The acting is great from the two leads, and I love the focus on their relationship. The movie shines, for instance, during the Earth scenes when it's essentially a strict drama. Its sci-fi isn't as intellectually satisfying as the original's, but it is perhaps more so emotionally.
This film is so tight, not containing a single wasted moment. Just a gem of the 2000s, in my opinion. I am a fan of the Tarkovsky as well, but I like how Soderbergh approached it - completely skipping the prologue, diving right into Solaris. My favorite Soderbergh, quite easily, and a 5/5. The movie has been replaying in my head ever since I first watched it. And a huge shoutout to the Cliff Martinez score.
Closer to the work of Resnais than Tarkovsky, with its fragments and its ruptures and the sense of time and space as something oppressive or tyrannical bringing to mind the haunted expressions of Hiroshima Mon Amour or Muriel. An aching, claustrophobic film, where the basic elements of Lem's novel are used to construct Soderbergh's most profound meditation on his main theme; the nature of memory and its reflections.
The triumph of love over reason. The great pessimism, or optimism, of Soderbergh's more romantic take on the subject matter lies not in the film's determining that our logic cannot overwhelm our affections, but the realization that we would not have it any other way. A seductively meditative exploration of human intimacy that dutifully explores the anguish, longing and hatred that make love stronger.
Elegantly produced, very well acted, An entirely good piece of science fiction for adults that, alas, kind of falls apart in the final few moments. I've struggled to find the right words to describe it, but can't. The ending aims for a poetic ambiguity, and just winds up being rather vague and contradictory and just not very interesting, and unfortunate ending to an interesting and worthy film.
In reading Stanisław Lem's various writings, it becomes apparent that his material offers sufficient ambiguity to allow for varied cinematic interpretations. Props to Soderbergh for taking this on his way, from under the shadow of the much vaunted Tarkovsky film. The lovely McElhone elicits a heart-rending emotional investment commensurate with the intellectual depth of the novel. She is the Muse who makes this new.
In my opinion, both films, Tarkovsky's first and this Soderbergh's remake are two somewhat painful and stretched out experiences. Despite the enormous sacrifice that means to sit through the whole, there is no doubt that the essential argument of the story is intriguing and complex, therefore fascinating.
This film winds me up so much. I have watched it five times and I feel differently — polarised — each viewing. I walked out of the cinema the first time I saw it. Scoffing. I enjoyed it the second time. Fucking LOVED it the third time. Wondered how I loved it the third time when I watched it the fourth time. And the fifth time I was fairly sure I would not watch it again. No sixth viewing. Yet.