Name : Dave Calhoun / Alias : Time Out
Plenty of smart ideas and bravura visuals.

Name : David Rooney / Alias : Hollywood Reporter
Anchored by an internalized performance from Amy Adams rich in emotional depth, this is a grownup sci-fi drama that sustains fear and tension while striking affecting chords on love and loss.

Name : Brian Tallerico / Alias : RogerEbert.com
A film that forces viewers to reconsider that which makes us truly human, and the impact of grief on that timeline of existence.

Name : Alonso Duralde / Alias : TheWrap
A fairly chilly, cerebral bit of business, from its beautifully tamped-down cinematography (by modern master Bradford Young) to Johann Johannsson's ethereal score.

Name : Stephanie Zacharek / Alias : TIME Magazine
Arrival gives us a lot to take in, and the picture is big, somber and grand, if in the end somewhat sterile.

Name : Mordaunt Hall / Alias : New York Times
It is a joyful and at the same time a thoroughly artistic contribution to motion pictures.

Name : Alan Scherstuhl / Alias : Village Voice
Flaherty's company are performing their lives and their ancestors' lives and Flaherty's idea of both, for him, for his camera, for the world of '26, for us today, for all time.

Name : Glenn Kenny / Alias : New York Times
The imagery, in scenes that always unfold slowly, is truly startling, particularly given that the film is almost 90 years old.

Name : Tom Keogh / Alias : Seattle Times
A fascinating portrait of South Seas life, albeit embellished.

Name : Dave Kehr / Alias : Chicago Reader
Flaherty's sticky romanticism can't obscure the power of his images, which speak with an eloquence the intertitles lack.

Name : Jette Kernion / Alias : indieWIRE
Only James McAvoy's multi-faceted performance saves the movie from complete mediocrity.

Name : Katie Rife / Alias : AV Club
Split is a solid example of the type of elevated B-movie potboiler at which Shyamalan excels, and to which he thankfully seems to be re-committing his energies.

Name : John DeFore / Alias : Hollywood Reporter
The director ties themes together at the end with more finesse than usual, letting a couple of meaningful visuals speak for themselves where he might have thrown in a line or two of explanatory dialogue.