Arrival, the

Clearly Zane has discovered something he is not supposed to know about. But part of the problem is that he has no clue what he has stumbled upon or why it should get people killed. The other key part of the problem is that Zane is now unemployed and no longer has access to a gigantic radio telescope. So he has to, basically, build one, which is how "The Arrival" lets you know that Twohy has paid attention to the science of the story (okay, I know nothing about science and this could all be nonsense, but there is an effort being made to connect the scientific dots). Zane effective does build his own radio telescope, and if this new phase of his old obsession has made him lose his girl friend, Char (Teri Polo), at least he has Kiki (Tony T. Johnson) the smart street kid who lives next door to take up the slack.

At some point Zane and Ilana have to cross paths, which gets them closer to the horrible truth that still has to see some people dead in this movie. But we have a big clue in terms of trying to figure out where the interests of a radio astronomer and an environmental scientist would overlap. Of course the audience gets to figure things out a bit before Zane does, but then he is distracted by the most ingenious attempts to kill someone is bath tub I have seen since "Final Destination." I checked out this film because I saw one of Twohy's more recent efforts, "Below," and again he shows some creativity in presenting the conventions of the science fiction-thriller genre.

Sheen's performance is an interesting mix of paranoia and anger, sometimes switching back and forth between the two in an instance if somebody looks at him funny or is just funny looking. At a key point in the film he is asked why he knows the bad guys are not gone yet, and his response is the best line in the film. I did not bite on the obvious red herring as to who the ultimate villain was in "The Arrival," but I did not see the final revelation coming either, so that is a good thing. Ultimately, I did not find "The Arrival" to be a classic science fiction film, but for a modern version of the "B" movie it is very good. There is a sequel, 1998's "The Second Arrival," but Twohy had nothing to do with it, which is rarely a good since when it comes to such things.

As good a screenwriter as Twohy is, he's even more adept as a director (further proven by Pitch Black, a superbly crafted deep-space thriller with a script not even half as smart as The Arrival's). With great pacing and precise editing, Twohy builds momentum with each discovery Sheen unfolds, until it culminates to an edge-of-the-seat climax that's quite satisfying (unlike...cough...cough..."V: the Final Battle", Independence Day).

The cast is all-around effective, with Sheen delivering a surprisingly terrific performance as the paranoid astronomer. It's great to see an intelligent protagonist who thinks his way out of tight jams, rather than shooting and blowing up everything in sight. No one else gets half of Sheen's screentime, but Ron Silver is nicely ambiguous as his boss, and Teri Polo, however underused, is fine as Sheen's girlfriend. Lindsay Crouse also makes a good impression as an environmentalist studying some strange activity.

On a technical level, some sci-fi fans might be a little disappointed. Those weaned on "V" and ID4 will notice the lack of large-scale special effects. Sorry, no disc-shaped motherships here. Still, the visuals present are mostly decent, certainly passable enough that they don't become a distraction to the plot. Despite the use of CGI in its more primitive stages (this was '96, after all) the effects are still occasionally excellent and imaginative, such as the spherical object those tight-lipped men wield. Composer Arthur Kempel's score adds a bit more tension to the already excruciating suspense, and evokes a creepy atmosphere during the film's quieter moments.

Remember, folks, The Arrival is a rarity, a once in a while example of how pure movie magic can be created when we've got dedicated filmmakers who want to intrigue the audience rather than catering to demographics just for the sake of box office returns. Forget Independence Day, The War of the Worlds, or V and its sequel, The Arrival is the most satisfying depiction of alien invasion to date (note: Signs is actually an overall better film than The Arrival, but that picture was mostly a microcosmic look at a possible alien invasion, and was not necessarily in and of itself about the existence of aliens).
**** 1/2 out of *****