'Annihilation' Review

Annihilation charts a course alongside a biologist as she joins a dangerous, classified expedition to "The Shimmer," a place where the laws of nature no longer apply. Only inside can she and her team unravel the mystery of it all.

Annihilation is the second film to be written and directed by Alex Garland following Ex Machina, and it's yet another stunning work of cerebral science fiction from the director. Garland has adapted Jeff VanderMeer's novel into a high concept sci-fi story about self-destruction, and although I've heard it's not a faithful adaptation, it's certainly both interesting and thought-provoking. While the marketing may suggest it's a sci-fi horror like Alien, I'd actually liken it to more philosophical work such as Denis Villenueve's Arrival. There's elements of horror incorporated into the film for sure, but Annihilation's much more involved in exploring metaphysical mysteries than trying to excite audiences. 

If there's one thing I'm sure of, it's that Annihilation will not be a film for everyone. The third act will almost certainly be divisive among audiences due to its ambiguity, and I imagine many won't be onboard with the story's direction whatsoever. Even though I quite enjoyed it, I can totally understand why someone would carry the opposite point-of-view, and Paramount seems to be aware that this film isn't intended to be consumed by the masses considering the film will be released straight to Netflix internationally. With that in mind, I hope the studio doesn't take away the wrong lessons from this weekend's lackluster box office performance and continues to release daring, innovative films. 

I, myself, found this film fascinating from start-to-finish as I was fully invested in exploring the estranged interior of "The Shimmer" and incessantly awestruck by the resplendent psychedelic sensibilities of the film's visuals. Annihilation is extraordinarily impressive from both a visual and audible standpoint thanks to phenomenal production design from Mark Digby, splendid otherworldly imagery captured by cinematographer Rob Hardy, vibrant visual effects work, and sensational sound design. Everything inside "The Shimmer" carried an element of intrigue with it while resembling something that was simultaneously beautiful and dreamlike, yet horrifying and nightmarish, and the swelling score composed by Geoff Barrow and Ben Salisbury reflected the ethereal environment perfectly! 

In regards to acting, the entire ensemble provides a substantive performance. As you may be able to tell from the photos I've included in the review, the cast is primarily female and sometimes that can work to a film's detriment if the focus is placed on empowerment over simply telling a good representative story, but Annihilation thankfully doesn't fall into that trap. Natalie Portman leads as Lena and puts forth yet another powerhouse performance, as is to be expected. Portman imbues her character with a lot of subtlety and nuance that really pays off once her self-destructive tendencies are revealed to the audience, though witnessing her change and growth as a character was perhaps the most rewarding. Rounding out the team are strong turns from Jennifer Jason Leigh, Tessa Thompson, Gina Rodriguez, and Tuva Novotny as pessimistic psychologist and leader Dr. Ventress, vulnerable physicist Josie Radek, outgoing and outspoken paramedic Anya Thorensen, and the weary, understated anthropologist Cass Sheppard. Oscar Isaac and Benedict Wong each have minimal screen time, but carry crucial presences in the film respectively. 

Annihilation isn't merely something that can only be appreciated through its staggering technical achievements though. In fact, I was hooked by my interest in the characters as well as a genuine desire to discover the inner workings of this uncanny atmosphere. That last bit will probably be a commonality for viewers as they struggle to figure out what the heck is going on within the confines of this unnatural area, and I'm sure a good portion of those curious will leave immensely frustrated when Garland doesn't offer them all the answers on a silver platter. This is a film you'll need to digest and think about for awhile afterwards before settling on a verdict, hence why it took a little longer than usual for me to share this review. If you judge the film purely based on your knee-jerk reaction to the insane ending, then everything will be lost on you. This film requires in-depth thought and analysis in order to piece together your own interpretation of it all, and if that doesn't sound like something you're interested in, then this is definitely not for you. 

However, I implore those prepared to contemplate weighty philosophies to go out and support this film to demonstrate to the studio that there is actually an audience for this type of ambitious storytelling. If that sounds like you or you were interested in seeing Annihilation, I say give it a shot because opinions are quite scattered all over the place on this film. 

Whatever the case may be, Annihilation is a big, bold, and breathtaking work of science fiction that should be experienced on the largest screen possible. Prepare all you'd like, but your mind will be annihilated nonetheless.

Film Assessment: A-

Throwback Thursday Review: 'Prometheus'

I apologize for yet another delayed review but this week's Throwback Thursday is over Prometheus to coincide with the release of its sequel Alien: Covenant. If you happened to miss any of my Alien Anthology series of Retrospective Reviews, you can find those at the subsequent blue hyperlinks: Alien, Aliens, Alien 3, and Alien: Resurrection. Next week I'll be finishing out my series of Pirates of the Caribbean reviews as I review Pirates of the Caribbean: On Stranger Tides to tie in with Pirates of the Caribbean: Dead Men Tell No Tales. Other reviews you can expect to see over the course of May and June include Throwback Thursday Reviews over Cars, The Mummy (1999), Cars 2, Transformers: Age of Extinction, and Despicable Me 2 and new reviews for Alien: Covenant, Baywatch, Wonder Woman, The Mummy (2017), Cars 3, Transformers: The Last Knight, Baby Driver, and Despicable Me 3.

'Prometheus' Review

Nominated For: Best Visual Effects.

Prometheus follows an expeditionary team to the far reaches of space as they believe they've discovered a hint towards the origins of humanity. The team arrive to planet LV-223 (not LV-426, the planet shown in Alien and Aliens) and soon discover the answers they seek will lead them to horrifying conclusions.

At the time of Prometheus's release, it was ambiguous exactly how Prometheus fit into the Alien-universe. Since then, it's been given the distinction of being a quasi-prequel to Alien. This essentially means Prometheus certainly exists within the Alien Anthology but isn't a direct setup to Alien. After 33 years, Ridley Scott returned to his roots to helm Prometheus and thankfully delivered one of the Anthology's most coherent creative works in quite some time, for more on this read my reviews of Alien 3 and Alien: Resurrection. 

Even when accounting for Prometheus' flaws, distinctive and persistent philosophical ponderings surround the story. From beginning to end, Scott and his terrific technical crew paint a pretty picture using space as their canvas. Scott and cinematographer Dariosz Wolski capture exceptionally breathtaking images of the hushed, lovely landscape while the vfx team create resonant renderings that pair perfectly with the immense, spectacular sets constructed by the prime production designers. Marc Streintenfeld's sumptuous space score bodes well as accompaniment, filling the vacuum of space with ethereal tones played by a swelling, harmonious orchestra.

However, Prometheus is easily one of the most frustrating movies I've seen in recent memory because it poses plenty of questions but doesn't ever get around to granting any clear-cut answers. I'm not particularly bothered by a few dangling threads but screenwriters Jon Spaihts and Damon Lindelof leave Prometheus' monumental mysteries to be ill-defined, only painting broad strokes but never retracing their steps to refine any blemishes. I'm sure this was intentional incorporation into the grand scheme of Prometheus' philosophical nature but it's not fortuitous that they didn't fill in any gaping plot-holes. I will say that turns things around with a thrilling third act but up to that point you'll be peeved by the dumb decisions the expedition team partake in. This team is made up of intellectuals so their brainless behavior on the planet's surface is inexcusable.

Unfortunately, many of the crew members feel vaguely characterized as only the prominent players are given substantial depth and corresponding complexity. This in turn detracts from the supporting ensemble's subsequent portrayals but magnifies the principal characters. Noomi Rapace offers an excellent portrayal of devout archeologist Dr. Elizabeth Shaw, playing into the frantic uncertainty Prometheus provides. Rapace's Shaw isn't quite up to par with Ripley as a fascinating female lead but she's superb nevertheless. On the other hand, Emum Elliott showcases a steel-faced wooden portrayal of Shaw's partner and love interest Charlie Holloway. Guy Pearce also has an odd arc as an aged Peter Weyland. Charlize Theron and Idris Elba are sufficient as mission director Vickers and charming captain Janek respectively, each adding a dosage of star power to the mix. Elsewhere the crew composed of Logan Marshall Green, Sean Harris, Rafe Spall, Benedict Wong, and Kate Dickie are fine in their distinctive roles but none of the bunch bring anything particularly memorable to their characters.

On all accounts, it is certainly Michael Fassbender who steals the show. Fassbender's intricate android David is the most interesting character among the bunch as he demonstrates unconventional, individualistic autonomy. Fassbender brings a clout of gravitas that melds well with David and projects an ominous and unsettling disposition that plays out perfectly.

In conclusion, Prometheus boasts proficient performances, tremendous technical work, a splendid space score, and accomplished aesthetic but gets dragged down by presenting weighty philosophical questions and failing to conjure an adequate answer to any of them.

Film Assessment: C

'Doctor Strange' Review

Doctor Strange is perhaps Marvel Studios' strangest endeavor yet. Marvel Studios has sustained this boom of the comic book movie genre by continually exploring new avenues. Sure, they may not have had a truly memorable villain since Loki but Marvel should be commended for it's ability to take obscure comic book heroes and make them part of the mainstream consciousness. Now, it's time for the Sorcerer Supreme to enter the fold and bring magic into the Marvel Cinematic Universe. I've been quite excited for Doctor Strange since it's announcement and subsequently my anticipation has grown with each new trailer, and the special IMAX event I attended a few weeks ago that showcased fifteen minutes of footage from the film only amplified my excitement a thousandfold, so without further ado it's time to learn what I thought of the Sorcerer Supreme's first outing after two viewings.

'Doctor Strange' Review

Nominated For: Best Visual Effects.

In Doctor Strange an arrogant noteworthy neurosurgeon, Stephen Strange, finds himself in shambles after a horrific car accident destroys the nerve endings in his hands. Strange exhausts all his resources to find a cure and it's only when he's on his last leg that he hears tale of Kamar Taj, the gathering place for the masters of the mystic arts. Naturally, Strange ventures there and his life is changed forever once he's introduced to another plane of existence and means to manipulate matter through magic. He then must train to help defend the multiverse from otherworldly threats that seek to destroy not only our world, but the multiverse at large.

Doctor Strange is the fourteenth feature film to join the ever-expanding Marvel Cinematic Universe and despite being the fourteenth film in the franchise it manages to break new ground by exploring the supernatural side of the MCU.

Doctor Strange only stands to benefit from being a part of the Marvel Cinematic Universe, seeing as the groundwork for the Sorcerer Supreme's debut was lain far earlier than many would expect thanks to a Stephen Strange name-drop in Captain America: The Winter Soldier, the vibrant color palette and out of this world visuals from Guardians of the Galaxy, and the small trip into the Quantum Realm in Ant-Man. Even though Doctor Strange is a part of the MCU, it manages to feel like it's own standalone corner of the universe. Sure, they pepper in a few references pointing towards the Avengers but the references are done in such a way that you understand why these sorcerers haven't interacted with the greater Marvel universe to this point.

Scott Derrickson takes up the position of director and with his foresight manages to effectively bring Doctor Strange into the MCU. Derrickson does an excellent job translating Steve Ditko's psychedelic renderings to the big screen with next level visual effects that blew my mind, thanks to the team of visual effects artists, and the sound design and production design further the authenticity of these spells and alterations to reality. Magic in Doctor Strange is distinct from things you would find in Harry Potter or Lord of the Rings and truly unlike any cinematic magic I've seen.

The action sequences Derrickson and his crew employ are some of the most visually inventive action sequences Marvel has executed to date, always daring to go places no person would ever think of as matter and reality itself are shaped to conform to the will of the inhabitants of Kamar Taj and the other magicians of the MCU. The cinematography is also quite eye-catching as it dives straight into these kaleidoscopic foldings of reality, the combination of which easily making Doctor Strange Marvel's boldest visual palette yet. I've seen the film once in 2D and once in IMAX 3D and must say that this is a case where I feel 3D makes a significant difference in terms of viewing experience and it's the best way to experience these spellbinding visuals.

With that being said, the story arcs in the screenplay penned by Derrickson, Jon Spaihts, and C. Robert Cargill evoke a lot of Marvel's previous origin stories but I think that has more to do with the similarity of the source material. For example, how Stephen Strange starts out extremely arrogant but becomes a hero through tragedy like Tony Stark, the means to the end are different but the general arc is similar. This doesn't bother me, considering that the plot specifics are remarkably different but some viewers may find it a tad annoying.

People also may draw comparisons to Inception and Batman Begins, but the similarities are vague in that Doctor Strange takes Inception's dreamlike reality folding to a whole other level in the mirror dimension and Bruce Wayne and Stephen Strange seek different training and forms of help. The script admittedly has less humor than typical Marvel faire such as Ant-Man or Guardians of the Galaxy, but when the gags hit they landed with a splash.

The screenplay does a great job of placing focus on characters that deserve it, for example Rachel Palmer as the love interest is a secondary character and her character arc never stepped over Strange's arc, she was given the ideal amount of screen time and attention. I'd say Michael Giacchino's oriental-inspired score is worth noting for bringing a sense of heroism, eastern influence, and further adding to the trip visuals. With a A-list cast, the performances in Doctor Strange are unsurprisingly bar none.

Benedict Cumberbatch is drop dead perfect in the role of Stephen Strange. Cumberbatch played the arrogant prick to a tee and then makes a convincing changed likable hero as the film progresses and I can't wait to see his interaction with the Avengers in Avengers: Infinity War.

People can complain as much as they want about the "whitewashing" or "gender-bending" of the Ancient One but Tilda Swinton makes a grand wise Yoda-like mentor to Strange and the other sorcerers of Kamar Taj.

Chiwetel Ejiofor's Karl Mordo makes a fun companion to Strange and their difference of opinion makes for an interesting peer dynamic. Benedict Wong plays Wong to be a steel-faced librarian of Kamar Taj but despite his serious expression, when placed opposite Cumberbatch allows for some of the film's funniest moments.

Rachel McAdams doesn't have too much to do as Christine Palmer but when she's on screen she has a vital role as Strange's support system. Could she have been replaced with any doctor? Yeah, but McAdams' chemistry with Strange is great and she brings a sense of realism to the film as a ER nurse.

Mads Mikkelsen's Kaecilius is admittedly another flat Marvel villain but he at least has a sense of purpose and motive. Mikkelsen in fact elevates the role through his natural gravitas, feeling like a foreboding ominous presence when onscreen, but beyond that is another wasted villain due to lack of development.

In conclusion, I wouldn't say Doctor Strange is Marvel's best or it's worst effort to date but it definitely hinges towards the top of the list as their most ambitious and unique origin story thus far thanks to the mind blowing visual effects, technical prowess, strong and clear direction, compelling characters, superb performances, and a fun bunch of compositions from Giacchino.

Film Assessment: A-