Much like science-fiction classics like Blade Runner (1982), Alex Garland's Annihilation (2018) tests our minds' capacity to understand humanity. Garland borrows elements from movies such as Arrival (2016) with a little Aliens (1986) and Predator (1987) thrown in the mix to leave us pondering the possibilities of extraterrestrial life and how it will react to humans' best and worst instincts.
The story follows Lena (played by Natalie Portman), a biology professor who, after reuniting with her presumed-dead husband Kane (played by Oscar Isaac), joins four military scientists (played by Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson, and Tuva Novotny) on an investigation of a restricted area referred to as The Shimmer, the last place Kane entered before being assumed to be MIA. Mysteries unravel as the group travels further into The Shimmer, imposing questions about humanity and its self-destructive nature along the way.
Portman's performance as Lena is nuanced yet gripping, as she carries with her a secretive and mostly emotionally-restrained presence throughout the film. The supporting cast of characters has strong personalities with unique backstories with varying outlooks on the world around them. The majority of this movie's mystery and suspense comes through Leigh's character of Dr. Ventress, with her emotionally layered performance and ambiguous motives as the journey progresses. Rodriguez's dramatic range is on full display through Anya, who grows increasingly paranoid about her teammates' agendas for embarking on the mission.
Among Annihilation's main takeaways are the eye-popping CGI effects. The psychedelic-colored mist enveloping The Shimmer and the unusually morphing flora and fauna make this movie an otherworldly visual experience that deserves to be seen on a large screen. The digital effects and the impressive use of animatronic creatures lend themselves perfectly to The Shimmer's beautiful yet unpredictable atmosphere. Another standout is the score from Ben Salisbury and Geoff Barrow, which ranges from acoustic folk music to an intensely hypnotic droning. The latter is the auditory equivalent of the sound I periodically hear when I try remembering a song that I can't quite remember.
Annihilation boldly questions how higher intelligence creatures would respond to humans and vice versa, transcending both our mental, philosophical, and spiritual capacities. As this film expertly displays, paranoia frequently surrounds the unknown, like the movie's creatures. Hollywood needs more science fiction films that initiate conversations among general audiences. In this landscape of blockbuster tentpoles and superhero franchises, it is refreshing to see thought-provoking science fiction films that do not pander to focus groups.
Regarding personal gripes about the film, the plot begins to feel somewhat predictable especially towards the end. It was arguably more predictable than the endings for other sci-fi flicks like the aforementioned Arrival, Blade Runner 2049 (2017), and Garland's own Ex Machina (2014), which are ingrained in my memory.
These kinds of movies are meant to be seen in a movie theater (once it is safe for them to reopen) instead of on a cell phone, tablet, or small television screen. The "wow" factor that comes exclusively with this transcendent experience in the theater would be severely lacking on such devices. Without the theatrical experience, the magic that transports audiences to far-off worlds will become a rarity in our modern culture.
Final Score: 9 out of 10
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