ANNIHILATION (2018): Movie Review

This week I had the pleasure of seeing Annihilation, the second feature film of writer/director by Alex Garland. You might remember him from his directorial debut with Ex Machina (2013). Annihilation is a strange, emphatic, and nihilistic science fiction tale of horror, and seeing as I am an enormous fan of everything in that sentence it should come as no surprise that Garland’s latest film (in my opinion) is one hell of a cinematic experience! With that being said, Annihilation is NOT for all audiences. There’s more than a few scenes featuring gruesome granger that will undoubtedly stick in the nightmares of those who are faint of heart, and the narrative makes for many unanswered questions. I LOVE when movies leave themselves open to interpretation, but I know not everyone feels the same way so if you consider yourself squeamish and prefer your movies with clearcut conclusions then stay far away from this one. But if you enjoy “hard” science fiction stories that challenges the audience and is so ensanguined with Lovecraftian cosmic horror that the screen’s practically sporting tentacles then why are you still reading this review? GO SEE IT WHILE IT’S STILL IN THEATERS!!!

Now this is usually the part were I give a brief overview of the plot but in lies a dilemma; it’s nearly impossible to further discuss the plot of Annihilation without spoiling any key discovers or twists the film has in store for the viewer. Much of my enjoyment from watching Annihilation came from the various revelations presented throughout the film as they not only carried the plot forward but also made for some in-depth character development. I can say that Natalie Portman’s character is a soldier turned biologist who sets out on an expedition into an anomaly called, “The Shimmer,” with a team of fellow gun-totting female scientists. The mission of Portman’s platoon is to traverse the anomaly and figure out what it’s doing, how, and why. That’s all you’re going to get out of me if that sounds interesting then see the movie (or check out the book of the same name by Jeff Vandermeer). 

There are many, many, MANY standalone aspects of Annihilation that’s worthy of appraisal, so let’s jump right into some. To start with, the visuals (once inside the Shimmer) are breathtaking. The film’s American bayou setting makes for many exterior set pieces that are so rich with organic life that’s just as tranquil as it is spine-chilling. It would seem that much of the art direction’s inspiration has blossomed from the microscopic/macroscopic world, specifically with regards to cellular mutations and necrosis, and it works to such great avail. The film also excels in its ability to craft new and unique elements of horror that I’ve never seen before (and this is coming from an individual whose prides himself on being a “horror junkie”). Apart from some top-notch creature designs and grotesquely satisfying gore, there are images and sequences that are so unique, vibrant and fear-inducing that they could double as modern art. Also, this film has one of the most unnerving soundtracks I’ve ever listened too for a big budget film of this caliber (and trust me, that’s a positive). I found Natalie Portman’s performance similar to how she carried herself in Black Swan (2010), in that she plays a complex individual with a truckload of emotional baggage, leaving little room for any smiles or joy. The rest of the cast perform their roles appropriately though it seems that everyone’s been taking notes from the Wes Anderson school for acting; where everyone talks and acts like their either tired or are in desperate need of a Prozac refill. Now I have no problem with movies whose entire cast compresses of depressed or droll characters so long as they have something interesting to do and say and they certainly do interesting things, I just wish the dialogue was given a similar treatment. Yes, despite all my gargling veneration for everything Annihilation does right, it cannot hold a candle to whichever patron saint is responsible for decent dialogue. That’s not to say that the film’s talking moments are all poorly written, it’s just that I found myself having a much better time watching the movie when it was utterly silent. There are a handful of eye-rolling character lines and a few moments where characters say things solely to inform the audience of what and when to pay attention. Fortunately, these moments are few and far between but stand out like a six-foot bas-relief sculpture of Baphomet at a Church bizarre. The color pallet for the first act is also pretty ugly, though I would guess that this was an intentional choice as it did make the environment within the Shimmer all the more eye-catching. Also, there aren’t any answers to the more prominent mysteries brought up in the film.

As a whole, Annihilation is one of those unique breeds of science fiction cinema; the kind that will undoubtedly amass a cult following some 10 or so years down the line for its originality and gallant leap into the abstract. It’s a mesmerizing modern take of the “through the looking glass,” kind of story where the physical (and biological) laws of reality are twisted, bent, and stretched so far that anything resembling the empirical becomes ethereal, and dreams become a reality. Annihilation is the kind of film that’s almost guaranteed to hold one’s attention from start to finish and leaves you feeling cinematically satisfied and cognitively enriched. If you’re a fan of hardcore science fiction, Lovecraftian horror, or just want to see something rich in creative liberties then go check out Annihilation while it’s still playing at the Regal Davis Stadium 5 on G St. 

Ft. (left to right) Jennifer Jason Leigh, Natalie Portman, Tuva Novotny, Sonoya Mizuno, & Gina Rodriguez

THE GREATEST SHOWMAN (2018): Movie Review

Alright, let’s get the harsh stuff out of the way first. This film is NOT about the life and times of the self-made 19^th-century showman, entrepreneur, and civil rights activist, Phineas Taylor Barnum. The Greatest Showman is a romanticize “follow your dreams,” movie musical starring Hugh Jackman as P.T. Barnum’s superego; specifically focusing on Barnum’s creation in a little venture that would eventually become the world-renowned Barnum & Bailey Circus. Now if you’ve paid any attention to the film’s marketing, you might’ve gathered that historical authenticity has been not so subtly replaced with a brand of magical realism common in many musicals of Hollywood. The “twist,” (I suppose) is that while the film takes place in the late 1800’s, the music and dance is anachronistic with an emphasis on a more contemporary arena rock/pop music sound. In many regards, The Greatest Showman is almost identical to Baz Luhrmann’s 2001 movie musical, Moulin Rouge! (2001), except for the fact that The Greatest Showman is good. Director Michael Gracey has made a wonderfully shot and brilliantly executed cinematic cabaret of charismatic actors, mellifluous vocalists, and ebullient dancers. This production is one of those rare occasions where the film’s alteration of its source material both heightens the viewing experience but also contributes to the ideals and vocations of P.T. Barnum. The Greatest Showman may be leaning more towards the “fictional” end of historical fiction, but it’s still an impressive feat of cinematic entertainment that’s sure to instill a feeling of childlike wonderment in your heart long after the credits stop rolling.

As you might’ve guessed The Greatest Showman’s plot follows the watered down life story of P.T. Barnum. In life, Barnum coined the phrase, “a sucker’s born every minute,” and much of his fame and fortune came from his stint as an impresario for hoaxes and attractions of an “unconventional” nature. Hugh Jackman’s character never once uses Barnum’s most famous motto, but I suppose that wouldn’t be the most paragon thing to come out of a “likable” protagonist’s mouth. They still managed to make Jackman’s Barnum a con artist with unparalleled powers of persuasion and manipulation; which is fitting when you consider how Barnum was known as the “Shakespeare of Advertising,” and whose marketing tactics are still largely used by modern advertisers, snake oil salesmen, and politicians alike! Jackman’s Barnum is charming, industrious, and just want’s to give his family the prosperous life he never had by entering showbiz, which makes him thoroughly likable throughout the film, though at times Jackman’s infallibility can come across as being a little too unrealistically glamorized. I would’ve been more aggravated at the “Disneyfication” of the story’s source material but then again, the real P.T. Barnum was known for putting on family friendly version of popular plays and historical retellings; and now you know where Disney’s secret to success originated. The rest of the plot is unfortunately pretty simple and predictable if you’ve seen more than five feature film in your lifetime, but one should note that this IS a movie musical first and the “story” is more of a way to string the song and dance numbers into a coherent set of sequences. That’s not to say that the story or its presentation is bad, both handled well and at no point insult your intelligence; it’s clear that a lot of thought and effort was put into every facet of this production, and the final product is a testament to that.

There are quite a few things The Greatest Showman does incredibly well, which is only made all the more impressive when to take into consideration that this is Michael Gracey’s directorial debut. When the camera’s in motion the cinematography’s smooth and fluid but still feels sharp and precise which makes for a very satisfying ocular experience. There where some segments so expertly shot, edited, and synced to the music that at numerous time I gasped out loud, much to my fiancé’s amusement. And speaking of amusement, there are some truly impressive vignettes of human abilities. The choreography’s excitingly fiery and diverse with multitalented performers of physical and musical expertise. Put all that together with an outstanding set of original songs by John Debney and Joseph Trapanese, and you’ve got a pretty damn good cinematic adaptation of the “hot-dad” version of P.T. Barnum’s superego. That being said, it is a wee bit silly seeing Huge Jackman’s portrayal of a man whose primary cinematic fault is that he’s a little too committed to his dream (of profiting off the exploitation of social outcasts, endangered species, and the differently abled). I can’t fault the film too much on overshadowing the more shady business practices of P.T. Barnum to strengthen the movie’s messages on acceptance, confidence, and finding strength in unity, but it almost seems like Jackman’s Barnum is going for straight up sainthood. The Greatest Showman is a movie that’s more about empowerment, following your dreams, and embracing the misunderstood quirks that make us who we are against the dismay of the more close-minded and outwardly cynical members of society. The Greatest Showman may not be the greatest representation of the real P.T. Barnum or his Circus, it’s a feel-good movie whose primary goal is to razzle-dazzle its audience, and it does so masterfully.

The Greatest Showman is as far from a dramatic character piece as one can get and I’m sure that it will rub some audiences the wrong way, but that would defeat the film’s ultimate purpose of bringing smiles to its spectators. It’s a film that clearly knows what it is and who it’s for; a bombastic romanticization of the ideals and spirit behind P.T. Barnum told through the lens of an 21st century circus extravaganza. The song and dance routines are exquisite in every aspect and keep the film chugging along like a tip-top locomotive and is worth the price of admission on their own. The Greatest Showman captures that extravagantly over the top energy and presentation that bade Barnum & Bailey’s circus shows world-renowned and will be sure to bring out a sense of horripilation and joy from which we honestly could all benefit from. The Greatest Showman is currently playing at the Regal Davis Stadium 5 theatre on G Street in downtown Davis.