#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Dr. Gibarian, part of a team at a space station studying Solaris, makes an urgent and self-described bizarre video request to his friend, civilian psychiatrist Dr. Chris Kelvin, to come to the station to deal with an unspecified phenomenon aboard, that phenomenon with which Chris’ experience and background may be able to explain and solve. Chris learns that his trip is sanctioned by the space program as a security force had been sent to the station to investigate, that security team which is now missing. When Chris arrives at the station, he finds only two surviving team members, Drs. Gordon and Snow (Dr. Gibarian committed suicide), who are both acting nervously. Chris also finds two unexpected people there, the first, who Chris only sees fleetingly, being Dr. Gibarian’s adolescent son Michael, and the second being Chris’ deceased wife, Rheya. Chris and Rheya had a passionate relationship in all its good and bad before she committed suicide. Apparently, these appearances of loved ones of the crew at the station are what Chris has come to investigate. As Chris, Gordon and Snow discuss and argue about what to do, Chris becomes emotionally invested in this vision of his wife, who herself begins to realize she looks like Rheya, acts like Rheya (including having the same feelings for Chris), answers to the name Rheya, but is not really the Rheya that was once Chris’ wife.
Plot: A troubled psychologist is sent to investigate the crew of an isolated research station orbiting a bizarre planet.
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Powerful, thought-provoking metaphysical journey – A great remake.
My two favorite examples of Hollywood utterly destroying GREAT foreign films are Vanilla Sky and City of Angels, which were abominations of two of my favorite films – Open Your Eyes and Wings of Desire. If you’ve seen Tarkovsky’s brilliant “Solyaris” this film will seem more like an Americanized tribute than a Hollywoodization of a great piece of Soviet cinema. Some will likely ask why Soderbergh bothered to make this film if he couldn’t improve on the original. Personally, I could not care less. This is a great film, and shows that it is possible for Americans to remake classic non-American films sensitively, intelligently and well.
To cut to the chase – if you like sci-fi with a soul,which stretches the boundaries of imagination, explores the uncharted realms of the human condition as much as the unknown realities of the universe, and swims upstream against the currents of ethics, physics, and even metaphysics, you will probably enjoy this moody, slow, multi-leveled and heavily textured film. If you’re looking for light entertainment, stay away from this. This is a slow, intense film – dominated by dialog – and there is no action to speak of. Also, you need to let this movie pour into you slowly, so if you’re not in the right frame of mind to pay attention and be receptive, you should save it for another occasion.
The cast is exceptionally good. This is unequivocally the best performance I have seen out of George Clooney, but the supporting cast and the female lead all blew me away. Soderbergh does have a talent for making actor’s look good, even mediocre actors, but there is nothing mediocre about any of the performances in this film.
Though I recognize his talent, Soderberg’s dialogical technique has worn particularly thin with me. The once fresh fast-paced, rapid-fire cuts and close-ups with the low-toned exchange of sentence fragments, and the myriad Soderberg imitators, particularly in television crime drama, have really gotten on my nerves. Solaris, however, is a bit different. There are only a few “Soderbergh moments” in this rich remake of the classic bit of 1970s soviet SciFi “Solyaris”. Both films are based on a novella by the brilliant Stanislaw Lem. This film, perhaps even more than Tarkovsky’s 1972 edgy, dark, and intense original, will appeal to exactly the sort of movie-goer that Lem’s writing appeals to. Neither film captures Lem’s quirky sense of humor. I am quite glad that Soderbergh chose to make Solaris with very much the same atmospheric eeriness, plot, and intellectual and emotional depth as the original. It is a tribute to his artistic integrity that he recognizes the brilliance of the original work, and imitates it wherever he can do no better, adding subtle and appropriate nuances and embellishments to make it his own. Some examples are the wonderfully minimalistic soundtrack, and the very Soderbergh symbolic use of lighting and color saturation to shift from the retrospective to the live-action shot. Perhaps the best tribute I can give this film is the fact that I am going to watch the original again in a few days for comparative purposes.
In other words, this isn’t going to be for everybody, nor, even, for most. I am hardly surprised by the very low (in my opinion) ratings received by this film here on IMDb. Solaris is a love story, a story of exploring the fringes of sanity, and of questioning the very nature of reality, and much more. Enjoy it!
Absorbing, haunting and gorgeous.
Arthur C. Clarke and Stanley Kubrick decided to make the ‘proverbial good sci-fi movie’ when they jointly created the film and novel 2001: A Space Odyssey. There have been few comparably good sci-fi films since. Solaris is, however, one of them.
Whilst the Russian original is an epic and demanding film, Soderbergh’s work should not be considered a remake. The director himself considers it his own interpretation of the book, quite apart from the earlier film. Because of this, the two should not be compared.
If you hated Alien 3 because it didn’t have any guns or 2001 because the ending was confusing, do not waste your time with Solaris. It is not for you.
Conceptually, the story is standard psychological sci-fi fare, with simple but effective theological and philosophical themes. In this respect it breaks little or no new ground over the Tarkovsky predecessor. It has elements of romance, thriller, and drama, all necessarily set in sci-fi land, as the setting is integral to the storytelling.
Visually, the Solaris future is a conservative, believable vision, reminiscent in look to that of Gatacca. Solaris space is a minimal, beautiful place to be. Not dirty and used like the celebrated Alien ‘space trucker’ look, Solaris vessels are gleaming, intricate and stylish, but seem to have been designed by engineers rather than artists, such is the practical realism. Their design is complemented by some of the best CG spaceship effects I have seen (incredible that it has taken this long for computer graphics to look as good as the model-based technology of 2001, Star Wars and Aliens in the 1960s and 70s).
Solaris, the planet itself, is a clever piece of art, seemingly evidencing a degree of emotion by its colouring and detail, as no doubt was the intention. In the commentary to the DVD it is mentioned that many of the lingering shots of the planet were cut, which may have been necessary for the pacing of the film, but I found every shot an absorbing spectacle and would have enjoyed more.
The sets and costumes also retain the sense of engineering realism combined with beauty. Soderbergh’s eye for detail is evident here, as everything has a purpose and look that fits perfectly with the overall feel. Somehow, this look is original and avoids many of the clichés we come to expect of sci-fi mise-en-scene.
Channel Four recently showed this on UK television and billed it along the lines of a ‘George Clooney Sci-Fi Romance’. A tenuous interpretation, perhaps, but you can see why they did it. Whilst Clooney adds Hollywood star appeal, fans will be slightly disappointed, not because his work here is in anyway weak, but because he is understated, convincing and very un-Hollywood. With Solaris he adds another fine performance to an already commendably diverse filmography.
Natascha McElhone too plays a difficult, emotive role without resorting to melodrama. The small supporting cast doesn’t put a foot wrong, with a delightfully odd but subtly creepy performance from Jeremy Davies worthy of note.
Solaris is slow, abstract, haunting stuff. The direction is subtle, dare I say almost Kubrick-esquire. The camera work is non-intrusive, solid stuff without gimmick (apart from a touch of shaky-cam in the restaurant scene where Kelvin meets Rheya) or overstatement.
Add to this a beautiful, timeless score by Cliff Martinez and you have one of the better psychological sci-fi movies ever made.
The majority of people will hate Solaris. Let them. Let them have instead the mindless Hollywood trash released every week and keep this treasure for yourself.
Original Language en
Runtime 1 hr 39 min (99 min)
Genre Drama, Mystery, Romance, Sci-Fi
Director Steven Soderbergh
Writer Stanislaw Lem (novel), Steven Soderbergh (screenplay)
Actors George Clooney, Natascha McElhone, Viola Davis, Jeremy Davies
Awards 2 wins & 11 nominations.
Production Company Lightstorm Entertainment
Sound Mix DTS, Dolby Digital, SDDS (8 channels)
Aspect Ratio 2.39 : 1
Camera Panavision Panaflex Millennium XL, Panavision Primo and E-Series Lenses
Laboratory DeLuxe, Hollywood (CA), USA (prints), FotoKem Laboratory, Burbank (CA), USA
Film Length 2,700 m (Sweden)
Negative Format 35 mm (Kodak)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm