeremy Renner, language, SciFi

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