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1.921 Rating


Disutradarai oleh Steven Soderbergh
Amerika Serikat, 2002
Romansa, Drama, Fiksi Ilmiah


A troubled psychologist is sent to investigate the crew of an isolated research station orbiting a bizarre planet.

Solaris Disutradarai oleh Steven Soderbergh

Ulasan Kritikus

If you haven’t seen Tarkovsky’s 1972 SF masterpiece Solaris… you might find Steven Soderbergh’s remake intriguing and compelling, because the story it tells is certainly haunting. If you have seen the Tarkovsky movie and couldn’t make heads or tails of it, Soderbergh’s synopsis could iron out most of the confusion, though it leaves you with little but the bare bones of the story—until the end, when it decides to get fancy and offer three enigmatic conclusions instead of Tarkovsky’s one.
November 28, 2002
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  • Seth Farmer's rating of the film Solaris

    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.

  • Dave's rating of the film Solaris

    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.

  • Lights in the Dusk's rating of the film Solaris

    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.

  • Zachary T.'s rating of the film Solaris

    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.

  • Roscoe's rating of the film Solaris

    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.

  • Mugino's rating of the film Solaris

    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.

  • Pierluigi Puccini's rating of the film Solaris

    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.

  • Lynch/Fellini's rating of the film Solaris

    Soderbergh's style is too clinical for this material and thereby goes against everything he's trying to achieve. I couldn't help but wonder what it would have been like had it been directed by James Cameron, whose style I feel is more in line with this type of story, as best demonstrated in The Abyss. As it stands, this film stands for everything Tarkovsky opposed in being so cold- and that's the biggest shame...

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