All of us, in ways both big and small, make decisions on a regular basis that run counter to our own well-being. It is an axiom of human existence that something inside of us, whether we are aware of it or not, has the propensity to self-destruct.
Perhaps this self-destruction manifests more seriously and irreparably in some people’s lives than in our own; a drug addict allows their body and mind to deteriorate despite their desire to rehabilitate themselves, a seemingly happy marriage is jeopardized by an extramarital affair. Even if neither of these situations relate to our own lives, we are familiar with self-destructive behavior, even if the consequences are a little less severe in our cases. At some point in our lives—in all likelihood on many occasions—we have behaved in such a way that our own self-interest was spurned by our actions.
What drives this human tendency to crash and burn? Poets, philosophers, and psychologists alike have long pondered the question. We may never truly have an answer.
Alex Garland’s “Annihilation,” which was released to woeful Box Office numbers back in 2018 (despite a positive response from critics and A-lister Natalie Portman in the lead role), may not provide us with an explanation for humanity’s susceptibility to self-destruction, but it does offer up a thoroughly compelling examination of it by way of a fascinating and original sci-fi tale.
Garland adapted his screenplay from Jeff VanderMeer’s 2014 novel of the same name, which followed a group of four unnamed female scientists as they ventured into a mysterious, uninhabited stretch of land known as Area X. Weird shenanigans ensues. Garland’s script is not a beat-by-beat adaptation of VanderMeer’s story, but it does largely follow the same basic story structure.
In the film, there is a bizarre, seemingly extraterrestrial anomaly—dubbed “the Shimmer” due to its twinkling, almost psychedelic appearance—that encapsulates an evacuated zone off of an unidentified coast. All who go within the boundaries of the Shimmer have never returned. And here’s the kicker: the Shimmer is gradually expanding its borders, and will eventually encompass the entire world in whatever unknown horrors lie inside.
Gina Rodriguez and Tessa Thompson in “Annihilation” (Paramount Pictures, 2018).
“Annihilation” is a really cool movie. I’m just going to start by saying that. While I will refrain from divulging any further plot details as I believe it is a film best experienced with as little prior knowledge as possible, I will attempt to convey to you, my reader whom I greatly appreciate, the ways in which Garland’s movie is an exceptional, audacious piece of filmmaking.
Firstly, the film is, visually, quite beautiful. Especially after the group of four scientists traverse inside the Shimmer, “Annihilation” features some very creatively crafted production design, things I’ve never seen in a movie before that left me wide-eyed.
That creativity is present throughout the film, embedded in seemingly every single frame, every single story beat. There is nothing here that feels stale or played out. Garland does his best to keep the predictable sci-fi cliches to a minimum. In many ways, “Annihilation” feels…alien. It’s a unique movie, and one that leaves the viewer simultaneously thrilled, intrigued, and confused.
I think this is the main reason why the film was a Box Office bomb, and subsequently dumped straight to Netflix. It’s a little bizarre, a little ambiguous, and a little inaccessible for general audiences. And while there are some conventional moments of popcorn thrills and chills, particularly involving a terrifying animal hybrid (if you’ve seen the movie, you know what I’m talking about), the film does not rely on these things to carry it, which probably proved off-putting for a lot of people. I understand this, but I also find it disappointing that a film with so much creative energy and truly captivating ideas was not more successful.
If I were to nitpick the film, the pacing that Garland uses is methodical, which does, admittedly, make the first act feel a bit plodding. This may account for some of the middling responses it received. There are also a few instances of tedious verbal exposition that perhaps could have followed the old filmmaking adage of “show, don’t tell.”
Nevertheless, “Annihilation” is, in my eyes, one of the best science fiction films of recent years. An uncompromisingly bleak cinematic vision with thought-provoking philosophical ruminations on life and human nature wrapped up in spell-binding sci-fi filmmaking. Do yourself a favor and watch this movie. As the credits roll, you may be a little perplexed, a little disoriented, a little unsure of what you just watched. But allow the film to sink in.
Give yourself some time to digest it. I’m confident you’ll come to admire this unique gem as I have.
