Skip to main content

Annihilation (2018)

Fear what's inside. Annihilation is a film about an ex-military biologist who signs up to explore a phenomenon near a coast.

Alex Garland does some wonderful things with this film. Most of the shots are great and vibrant when inside the phenomenon. There are a few questionable shots like when the characters and moving through the forested area but at the corner of the screen so you get a wide shot of a beautiful landscape. The writing of each character while good, does have the feeling of just getting to know the character so they can get killed off. I'm so glad they gave Garland the screenplay for the Halo adaptation.

Natalie Portman plays Lena and gives a class on how to give a variety of emotions throughout the film. Anger, sadness, depression, lostness. She is a completely deep character and it'd be hard to cast someone else as this role. Without her, the film would have fallen apart. I can't go into too much detail as that would spoil the ending.

The other big character in the film is Kane, played by Oscar Isaac. This would be the second time Garland directed Isaac and his performance is better for it. Back in Ex Machina, his character was sort of one dimensional. This performance allows Isaac to show a broader range of his ability and in some cases upstages Portman which is hard to do. Some of his early scenes seem weird but they make sense by the end of the movie.

I can't understand why Garland doesn't have any upcoming directorial jobs but then again this movie might confuse the average movie-going audience.

Result: A- (I loved the ending, but the film does have some slow parts.)

Comments

Popular posts from this blog

Scream 7

Scream 7 (2026) marks the return of Kevin Williamson , the original writer of Scream , now stepping back in to write and direct. The result is a sequel that feels closer in spirit to the franchise’s roots. It balances meta commentary with straightforward slasher brutality and, for the most part, it works. Neve Campbell returns as Sidney Prescott and immediately grounds the film. Her presence alone gives the story weight, and the script wisely centers her instead of sidelining her. There are a few cameos from figures in Sidney’s past that longtime fans will appreciate, and while some feel more nostalgic than necessary, they never fully derail the pacing. Also, she's not past her prime. Isabel May , known for 1883 and Alexa & Katie , steps into a major role and holds her own as Sidney's daughter. She brings a modern energy without feeling like a forced replacement, and her dynamic with Campbell adds tension that feels organic rather than manufactured. The violence is tu...

Dracula (2026)

Dracula (2026) is written and directed by Luc Besson , and it feels like a filmmaker trying to modernize a classic myth while chasing a younger audience. The film is hyperactive in its editing, filled with quick cuts that rarely let a scene breathe. It is hard not to compare that to the more confident pacing of The Fifth Element , which trusted its style and performances to carry attention without frantic cutting. Here, the editing feels almost desperate at times. Caleb Landry Jones takes on the title role and uses a very odd accent that feels like a deliberate directorial choice. He also leans heavily into overacting, pushing expressions and line delivery to theatrical extremes. In Three Billboards Outside Ebbing, Missouri , he was more subdued and forgettable in a supporting role. Here he is front and center, and the performance is certainly memorable, just not always in a good way. Christoph Waltz plays the priest positioned as the protagonist. As expected, he brings his tradem...

Crime 101 (2026)

Crime 101 (2026) is a crime thriller that checks the basic boxes of what should work, but the writing never tightens enough to make it compelling. It hits familiar beats, runs longer than it should, and never quite earns its tension. It feels like a good movie outline stretched into a full runtime. Bart Layton , known for American Animals and The Imposter , directs, and his uneven filmography shows here. The structure is serviceable, but the pacing drags and the scenes lack urgency. The direction is competent without being memorable, and the film never finds a sharp identity. Chris Hemsworth , known for Thor and Extraction , plays the reclusive criminal at the center of the story. He tries to lean into a quieter, more internal performance, but he does not fully sell the damaged foster child mentality the script is aiming for. The performance feels like an attempt rather than a transformation. Mark Ruffalo , recognized for Spotlight and The Avengers , feels like he is on autopilo...