Arrival

Arrival (2016)

1 corrected entry

Corrected entry: The Heptapods, it is learned late in the film, have a totally different perception of time. The Heptapods see the past, present and future simultaneously (Heptapods can see at least 3000 years in the future). Only late in the film does Louise realise that learning the Heptapod language has changed the way she thinks; and she, too, starts to perceive the future (even using information from the future to stop a war in the present). Major problem. If the Heptapods can perceive the future like this, then they should already be able to communicate in human languages rather easily, having already seen first contact and 3000 years thereafter, which negates about 90% of the plot of this film.

Charles Miller

Correction: The Hetapods' understanding of human language is not relevant because the entire point of communicating the way they did was designed to force human beings to overcome their tribal political and social differences so that they could be a united world capable of provide help in the future. The only way to achieve that was to have complicated interactions with each leading nation that led to conflict. That conflict was put aside when Dr. Louise Banks convinces the USA to provide Russia and other nations the "weapon" of the Hetapod language. Giving the language over was a peaceful gesture of friendship and unity. Lastly, the Hetapods can only operate in a manner consistent with the future they see because if you know the future, you must act in a manner consistent with how it unfolds. If you don't, you can alter the future. This is why the Hetapods do not stop the explosion that kills one of them. They already know this is going to happen, and to stop it would alter the future.

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Quotes

Dr. Louise Banks: You can understand communication and still end up single.

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Mistakes

When Amy Adams leaves the spacecraft for the final time she is met by Jeremy Renner who throws a blanket around her shoulders. As he does so, the blanket gets caught on something out of view top-of-frame (presumably a boom mic) and he has to tug at it to free it. This was part of one long take in fading light and given the amount of background action going on it was presumably too difficult or time consuming to re-shoot.

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