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Editorial Reviews
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A curious mix of science fiction and metaphysical love story, Solaris centers around Chris Kelvin (George Clooney), a psychologist sent to investigate why a space station orbiting an alien planet has stopped communications. The planet has the power to delve into human psyches and re-create lost loved ones--in Kelvin's case, his dead wife (Natascha McElhone), whom he then wants to bring back to Earth. Director Steven Soderbergh (Traffic, Erin Brockovich) fills almost every shot with faces and bodies, as if to emphasize the human soul rather than outer space as the movie's true subject. Unfortunately, the vagueness of the environment--combined with a script that implies more than it shows--serves to dislocate our ability to engage with the characters, rendering Solaris emotionally inert. Jeremy Davies, as a lingering crew member, brings a hint of humor to the otherwise serious-minded proceedings. --Bret Fetzer
From The New Yorker
Jeremy Davies, who played the cowardly soldier in "Saving Private Ryan," is the only enjoyable element in Steven Soderbergh's painful exercise in higher solemnity. Davies has foxy eyes and a dark, silky beard, and he speaks in brief phrases propelled by the darting, angular movements of his hands. The Kabuki style of movement is so eccentrically hip that it cracks up an audience puzzled by the goings on in a spaceship whose crew members have been haunted by replicants of dead friends and lovers-replicants formed out of the crew members' memories. The dialogue, which Soderbergh wrote himself (the material comes from a novel by Stanislaw Lem and a Russian film version from 1972, directed by Andrei Tarkovsky), largely consists of rhetorical questions and sentence fragments, and the mood of frozen bewilderment is sustained by a color scheme of varying shades of blue and by electronic music that arrives in prolonged slabs, pinning your brain to the base of your skull. With George Clooney, Natascha McElhone, and Viola Davis. -David Denby
Copyright © 2006 The New Yorker
A curious mix of science fiction and metaphysical love story, Solaris centers around Chris Kelvin (George Clooney), a psychologist sent to investigate why a space station orbiting an alien planet has stopped communications. The planet has the power to delve into human psyches and re-create lost loved ones--in Kelvin's case, his dead wife (Natascha McElhone), whom he then wants to bring back to Earth. Director Steven Soderbergh (Traffic, Erin Brockovich) fills almost every shot with faces and bodies, as if to emphasize the human soul rather than outer space as the movie's true subject. Unfortunately, the vagueness of the environment--combined with a script that implies more than it shows--serves to dislocate our ability to engage with the characters, rendering Solaris emotionally inert. Jeremy Davies, as a lingering crew member, brings a hint of humor to the otherwise serious-minded proceedings. --Bret Fetzer
From The New Yorker
Jeremy Davies, who played the cowardly soldier in "Saving Private Ryan," is the only enjoyable element in Steven Soderbergh's painful exercise in higher solemnity. Davies has foxy eyes and a dark, silky beard, and he speaks in brief phrases propelled by the darting, angular movements of his hands. The Kabuki style of movement is so eccentrically hip that it cracks up an audience puzzled by the goings on in a spaceship whose crew members have been haunted by replicants of dead friends and lovers-replicants formed out of the crew members' memories. The dialogue, which Soderbergh wrote himself (the material comes from a novel by Stanislaw Lem and a Russian film version from 1972, directed by Andrei Tarkovsky), largely consists of rhetorical questions and sentence fragments, and the mood of frozen bewilderment is sustained by a color scheme of varying shades of blue and by electronic music that arrives in prolonged slabs, pinning your brain to the base of your skull. With George Clooney, Natascha McElhone, and Viola Davis. -David Denby
Copyright © 2006 The New Yorker
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