Oh, the weeks have gone quickly. Where I was just wrapping up Halloween-themed viewing, the calendar deceived me and flipped to December. Missing all of November was not intentional but also not without reason. I recently returned from a trip to Iceland, whose magical landscapes lured me into dreamy thoughts of the films and shows that have used that beautiful country as a backdrop. As our guide rattled off movie and television titles filmed in Iceland, my mind raced across the library of scenes and tried to replay them as I stood where John Snow ventured north of The Wall and James Bond cruised his Aston Martin across a frozen glacial lake. This sojourn, however, ended with the mention of one of my all-time favorite movies. I immediately wanted to revisit this film and experience the Icelandic landscapes through cinematic eyes. I wanted to venture into Oblivion.

Watching Oblivion is an experience, a sci-fi epic boasting immense star power, masterly crafted visuals, and one of the most engaging scores you will encounter. Full disclosure, I’m a big Tom Cruise fan, and with him now most recognizable as Ethan Hunt and Pete “Maverick” Mitchell, it’s refreshing to see him throw his megastar weight into a non-franchise role. Obviously, he’s done that many times before, but not so much in the last decade. Oblivion is already twelve years old, which is hard to fathom, but that means it catches prime performances from Tom Cruise and Morgan Freeman while benefitting from emotionally binding performances from Andrea Riseborough and Olga Kurylenko. Oblivion also marks a feature film follow-up to Tron: Legacy for director Joseph Kosinski, who has since directed several glossy cinematic thrill rides. From the start, the direction, cast, and performances are gravitational in creating an immediate connection. Oblivion does not stop delivering with the cast. There’s also this lush garnish that mutes the surrounding world to create an enveloping spectacle, and it takes the form of the score.

Oblivion’s original score was done by the band M83, whom I had not heard of prior to this movie. Post-viewing, however, I listened to the soundtrack on repeat for hours, and not just a few hours— full work days worth. Their electronic melodies deftly capture all the isolation, future optimism, and past longings that the characters cycle through in the film’s post-apocalyptic world. And while the melodies tug emotional strings, the meaty bass and percussive rhythms further draw viewers into an experience they feel. I don’t know how to better describe the score’s impact other than to say Oblivion would be a fraction of the movie it is without the score, which may be perfect. Characters’ emotional swings and the story’s situational intensities would lack impact without the music enhancing every line, look, and action. I am not being hyperbolic when I say Oblivion’s soundtrack is in my top three all-time, and it’s probably not two or three.

Sticking with the sound theme, Oblivion has perfect sound design as well. The world is vastly empty, so there are no bustling city streets or boisterous gatherings. Many of the sounds filling our world that we take for granted are absent, so there’s a ubiquitous quiet surrounding the film’s isolated characters. There is, however, a technologically superior presence that the characters interact with regularly. The sound effects, therefore, are futuristic, with weaponry having a satisfying mixture of kinetic and energy-based lethality. The machines move fast and they’re agile, and viewers are treated to sound that conveys immense speed and inertia. My favorite effect, however, is the sound of the guard drones, which are autonomous spherical hunters that emit a kind of grinding alarm as they process threats and decipher friend from foe. It’s almost like an amplified mechanical hard drive whirring away. The drones’ sound effects give them life and a tangible presence in their interactions with humans. Again, it’s another element that draws viewers into the world of Oblivion.

Lastly, I have to mention the quality of Oblivion’s story. Based upon a graphic novel by the director, Joseph Kosinski, Oblivion presents the typical notes of a post-apocalyptic alien invasion tale, but that is where the expected tropes end. There is a suspenseful build-up throughout that leads to twist after twist, and while some of them may end up being predictable to viewers looking to beat the movie to its conclusion, the overall engagement of the viewing experience kept anything from feeling cheap. Oblivion is simply, unequivocally, a movie that surprised me and that I enjoyed from beginning to end. Its story is fresh, emotionally provoking, and ultimately satisfying.

Thank you, Iceland, for spurring me to go back and watch Oblivion. If it wasn’t apparent, I love this movie. There is so much quality in every aspect of the film that it creates a complete cinematic experience that can rekindle one’s love of movies and refresh what watching a truly good movie feels like. After watching Oblivion again, I realize there are not many movies today that come close to recreating that feeling. That does not mean there aren’t any good movies coming out; it means that Oblivion is on another level.