“Arrival” is an amazingly breathtaking film in two ways: you’re either marveling at the sheer spectacle of the cinematography or you’re losing your mind attempting to understand its complex plot. Either way, it’s a film that you can’t afford to miss in the theater.

To explain the story would be a disservice to you as a future audience member because even the introduction could be considered a spoiler. The entire film is a science fiction roller coaster following the two main characters, Louise Banks (Amy Adams) and Ian Donnelly, as they search for the reasons behind the arrival of extraterrestrial beings to Earth.

I really don’t want to give away anything specific about the adventure because the most entertaining part of the film are the details. A sci-fi movie hasn’t been this fun since “2001: A Space Odyssey” or “Interstellar,” for you’re constantly being surprised by the increasingly bizarre tone and guessing what will come next.

It’s jam-packed with some of the most memorable scenes along with with some of the biggest twists in recent years. Director Denis Villeneuve did nothing short of an amazing job reinterpreting alien films into a refreshingly realistic alternative. The alien vessels aren’t decked out with the high tech, Apple computer interface of “Independence Day” or “Star Trek;” it’s a complete atypical take on what we’ve seen.

However, I can’t recommend this film to anyone who wouldn’t want to feel as if they’ve just taken a two hour trip on acid. The film delves into some seriously dark, messed up moral conundrums that will have you questioning the entire ride home. It’s not as confusing as “Interstellar” was in 2014; it’s more of a prolonged “holy sh*t” moment that will have a lasting impression on the viewer.

The only real critique I have of the film is the cheesy conflict between the scientists and the politicians. It’s a story line that has definitely outworn its welcome in movies and I really wish that they took a more mature look at the dynamic between the two professions.

French-Canadian Villeneuve has made himself a big new name for studios who aren’t in the market for an independent director but who are neither searching for a big budget director. His two American films, “Prisoners” and “Sicario” both produced comfortable box-office revenue while still hailing positive reviews from both critics and viewers. The film’s run in theaters is far from over and I’m confident its profit will only continue to grow and for good reason.

This film has the unique characteristic, as do most of Villenueve’s films, of universal appeal. There is something in this film for everyone: sci-fi mystery, compelling drama, plot-twists, and even a little bit of forced romance. Please, for the second time, don’t wait for it to hit Netflix or On Demand, it’s an experience deserved of a big screen.