Thanks Jack. Solaris 10 of 10 NO SPOILERS Haunting, somber, patient, subtle, beautiful, thoughtful, introspective...this film is not a narrative, it's a poem. At every moment it skirts direct confrontation, instead relying on innuendo and implication. It leaves moments of quiet for the viewer to digest the story for themselves, to make of it what they will, and to philosophize to themselves a bit. This is a thinking viewer's sci-fi, not unlike 2001 or Zardoz. And in that way I found it to be far superior to something like Minority Report. Soderbergh brings all of his usual style - dialog over the top of other scenes, many quiet moments with no dialog (not unlike 2001), many unscored moments with only soft dialog, using focus (or lack of to be precise) for various effects, same color palette of golden hues and blue hues, etc. Basically all the things I mentioned in my Out of Sight discussion in the cinematography thread. But then there are the 2001 scenes, so many that it had to be intentional. The film often feels like you've stepped into 2001, in a good way. It's not a ripoff, it just treats the material in a similar fashion. I even caught a Starchild-like moment. The cast is thin, really only 5 parts, and each is done exceptionally well. Clooney has some moments that are just perfect (one frightened reaction is not only so well done, but it flies in the face of what you would expect were this a normal Hollywood film). Beyond all this execution is a deep and thoughtful story. Man's relationship with god and creation, love, forgiveness, human needs, and more. It's the kind of film that can open a lot of doors in your mind, bringing forth all sorts of thoughts about the meaning of life, but without forcing you to go there. In fact, that's the finest thing I can say about the film. It never once forces anything upon the audience. It just lays things out and lets the audience come to it. Finally, the score is just remarkable. Again 2001 creeps in. The score is a cross between Ligeti's 2001 stuff and the kind of score used for the final scene in Traffic, if you can imagine that (is that scene Eno or Martinez? I assume Martinez since it is his work here in Solaris). It's softer than Ligeti, but more intense than Martinez's Traffic work. I can't recommend the film highly enough if the above review sounds like your type of film.