Roger Ebert Called This Forgotten Sci-Fi Classic the Smartest Movie Ever Made

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Getting a great review from Roger Ebert was a huge accomplishment, particularly for films in genres people often disagree about. Throughout his career, Ebert watched thousands of movies – everything from small independent films to big-budget blockbusters – and he wasn’t afraid to criticize those he didn’t like. Because he had such high standards and enjoyed so many different kinds of movies, his approval meant a film was truly special – it wasn’t just good for its genre, it was genuinely smart and insightful. Very few films ever earned that kind of praise from him.

The 1990s saw a surge of groundbreaking science fiction films, including classics like *Total Recall*, *Jurassic Park*, and *The Matrix*, which all stretched the boundaries of what audiences expected. Among these stood *Contact*, a film Roger Ebert hailed as one of the smartest ever made. Directed by Robert Zemeckis, an Academy Award winner, and starring Jodie Foster, *Contact* went even further, uniquely blending science, faith, and the human quest for purpose.

Contact Explores Both Alien and Human Intelligence

The movie *Contact* centers around Ellie Arroway (played by Jodie Foster), an astronomer driven by the belief that life exists beyond Earth. Inspired by her deceased father, she dedicates her life to finding extraterrestrial life with a small team, supported by the wealthy S.R. Hadden. Despite facing doubt from many scientists, including her former mentor, Ellie achieves a major discovery when she detects a signal from an alien intelligence, leading to a moment of triumph.

Despite the incredible discovery, many are doubtful. Michael Kitz, the national security advisor (played by James Woods), rejects the findings, and Drumlin tries to take the credit. Only Rachel Constantine, a presidential advisor (Angela Bassett), offers her support. As the world reacts with both scientific questioning and excitement, the team races to understand the message. With Hadden’s help, they discover the signal contains instructions for building a device that can make contact and reveal a powerful truth – but only to one person.

A key element of good science fiction is believability. While films like *Star Wars* and *The Fifth Element* create fantastical worlds, *Contact* feels much closer to reality, even with its fictional concepts. The film accurately portrays the challenges of scientific research, showing Dr. Arroway’s program nearly being shut down due to funding issues – a common struggle for scientists. Interestingly, the first extraterrestrial signal detected isn’t a message of peace, but a historical speech by Hitler, suggesting it was the earliest transmission powerful enough to travel through space.

The film is adapted from a 1985 novel by Carl Sagan, the famous American scientist and astronomer. Sagan’s deep knowledge adds realism to the story, grounding its more imaginative concepts in scientific accuracy. Beyond space travel, the film delves into complex ideas like time distortion, how we perceive reality, and the possibility of intelligent life beyond Earth – all explained in a way that’s both thought-provoking and easy to understand.

However, the film’s visuals are particularly memorable. The spacecraft is unique – it features three massive, rotating rings with a small pod hanging beneath them. During travel, Arroway doesn’t experience the usual sensations of spaceflight, instead having a strange, dreamlike experience outside the vehicle. This blend of realistic science and creative design makes the film’s world both convincing and stunning to look at.

Roger Ebert Thought Contact Was One of the Smartest Movies Ever Made

Roger Ebert enjoyed the film *Contact*, as evidenced by a 1997 review and a later look back in 2011. He compared it favorably to classics like *Alien*, and described it as a thought-provoking exploration of faith and politics, even calling it one of the most original and intelligent films in its genre. In his 2011 retrospective, he stated:

I held similar views about God and the possibility of extraterrestrial life back in July 1997 when the movie came out, as I do today. However, rereading my original review, I realize I didn’t find the film as daring then as I do now. This is likely because I’ve since become deeply involved in debates about Creationism, which, like this movie, touches on science, politics, and faith. Hollywood generally avoids controversial topics in films, preferring to keep things light and agreeable – much like a polite dinner party where religion and politics are off-limits.

The movie *Contact* heavily explores the idea of faith. It begins with a shot of Earth in space, filled with radio waves, and then travels back in time through the galaxy. We soon see young Ellie Arroway (played by Jenna Malone) experience the loss of her father, which causes her to lose her faith in something greater. As she grows up, Ellie dedicates her life to science and the search for alien life, relying on facts and evidence instead of spiritual belief.

Ellie briefly considers religion when she falls for Palmer Joss, a young preacher she meets in Puerto Rico, but ultimately chooses to focus on her scientific pursuits. Later, she receives crucial funding for her research thanks to a mysterious intervention by Hadden, who acts from afar. Though she doesn’t see him, this event feels like a sign of something greater, and Ellie recognizes a sense of wonder she hasn’t felt since she was a child.

Contact is a Religious Movie Disguised as a Sci-Fi Epic

Roger Ebert was right to call *Contact* one of the most intelligent films ever made, largely because it’s less about science fiction and more about exploring faith and the search for meaning. Though it includes sci-fi elements and takes place in space, the film primarily uses science and space travel as a way to ask big questions about belief. At first, Dr. Arroway is dismissed from a government-funded space mission because of her skepticism, and her former boss takes her place, only to tragically disappear due to an attack by a religious extremist. Later, Hadden reappears in space, revealing a secret station near Vega that was built specifically for Arroway, which highlights the film’s central theme of the relationship between faith and science.

While traveling through wormholes, Arroway almost gets hurt reaching for a compass given to her by Joss, which represents help from something greater than herself. She lands on a beautiful, otherworldly beach where she’s reunited with her deceased father, finally feeling loved and comforted after his death. Back on Earth, she faces tough questioning from a doubtful group of politicians, having to explain what happened even though she can’t prove it – it becomes a challenge of faith versus concrete evidence.

The movie ends with Arroway back on Earth, dedicating herself to inspiring children to embrace the mysteries of the universe. When questioned about whether we’re alone, she playfully suggests that it would be a tremendous waste of space if that were true, revealing her continued belief in possibilities beyond our current understanding. The final shot shows Arroway sitting tall and gazing out at a wide-open landscape. This is a significant change from earlier scenes where she’s often shown curled up and withdrawn, symbolizing her isolation. Now, she’s fully open and ready to face whatever the future holds as she continues her work.

Roger Ebert was right to call *Contact* one of the most intelligent science fiction films ever made. While sci-fi often touches on religion, very few movies make you truly think about how faith and scientific thinking connect. The film does this particularly well because it feels realistic, making it believable that humans aren’t alone in the universe, whether it’s through religion or contact with aliens. In a genre full of alien attacks and space fights, *Contact* offers a thoughtful and unique exploration of humanity’s place in the cosmos, asking questions that most movies avoid.

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2025-10-19 05:07