The most impactful line of the movie for me: Jodie Fosters superior does something nasty to her and as some lame apology he says "the world is just this way. its not fair. nothing i can do about it." and Jodies response was "I always thought the world was what we made of it."
But aside from a pretty good opening scene, there is not much good that I can say about this movie, the technical aspect was really top notch and the film has 2 of the best camera shots I've ever seen in life anyway I hate this movie. The movie is not really bad or somehow I just do not like the attitude I have a real problem with the message and it uses the very movie crew I despise.
I do not want to talk badly about the director or the actors because they are doing their best, I rather want to trash the scriptwriter. I hate him the most because of the combination of things that happen here. (I know that the movie is based on a novel but that does not matter.)
So my conclusion is great idea, fantastic camera work, awesome effects but the less I hear from this movie and see for the rest of my life the better. Because I can really feel how the bile slowly comes up every time when someone reminds me of this movie. The fact that the foundation seems made for me, however, the facade and the roof only consists of things that I despise is simply the greatest impudence.
I highly recommend that you watch 'Contact', it's worth watching entirely just for Jodie Foster's performance as the lead character.
While Kubrick's version is far more compelling, not to mention creepier, Zemeckis' Contact is pure comfort food, thoroughly entertaining and benign. Jodie Foster, as always, delivers a believable performance. As Ellie Arroway, Foster plays a scientist who spearheads an independently funded program to find signs of extraterrestrial life. Just before funding is cut, she receives a strange signal that seems to originate from the Vega Galaxy. When the signal is decrypted with instructions to build a transportation device, supposedly to make face-to-face contact, the find causes a major stir. World governments weigh in, the public and the media are up in arms, trying to make sense of this extraterrestrial message.
While the government screens for likely candidates to be the first ambassador to ride the teleportation machine, Ellie's bid to be that person is thwarted by some key people. Her on and off paramour, Palmer Joss, a minister played by a miscast but not entirely egregious, Matthew McConaughey, questions Ellie's religious faith before a jury panel. As the panel regards Ellie's lack of faith a liability, she loses the candidacy to David Drumlin, her academic rival played by Tom Skerritt.
Without delving too much into plot detail, Ellie eventually gets to finally go on her journey. However, I won't say more except that the theme of religious faith comes to an elegant full circle. The implication that religion and science don't have to be mutually exclusive is a hard won conclusion that Foster's Ellie proves with heart and conviction.
From the start, Contact lets you in on its thematic scope. The opening sequence is a visually sweeping dazzler that firmly straps the viewer right to his seat. Director Robert Zemeckis grounds the story in the present (the film was released in 1997) by splicing in real life events and personages - much like he did in Forrest Gump - to achieve an authentic and visually immediate reality. For anyone who ever gave thought to what might exist beyond our own blue skies, Contact offers an entertaining, ambiguous, but thought provoking ride. It's a movie that suggests we may not be alone in the universe, but we don't have to fear this or feel alone about it. A sci-fi film that can achieve such, is worth occupying a space in my DVD library.
At the end, where Ellie's thoughts are downloaded so that the aliens can communicate with her, they use her father to do so, and we are allowed the emotional response as she seemingly interacts with her father who has been dead for years. This movie opens up a world, or a universe rather, of possibilities, and challenges us to dream big, to dream about what is really out there. Because if it is nothing, as the movie reminds us - that seems like an awful waste of space. This movie challenges controversial arguments, and reaches to the farthest extents of both extremes to open our imagination into how they can both work together in harmony.