Contact

A smartly written story that seems so believable that it could easily happen tomorrow. It perfectly fulfils the meaning of the term SCIENCE-fiction. I've read the book by Carl Sagan, but the movie is even better, strange as that it might sound. BTW, Johny_MH, you are wrong. Contact was not a flop, it made over 100 million in the US, here it fizzled out without much interest. I guess it’s because audiences are not very interested in sci-fi unless there’s cosmic crap and laser beams. I saw it in the cinema on a wide screen and it was my greatest cinematic experience of the year. (17.07.2002)

A pleasant sci-fi film that managed to arouse in me an acute and impatient curiosity to know what would happen next, what kind of truths about alien civilisations would be revealed (this is something that the mythology episodes of X-Files manage to do regularly). Pity that weird and long ending. (23.06.2011)

Contact hat mir vom ersten Moment an sehr gut gefallen und mich bis zum Schluss nicht mehr losgelassen. Allein der Name Carl Sagan als Autor des Romans ist eine Garantie dafür, dass der Film eine tiefgründige Meditation über Wissenschaft, Glaube, Wahrheit und Wissen sein wird und keine schockierende Darstellung des ersten Kontakts mit grünen Männchen (oder anderen Merkwürdigkeiten)... Und überraschenderweise nimmt der Film all die ausdrucksstarken Parabeln und Ideen ohne große Schwierigkeiten auf, auch wenn deren weitreichender und expliziter Ausdruck manchmal an der Grenze zum Kitsch schwankt. Nichtsdestotrotz ist die Suche des sympathischen Wissenschaftlers nach dem "ersten Kontakt" (vielmehr jedoch nach dem Wesen des Wissens) spannend und gut gefilmt. Es ist nur schade, dass Zemeckis nicht in der Lage war, Kubricks Epos 2001: Odyssee im Weltraum in Bezug auf die visuellen Aspekte nachzuahmen... Aber das ist zu viel verlangt... (30.03.2004)

Zemeckis' underrated exploration of space, politics, and most importantly, interpersonal relationships, is something I appreciate more and more each day. From a pleasant and fulfilling experience, it escalated into a film that projects itself into various life situations, dangerously frequently. In my eyes, this is Jodie Foster's life role and probably the centerpiece of Zemeckis' journey towards spiritual rebirth (initiated by Jenny in Forrest Gump and concluded by Cast Away's Chuck). That journey was terribly long and yet completely simple. (03.06.2008)

Contact is certainly not as shallowly appealing as the famous Zemeckis Back to the Future trilogy, but in the director's filmography and the genre of sci-fi films, it occupies an even more important place. Zemeckis proved that it was possible to make an audience-friendly sci-fi film without cheap genre props and action scenes. Zemeckis is constantly involved in the field of scientific theories and his world vision of contact with extraterrestrial civilization has a realistic basis. The driving forces of the film are dramatic, well-written dialogues, convincingly portrayed character psychology, impressive plot twists, and clever film ideas. The film is very well cast and also well-acted. The budget is adequate for the demanding artistic vision, and Zemeckis luckily had a reputation from previous successful films and was able to impress the producers. Overall impression: 80%. (20.06.2006)

Solid craftsmanship, wonderful story. Robert Zemeckis' now classic intellectual sci-fi film about whether we are alone in the universe features an excellent Jodie Foster, ably seconded by a young Matthew McConaughey. The gradual narrative doesn't forget the broad scale, showing humanity in all its gullible and skeptical scope. On reflection, the three-body problem is a dark answer to the questions raised in Contact. It fits together beautifully for me now. (25.01.2024)

The director takes care and every shot is thought out to the smallest detail. And when you have have acting aces like Jodie Foster, William Fichtner and James Woods, then success is already guaranteed halfway. Robert Zemeckis is a perfect fit for the project with his filmmaking style, as he didn't turn it into a grandiose sci-fi full of space monsters and tons of visual effects, but rather into a clever and intelligent caper, posing a lot of questions and not giving clear answers. The sweet line about the father fits beautifully, and Jodie Foster delivers a captivating performance. Films about extraterrestrial intelligence can be shot in an interesting and engaging way even without direct physical contact with it. And even though I don't like Zemeckis because of his excessive political correctness and academic bootlicking, this film is awesome. (03.07.2007)

Sci-fi you can believe. Zemeckis's insistent focus on the female protagonist, with whom we are repeatedly taken back to her childhood, can feel tedious and lengthy at first, but in the end it’s the psychological portrait of an alienated woman fulfilling her life's dreams that dominates the narrative and sets up a solid emotional foundation for the final intradimensional build-up. It's hard to judge, but the political/social hysteria about making contact with outer space is portrayed very authentically and smartly, and although the pacing would lose a race to Professor Xavier at times, the ending is so effective, appealing, and visually charming that it successfully clips all of the flaws into a convincing and meaningful system; there aren't many sci-fi films like this. (07.03.2017)

With the adaptation of Sagan's novel, Zemeckis took a bite that I think he's still chewing on now. Contact has such huge thematic sweep that it can't be carried on its shoulders by the big-budget American film model, however much credit it deserves for at least trying. Its attempt to reconcile esoterica and science doesn't completely fall apart in the end (thanks in part to the perfect Foster), however much it fights its way to it through terrible story constructs, but given that the scientific aspect of the film so far has been portrayed by a team of hardy professionals and the religious aspect by the important-looking figurehead McConaughey in the background, the film obviously doesn't quite manage to be so impartial by its very nature. The resulting compromise of "truth is what you yourself believe to be true" rings true in these post-factual times. If you're one of those types who digs into the logic of the scenes in science fiction, and you get queasy at the thought of a religious zealot strapped with explosives getting through all the security to the center of a gazillion-dollar mechanism years in the making, or that no one in the world notices that the same structure has been getting built in Japan this whole time, then tread lightly here. Still, I wonder how incredibly hideous an alien organism must look that has learned that after dragging a human through three wormhole transitions, it had better modify its form into that of the DEAD FATHER OF THE PROTAGONIST to better handle the whole situation. Lol. (01.06.2008)