SUPPORT FILMTRACKS! CLICK HERE FIRST:
Amazon.com
Amazon.co.uk
iTunes (U.S.)
Amazon.ca
Amazon.fr
eBay (U.S.)
Amazon.de
Amazon.es
Half.com
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
Composers
Awards
   NEWEST MAJOR REVIEWS:
     1. The Lego Batman Movie
    2. Fifty Shades Darker
   3. Hidden Figures
  4. La La Land
 5. Rogue One: A Star Wars Story
6. Moana


   CURRENT BEST-SELLING SCORES:
       1. Rogue One: A Star Wars Story
      2. Fantastic Beasts/Find Them
     3. Willow
    4. The Ghost and the Darkness
   5. An American Tail
  6. The Wind and the Lion
 7. Doctor Strange
8. 10 Cloverfield Lane
   CURRENT MOST POPULAR REVIEWS:
         1. Star Wars: Force Awakens
        2. E.T. The Extra-Terrestrial
       3. Titanic
      4. Avatar
     5. Nineteen Eighty-Four
    6. Gladiator
   7. Star Wars: A New Hope
  8. Animal Farm
 9. LOTR: Fellowship of the Ring
10. Harry Potter: Sorcerer's Stone
Home Page
Arrival
(2016)
Album Cover Art
Composed, Co-Orchestrated, and Produced by:
Jóhann Jóhannsson

Co-Orchestrated and Conducted by:
Anthony Weeden

Co-Orchestrated by:
Thomas Bryla
Sam Jones

Additional Music by:
Joan La Barbara
Simon Ashdown
Will Slater
Labels Icon
LABEL & RELEASE DATE
Deutsche Grammophon
(November 11th, 2016)
Availability Icon
ALBUM AVAILABILITY
Regular U.S. release.
Awards
AWARDS
Nominated for a BAFTA Award and a Golden Globe.
Also See Icon
ALSO SEE




Decorative Nonsense
PRINTER FRIENDLY VIEW
(inverts site colors)





Availability | Awards | Viewer Ratings | Comments | Track Listings | Notes
Buy it... if you love your forced creativity with a touch of vocal manipulation, depressing droning, and total lack of warmth or depth.

Avoid it... if you roll your eyes at so-called intellectual artistry that fails to address the most basic emotional functions of human conditions.
Review Icon
EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #1,734
WRITTEN 1/21/17
Shopping Icon
BUY IT



Arrival: (Jóhann Jóhannsson) When confronted by constant stupidity in alien invasion films from Hollywood, it's easy to be attracted to a philosophical exploration of sociology and time in a movie like Denis Villeneuve's Arrival. In the 2016 story, alien pods hover above the earth in nations across the world, seemingly encouraging humans to work together to decipher their complicated language and the meaning of their visit. An American linguist makes the most promising breakthrough with the alien creatures, determining why they have visited Earth and learning to view the future with frightening acuity. While posing as a thought-provoking study of humanity's capacity for understanding, Arrival is also as naive as it is depressing on both a global and personal level. The assumptions and fallacies of the film betray its intellectual prowess and reveal it to be yet another poor attempt to approach first contact with aliens from a "realistic" viewpoint. Still, audiences and critics applauded its stab at originality, earning it significant box office returns and awards nominations. Those who roll their eyes at the forced intellectualism of the story's premise will find equal exacerbation when hearing the film's music. Icelandic composer and sound designer Jóhann Jóhannsson reunites with Villeneuve for Arrival after the composer's oddly respected music for 2015's Sicario laid waste to that picture. By comparison to the composer's The Theory of Everything, which brought him his mainstream international recognition, both Sicario and Arrival are primarily sound design scores, an extension of sound effects editing but with rhythmic and tonal inclinations. Positive reviews awaited Jóhannsson once again for Arrival, and yet the score suffers from the same badly disillusioning tendency towards over-thinking that plagues soundtracks for dramatic films attempting to make a statement through creatively ambient minimalism. While the likes of Michael Nyman or Philip Glass could (and have) pulled off this kind of smart introspection without sacrificing the primordial connection that viewers make with their film scores, Jóhannsson strives to drop all conventions and instead present what he must consider a psychologically alien score, one meant to play upon the linguistic themes of the film through highly unusual, vaguely musical textures of sound.



Ratings Icon
VIEWER RATINGS
211 TOTAL VOTES
Average: 2.5 Stars
***** 28 5 Stars
**** 28 4 Stars
*** 37 3 Stars
** 48 2 Stars
* 70 1 Stars
  (View results for all titles)

Comments Icon
COMMENTS
7 TOTAL COMMENTS
Read All Start New Thread Search Comments
Imagine if Howard Shore Scored this Film
TheDoppel - April 10, 2017, at 12:38 a.m.
1 comment  (47 views)
My alternate review...
Hari Haran - February 10, 2017, at 8:38 a.m.
1 comment  (164 views)
Jˇhannsson used the wrong vocals for Arrival
Ken Kirchner - January 22, 2017, at 4:25 p.m.
1 comment  (272 views)
Arrival is a betrayal of our true Lord, Jesus Christ   Expand >>
Aubrey Murray - January 22, 2017, at 3:44 p.m.
2 comments  (435 views)
Newest: January 23, 2017, at 9:44 p.m. by
Mitchell Kyler Martin
Which one of the alien's seven limbs is its penis?
Kathy - January 22, 2017, at 3:15 p.m.
1 comment  (207 views)
Clemmensen is an ignorant simpleton, a CLOD.
Chariau - January 22, 2017, at 2:53 p.m.
1 comment  (313 views)
More...


Track Listings Icon
TRACK LISTINGS
Total Time: 56:12
• 1. Arrival (2:50)
• 2. Heptapod B (3:42)
• 3. Sapir-Whorf (1:16)
• 4. Hydraulic Lift (3:32)
• 5. First Encounter (4:49)
• 6. Transmutation at a Distance (1:34)
• 7. Around-the-Clock News (1:34)
• 8. Xenolinguistics (3:29)
• 9. Ultimatum (1:52)
• 10. Principle of Least Time (1:20)
• 11. Hazmat (4:48)
• 12. Hammers and Nails (2:31)
• 13. Xenoanthropology (3:08)
• 14. Non-Zero-Sum Game (4:17)
• 15. Properties of Explosive Materials (3:31)
• 16. Escalation (2:02)
• 17. Decyphering (2:05)
• 18. One of Twelve (3:09)
• 19. Rise (1:47)
• 20. Kangaru (2:56)

Notes Icon
NOTES AND QUOTES
The insert includes no extra information about the score or film.
Copyright © 2016-2017, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Arrival are Copyright © 2016, Deutsche Grammophon and cannot be redistributed without the label's expressed written consent. Page created 1/21/17 (and not updated significantly since).
Reviews Preload Scoreboard decoration Ratings Preload Composers Preload Awards Preload Home Preload Search Preload