“Signal One” follows Annika, a brilliant computer scientist who is recruited to an isolated facility to work on a machine that can communicate with alien intelligence.
Early on, “Signal One” gets caught up in exposition. Characters rattle off job titles, scientific hypotheses and beliefs — but there’s not much really said about them as individuals. It lacks a thought process behind the words being said, with people never even pausing to think before blurting out additional information. This makes it challenging to buy into the story, as it begins with explanatory dialogue and only continues.
This nonsensical approach does allow the film to move at a breakneck pace. The auditory overload keeps it engaging, even when the words themselves sound like gibberish. With a short 87-minute runtime, though, it brushes through ideas very quickly. Characters discuss, then move on to the next. Never taking time for reflection, it ends up functioning like an endless string of ideas that don’t fully connect. While largely linear, non-chronological storytelling is utilized. This helps break up some of the long-winded sequences of discourse while also hinting at where the movie is heading.
Once the film gets past the explaining, it grows into something much more entertaining (and even insightful). Most viewers who seek out “Signal One” won’t be caught up in logistics. However, time and time again, the movie proves that it is. The second half begins to creep away from this cyclical format, instead putting its focus on humanity. Extraterrestrial life has been and will always be something that fascinates us as humans. What happens when we do get an answer? Well… we may not even know what it means. It explores this idea exactly, examining the self-destructive fragility of our population and the tiny space we take up within the universe.
“How human of us to see this and be afraid. How human of us not to see the hope in it. How human.”
Themes of corporate greed and hubris are also clearly identifiable. In virtually every aspect of life, people always want to be “first.” The film contains aspects of realism because of this fact, as it’s not hard to believe that a rich billionaire would want their name associated with “first contact” — no matter what it means for Earth itself.
Writer-director Jonathan Sobol has a firm grasp on his mission within “Signal One.” Many similar movies promise full-blown spectacle, but this one doesn’t. Sobol asks the audience to ponder many questions that they probably haven’t thought of before. Continuously falling back on humanity, it remains grounded. Does this sometimes get lost between slews of overblown exposition? Absolutely. But as the credits begin to roll, there is a sense of relatability attained that’s not always earned in other sci-fi ventures.
Adam Swica’s cinematography is another bright spot. Taking place in a remote tropical location, he already has a beautiful environment to work with. Swica keeps the camerawork simplistic, instead allowing the vibrant outdoor setting to speak for itself. There are also a lot of visual effects on display in “Signal One.” CGI is prominently used, but the film knows its limitations. There are notable flaws; however, more often than not, the digital enhancements are serviceable enough to not be overtly distracting.
Starring in the film is Isabelle Fuhrman (Annika). Surrounded by a trio of “greedy” men, Fuhrman’s character is the source of reason in the story. In each line delivered, there’s a sense of calmness in her voice that contrasts well with Josh Hutcherson (Charlie), David Thewlis (Perry) and Dennis Quaid (Sam). Despite the star-studded cast, none of these portrayals can be labeled as “great.” The performances themselves are serviceable, but the script does them no favors. When forced to reiterate line after line of scientific babble, the cast can only take you so far.
“Signal One” isn’t about aliens, but rather humanity itself. What could have been an introspective examination turns into an over-explanation on every level.
Rating: 2.5 out of 5
