November 27th, 2002



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(L-R) Snow (Jeremy Davies), Rheya (Natascha McElhone), Kelvin (George Clooney) and Gordon (Viola Davis) confront the mysteries aboard a space station orbiting a mysterious planet.Kelvin (George Clooney) takes desperate measures following the sudden appearance of his wife Rheya (Natascha McElhone).Mena Suvari at event of SolarisStrange occurrences -- and a love he thought he had left behind -- await Chris Kelvin (George Clooney) upon his arrival at a distant space station.Chris Kelvin (George Clooney) and Rheya (Natascha McElhone) share a passionate moment amid the turmoil surrounding her shocking appearance aboard a space station.Rheya (Natascha McElhone) cannot comprehend her own sudden appearance on a space station orbiting a mysterious planet.

A troubled psychologist is sent to investigate the crew of an isolated research station orbiting a bizarre planet.

Release Year: 2002

Rating: 6.2/10 (41,897 voted)

Critic's Score: 65/100

Director: Steven Soderbergh

Stars: George Clooney, Natascha McElhone, Ulrich Tukur

Dr. Gibarian, part of a team at a space station studying Solaris, makes an urgent and self-described bizarre video request to his friend, civilian psychiatrist Dr. Chris Kelvin, to come to the station to deal with an unspecified phenomenon aboard, that phenomenon with which Chris' experience and background may be able to explain and solve. Chris learns that his trip is sanctioned by the space program as a security force had been sent to the station to investigate, that security team which is now missing. When Chris arrives at the station, he finds only two surviving team members, Drs. Gordon and Snow (Dr. Gibarian committed suicide), who are both acting nervously. Chris also finds two unexpected people there, the first, who Chris only sees fleetingly, being Dr. Gibarian's adolescent son Michael, and the second being Chris' deceased wife, Rheya. Chris and Rheya had a passionate relationship in all its good and bad before she committed suicide...

Writers: Stanislaw Lem, Steven Soderbergh

George Clooney - Chris Kelvin
Natascha McElhone - Rheya
Viola Davis - Gordon
Jeremy Davies - Snow
Ulrich Tukur - Gibarian
John Cho - DBA Emissary #1
Morgan Rusler - DBA Emissary #2
Shane Skelton - Gibarian's Son
Donna Kimball - Mrs. Gibarian
Michael Ensign - Friend #1
Elpidia Carrillo - Friend #2
Kent Faulcon - Patient #1 (as Kent D. Faulcon)
Lauren Cohn - Patient #2 (as Lauren M. Cohn)
Tony Clemons - Dinner Guest

Taglines: There are some places man is not ready to go

Release Date: 27 November 2002

Filming Locations: 7th & Hope Streets, Downtown, Los Angeles, California, USA

Box Office Details

Budget: $47,000,000 (estimated)

Opening Weekend: $6,752,722 (USA) (1 December 2002) (2406 Screens)

Gross: $14,970,038 (USA) (9 February 2003)

Technical Specs


Did You Know?

Rhea is also the name of Saturn's ninth moon.

Anachronisms: George Clooney is shown traveling in a sleek slightly futuristic rapid transit train but the rear projection/blue screen out the window clearly shows the current day "Merchandise Mart" station of the Chicago CTA Subway. Also during his journey the train he passes going the opposite direction is a present day subway train.

[first lines]
[Chris's memories, in voiceover]
Rheya Kelvin: Chris, what is it? I love you so much. Don't you love me anymore?

User Review

Absorbing, haunting and gorgeous.

Rating: 10/10

Arthur C. Clarke and Stanley Kubrick decided to make the 'proverbial good sci-fi movie' when they jointly created the film and novel 2001: A Space Odyssey. There have been few comparably good sci-fi films since. Solaris is, however, one of them.

Whilst the Russian original is an epic and demanding film, Soderbergh's work should not be considered a remake. The director himself considers it his own interpretation of the book, quite apart from the earlier film. Because of this, the two should not be compared.

If you hated Alien 3 because it didn't have any guns or 2001 because the ending was confusing, do not waste your time with Solaris. It is not for you.

Conceptually, the story is standard psychological sci-fi fare, with simple but effective theological and philosophical themes. In this respect it breaks little or no new ground over the Tarkovsky predecessor. It has elements of romance, thriller, and drama, all necessarily set in sci-fi land, as the setting is integral to the storytelling.

Visually, the Solaris future is a conservative, believable vision, reminiscent in look to that of Gatacca. Solaris space is a minimal, beautiful place to be. Not dirty and used like the celebrated Alien 'space trucker' look, Solaris vessels are gleaming, intricate and stylish, but seem to have been designed by engineers rather than artists, such is the practical realism. Their design is complemented by some of the best CG spaceship effects I have seen (incredible that it has taken this long for computer graphics to look as good as the model-based technology of 2001, Star Wars and Aliens in the 1960s and 70s).

Solaris, the planet itself, is a clever piece of art, seemingly evidencing a degree of emotion by its colouring and detail, as no doubt was the intention. In the commentary to the DVD it is mentioned that many of the lingering shots of the planet were cut, which may have been necessary for the pacing of the film, but I found every shot an absorbing spectacle and would have enjoyed more.

The sets and costumes also retain the sense of engineering realism combined with beauty. Soderbergh's eye for detail is evident here, as everything has a purpose and look that fits perfectly with the overall feel. Somehow, this look is original and avoids many of the clichés we come to expect of sci-fi mise-en-scene.

Channel Four recently showed this on UK television and billed it along the lines of a 'George Clooney Sci-Fi Romance'. A tenuous interpretation, perhaps, but you can see why they did it. Whilst Clooney adds Hollywood star appeal, fans will be slightly disappointed, not because his work here is in anyway weak, but because he is understated, convincing and very un-Hollywood. With Solaris he adds another fine performance to an already commendably diverse filmography.

Natascha McElhone too plays a difficult, emotive role without resorting to melodrama. The small supporting cast doesn't put a foot wrong, with a delightfully odd but subtly creepy performance from Jeremy Davies worthy of note.

Solaris is slow, abstract, haunting stuff. The direction is subtle, dare I say almost Kubrick-esquire. The camera work is non-intrusive, solid stuff without gimmick (apart from a touch of shaky-cam in the restaurant scene where Kelvin meets Rheya) or overstatement.

Add to this a beautiful, timeless score by Cliff Martinez and you have one of the better psychological sci-fi movies ever made.

The majority of people will hate Solaris. Let them. Let them have instead the mindless Hollywood trash released every week and keep this treasure for yourself.


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