'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-

'Ferdinand' Revew

Nominated For: Best Animated Feature.

Ferdinand frolics inside a Spanish bullfighting camp alongside a young bull named Ferdinand. Ferdinand isn't like the other bulls in the training camp because he's not interested in the sport of bullfighting. All Ferdinand wants to do is sit around and smell flowers. One day, Ferdinand gets his wish when he escapes the camp and is adopted by a young farm girl, Nina. Ferdinand grows up under Nina's care and the two become friends who relish in nature's beauty together. After a massive misunderstanding, Ferdinand is captured and taken from his new home to train at a bullfighting camp. Fueled by an innate desire to reunite with the family and avoid ending up in the ring against legendary bullfighter El Primero, Ferdinand forms a motley crew of critters and sets out on an exciting adventure.

Ferdinand is steered by director Carlos Saldanha, featuring a screen story from Ron Burch, David Kidd, and Don Rhymer as well as a screenplay by Robert L. Baird, Tim Federle, and Brad Copeland that adapts the classic children's book written by Munro Leaf and Robert Lawson. If you're at all familiar with The Story of Ferdinand, you'll know that it's quite short and straightforward. It's generally agreed to contain valuable messages as it encourages kids to be themselves and takes a commendable stance in supporting pacifism.

However, as much as Ferdinand wants to champion those worthwhile themes, it also can't help but MOOO-ve around the creative pasture a little too much. Like most mediocre animated works, Ferdinand is all over the place and shoehorns as many needless jokes as you can possibly imagine. For every clever incorporation of tasteful humor like an literal interpretation of the age-old idiom "Bull in a china shop," Ferdinand has a dance-off featuring twerking bulls. Why? Because that's exactly what every kid is dying to see, right? Probably, but I just wish they hadn't stooped so low. 

Elsewhere, the animation in Ferdinand is adequate and well-constructed while the music incorporated in the feature helps to maintain Ferdinand's fast pace. I just wish the filmmakers had been more focused in their efforts to translate what could have been an endearing story because what they brought to the table was a half-baked attempt. 

In the wide stable of voice actors, Ferdinand features the likes of John Cena, Kate McKinnon, Bobby Cannavale, Anthony Anderson, Peyton Manning, David Tennant, Gina Rodriguez, Daveed Diggs, Gabriel Iglesias, Flula Borg, Sally Phillips, and Boris Kodjoe as Ferdinand and his merry band of animals. The supporting caricatures include an assorted band of bulls, a kooky calming goat, three troublesome hedgehogs, and some haughty German horses. They all factor into the narrative somehow though, whether it be for the purposes of a quick one-off joke or a running gag.

I'm someone who has always been bothered when others refer to animated films as "kid movies" when there are so many exemplary animated films out there with depth and substance, but then you have family films like Ferdinand that remind you where that idea originated from. Ferdinand had potential to be a sweet adaptation of a beloved children's book, but is okay at best. It's fine for young children, and will keep their attention for about an hour and a half, but parents may have their patience tested rather quickly. All I can really say is "Well, at least it wasn't a load of bull crap!"

Film Assessment: C+

'Deepwater Horizon' Review

Nominated For: Best Visual Effects and Best Sound Editing.

Deepwater Horizon offers personal insight into the true events of the April 2010 oil rig explosion that caused the largest oil spill in history by showing the horrific disaster through the eyes of the workers onboard. 

Peter Berg directs the disaster flick as his followup to Lone Survivor and Berg expertly captures the chaotic nature of the explosions onboard the Deepwater Horizon in the more action packed moments. However, the framework established in the screenplay penned by Matthew Michael Canahan and Matthew Sand doesn't quite set the stage properly. I found the first half to be rather mundane and generic and wished the characters had been further explored. I found it difficult to care for the supporting characters given how little character development and meaningful screen time they had received but I guess that's the nature of things when you have to dedicate a large portion of the film's running time to the catastrophe at hand. 

Deepwater Horizon does however succeed in effectively simplifying the concepts behind the disaster in addition to making the oil rig a tense environment from the get-go. I also feel it's worth commending all the effects, albeit practical or computer generated, that went into simulating the tragedy on film as the explosions weren't overdone and felt authentic. The performances on display for the most part were serviceable considering that the actors were essentially portraying ordinary oil workers and aren't exactly provided with plenty of depth or range to explore. 

Of the bunch, Mark Wahlberg demonstrates incredible display of acting ability with one of the film's closing scenes that seemingly shows the PTSD Mike Williams is suffering from as a result of these events. Wahlberg injects his typical charm into the role and makes Williams both a likable and relatable protagonist fulfilling the needs of the role. Kate Hudson impressed me, making for an interesting ancillary character in the role of Felicia Williams and sharing great chemistry opposite Wahlberg. 

In regards to the other supporting players, Kurt Russell musters up some Southern drawl in Jimmy Harrell, Dylan O'Brien sadly has little to do as Caleb Holloway but is great in his supporting capacity, Gina Rodriguez's Andrea Fleets barely registered to me when onscreen, and John Malkovich is about as slimy as it gets as the greedy corporate businessman Vidrine. 

In conclusion, Peter Berg manages to craft an intense disaster thriller that seeps into the viewers' mind and leaves a lasting impression thanks to some sufficient performances and appropriately terrifying sequences of destruction.

Film Assessment: C+