A little over a year ago, screenwriter Max Landis (son of famed director John Landis) made a name for himself in certain corners of the internet by launching an attack on Daisy Ridley’s beloved Star Wars: The Force Awakens character, Rey. Labeling her fledgling Force user a “Mary Sue,” Landis argued that all of Rey’s skills and achievements were, in essence, unearned. Now Landis is back at it again, levying similar complaints against the new sci-fi film Arrival. His main critique, once again, focuses on a gendered aspect of a popular film.

Arrival—from director Denis Villeneuve—is currently hovering at the top of the Rotten Tomatoes rankings with a 93% fresh score. Vanity Fair’s critic Richard Lawson hailed Amy Adams in the starring role as “an example of a great, deceptively versatile actress trying something new.” Audiences seem to agree. The film—with a modest sci-fi alien film budget of $50 million—performed better than expected, taking in $24 million at the box office with over half the audience reportedly being male. But the film was such a hit with critics largely because it eschews stereotypical alien invasion tropes, instead taking a fresh, quiet, interior look at Adams’s character and an unflinchingly female storyline involving motherhood. Landis had this to say of that well-received approach:

He also described the film thusly: “what if you combine Tree of Life and Close Encounters and took out all the fun parts?” Landis did, however, conclude that people should see the movie anyway, calling it “a [sic] incredibly executed original idea.” That endorsement pales in comparison to the enthusiastic stamp of approval Landis gave Boo! A Madea Halloween. Still, it’s worth noting that Landis isn’t writing off the entire film—just the part of the story (without spoiling it for you) that involves mothers, daughters, broken hearts, and tough relationship choices.

In his review of Arrival, Lawson praised the way Jeremy Renner’s physicist character exists largely to serve and support Adams’s linguist Dr. Louise Banks: “He’s mostly relegated to the sidelines, occasionally offering some minor insight but mostly serving as the backboard against which Louise lobs ideas and concerns. Which, hey, that’s a nifty gender reversal for a studio-released film. (I suppose sci-fi has long been better to women than other genres, often pitching them as lone heroes, or sole survivors.)”