Annihilation

Thanks God Garland didn’t make Arrival. Thanks to this, it did not lose its humanistic subtext and rational explanation, something that cannot be said about Annihilation. The surrealistic wandering through fantastic landscapes, decorated with brilliant set design and minimalistic music, is beautiful to watch and listen to, but the story is at times a survival, at times a parade of CGI monsters, and a nondescript finale. Sure, we don't always need a literal interpretation, but if it's WTF, it would kinda sting. Garland is a tinkerer of technology, a master of atmosphere and slow-burn stories about a few characters, but here he gets too wrapped up in the themes. There’re still a few brilliant directorial ideas, though. (05/14/2018)

Perhaps only someone who has never lost someone dear to them can say that the flashbacks full of the strongest emotions and the most burning regrets did not perform their role perfectly, or even became boring. It is precisely in these flashbacks that Natalie Portman proves herself to be a treasure and the most correct choice for the main role. Her sincere tears or focused expression took me through the world that Alex Garland gives home to all his obvious or inconspicuous inspirations (Arrival, Aliens, Prometheus, or The Fountain), but never gets caught up in inspiration. Every time, she skates out of the situation originally and before you say lighthouse, she begins to create that new classic, which the reactions of strangers spoke of somewhat surprisingly, whether due to visuals, genre shots, or punchlines. The only thing that saddens me – and the creators are innocent in this – is the fact that we could only pick up Annihilation on Netflix. Rob Hardy's camera and the unending surprises from the new world were also made for the European silver screen. (03/13/2018)

Set in a green rainforest (and on a beach), Annihilation is a more intellectual version of The Thing. It has a rather mainstream theme with a slightly B-movie nature but interesting ideas, escalated into a hitherto unseen close encounter of the third kind, fascinating by its far-reaching imagination and a provocative need to find as many answers as possible in it. The final scene is a return to genre rules, but it turns out well. Garland is not a hitmaker, but rather a hard-core sci-fi filmmaker. While Arrival was about the relativity of the perception of time, Annihilation is about the relativity of biological lifeforms. Totally different, but in both cases brilliant, innovative sci-fi works, ambitious in their content. (12/24/2018)

I was captivated by the trailer the other day, I'm not so impressed with the film in the end, but it's still a decent genre film with an excellent idea. Four female scientists, each specialized in something different, go to explore a new area where the laws of nature don't apply and where no one has ever come back alive. It's great idea, but I felt it didn't get as much space as it could have. The film is unnecessarily hampered by flashbacks that aren't very entertaining and it shows in the pacing. There's a great scene with a white crocodile and a mutant bear that wreaks havoc in a cabin and there's one excellent gore scene with a ripped jaw, that really had me going crazy with joy. The final philosophical half hour didn't impress me that much and I found the finale quite confusing. I would definitely add more mutated animals and anything from nature in general to make it more satisfying. The film is definitely worth recommending for the idea, the visuals and the bear, though it’s not great. 70%. (03/18/2018)

I appreciate Garland for one thing: how he is able to seduce critics, through his bloated and, in this case, nonsensical B-movie, to write about sci-fi masterpieces. Which is the case of a film that looks quite bad on television and is vague everywhere where it should be concrete and concrete everywhere where it should be vague. Truly a daring film. (03/14/2018)