Annihilation (2018) Is One Of The Years Underrated Sci-Fi Flicks

We need more sci-fi movies with women. I’ll point you to director Alex Garland’s Annihilation as one of the most recent reasons why. Despite having a familiar plot of an isolated team searching an almost alien-like treacherous land, the film hypnotizes you with its bizarre world and the mystery of unanswered questions. The movie's cast, cinematography, and world-building is satisfying enough on its own with what it gives to the story but also leaves you wanting more.

Based on the trilogy by Jeff VanderMeer, a mysterious translucent orb looms over Area X. No one knows how or why it came to fruition, just that its electromagnetic power slowly absorbs everything in its wake. Anything or anyone that crosses the Shimmer’s threshold is never to be seen or heard from again. That is until cellular-biology professor Lena (Natalie Portman) is inexplicably reunited with her husband (Oscar Isaac), a soldier who entered the Shimmer as part of a military operation and was the only survivor to come out alive but suffering ill effects from being inside. Curious to venture into the heart of the orb and find out what happens inside, Lena and four other women - psychologist Dr. Ventress (Jennifer Jason Leigh), paramedic Anya Thorensen (Gina Rodriguez), anthropologist Cass Shepphard (Tuva Novotny) and physicist Josie Radek (Tessa Thompson) - make one last dangerous trek searching for answers.

On the surface level, there isn’t a lot about Annihilation that’s unique from many other sci-fi counterparts. The story is something that we’ve seen before: a uniquely qualified group of individuals enter an unknown world and nothing can prepare for them for what they’re about to encounter. We’re left with various questions about what happened, and the suspense is left up to both the cast of characters and the environment (which becomes a character on its own) to tease us with what happened: Were the  previous military groups driven crazy and murdered each other? Did something else kill them - how? What? The longer Lena’s squadron spends in the orb, their doubts and terror about the environment start tipping the scale of how they struggle to trust each other and the deathly situation that they’re in.

What lies underneath the surface of the film is how the story and direction is gorgeously haunting. The Shimmer's overgrown forests and peaceful isolation feels like something out of a fairytale. But lurking behind the illusion of its dream-like atmosphere are changes that the team could never imagine: People become one with the landscape, animals transform into terrifying beasts, and the fact that nobody can really live within its translucent walls increases any sense of seeing civilization again. As Lena and her comrades follow its trail of breadcrumbs about the military units that came before them, their resolve starts to crumble – there really is no such thing as going back. The Shimmer is filled with tension and wonder about the unknown, a lingering suspicion about what will happen next; it has a foreboding peacefulness to it that’s matched by violence; life equals death; destruction breeds creation. The longer you spend with Lena and the group, the more you want to know answers too, and to see who might survive, die, or how the Shimmer changes them.

The film is very much an ensemble piece. Portman’s career over the past decade has truly flourished, churning out all kinds of complex performances from Black Swan to Jackie. As Lena, she offers a formidable leader to the group and someone to anchor the story to as she tries to navigate what’s going on around her – she’s vulnerable, smart, and resilient. The rest of the characters could come across as a little trope-ish compared to similar action / sci-fi movies, but they create a tight camaraderie between them that makes their tentative unity and division almost palpable. It’s not hard to fall in love with the film’s overall aesthetic, to be honest: Five women walking into the Shimmer ready to get answers and kick ass.

Written and directed by Alex Garland, Annihilation is only the first step in a trilogy, and unfortunately, he only had the intention of making the first one. When he started the project, the author's manuscript was just coming together, and Garland scraped the series' ideas together to form his own vision - ironically, just like The Shimmer. His film's world-building asks big questions, and the road to answering them is chilling and unexpected. Annihilation works well enough as a stand-alone, but knowing what happens next would’ve been interesting for the rest of the trilogy to be made and explore. There’s honestly nothing wrong with Garland's film, except the shame of wanting more and being forced to wait for another director to take the series on again. One can only hope that this breeds similar yet different sci-films in the future.

Rating: ★★★

Have you seen Annihilation? What did you think?

Mission: Impossible Fallout (2018) Is The Best Franchise That Keeps Getting Better

On the very rare occasion that Tom Cruise doesn’t deliver on his promise to thrill moviegoers, almost every summer we count on the renown star to bring on the excitement as the daring spy Ethan Hunt. Waiting for another installment has become an event in itself for fans anticipating where Cruise will take his passion for this sage next. Every Mission: Impossible installment seems outdo the last tone. Coming back for the sixth time, Mission: Impossible Fallout again proves to be the best entry in a franchise that just keeps getting better.

After failing to recover three plutonium nuclear cores, IMF Agent Ethan Hunt is forced to team up with the CIA’s top assassin August Walker (Henry Cavill) to prevent the weapons from falling into the hands of a religious anarchist group known as the Apostles. While dealing with the aftermath of capturing one of its dangerous associates Solomon Lane (Sean Harris), Hunt’s past comes back to haunt him, and question how he can save the world just one more time.

Every Mission: Impossible has been naturally different in their own way as the films have changed hands between directors, writers, and supporting casts. Despite definitive stylistic transitions between movies, the series has never lost the core of what it’s always striven to be: an action-packed escape with fun characters. Though the franchise as a whole and individually are far from bad (the earliest ones are certainly dated but not the worst), Fallout is not just a physical rollercoaster ride but an emotional symphony in humanizing its hero.

Love, Simon (2018) Is More Than A Coming-Of-Age Story

Everyone deserves a love story, but cinema has been slow in letting everyone share their affection for others. Based on the best-selling book Simon vs. the Homo Sapiens Agenda by Becky Albertalli, Love, Simon is one of the most refreshing romantic dramedies in a long time.

Simon is gay. But nobody knows it yet. One evening, the gossip site for his high school tips off the community that someone is secretly gay but hasn't revealed their sexual identity yet. In a bid to ward off any attention, he anonymously shares his story of fears and worries about coming out, and begins a penpal relationship with "Blue" - another kid at school who's in the same position he is. When a nosy theatre nerd finds out Simon's secret and promises it'll stay so if he's hooked up with one of Simon's friends, Simon does everything he can to help him while sorting out his feelings.

Though I haven't read the best-selling book yet, the adaptation proves to be a hit on its own. Given how many young adult franchises just don't capture the attention like they used, and films representing the gay youth experience are becoming more seen than ever, Love, Simon is an enjoyable, important coming out of age movie.

Phantom Thread (2017) Combines Beauty with the Bizarre

Photo Credit: Focus Features

A period film is rarely going to be anything else than what you expect. They carry with them a certain routine charm and elegance, and often breathtaking costumes and scenery to draw us into another time. Unless it's an old-fashioned mystery, biopics of twentieth century figures or unrequited love stories in the seventeenth century, aren't pegged to have some massive twist that leaves you feel like you've left a suspenseful thriller. Phantom Thread has all those things you'd expect of a typical period film, but surprisingly, not everything is what it seems.

Hiding twisted secrets underneath its beautiful facade, something hypnotic and unsettling lingers within the gorgeous visuals of director Paul Thomas Anderson's latest feature. A waitress Alma Elson (Vicky Krieps) falls head over heels with fashion designer Reynolds Woodcock (Daniel Day Lewis). Being in love with Woodcock is to be caught in a beautiful web. With Woodcock's decadent creations comes his elusive charisma and moodiness, a perfectionist attention to detail, and his equally mercurial sister Cyril (Lesley Manville). Will their romance last and how is the question we're not beckoned to ask, but it's one that we find out the answer to in stunning, unimaginable ways.

On the surface, the film is a love story. Alma, Reynolds, and Cyril love his clothes; designing, refining, and bestowing them on women worthy of wearing them. There's such a love of them there's seemingly nothing that can outdo their significance or steal away their attention, except for each one's love of control over their lives and each other.

Just like the canvases he makes with his clothes, there's a pattern to Reynolds's relationships: fall in love with a muse, ,the honeymoon phases out, and he ultimately cheats on his significant other with his work. But unlike Reynolds's past muses, Alma refuses to wear out her welcome. She challenges Reynolds and Cyril wanting more and more, becoming a pawn in their game and also in a step ahead of their moves. They've all found their match in each other, preying on weaknesses to gain the upperhand. Their relationships become less of a tragic romance and more of a Hitchcock mystery, wondering who is going to be the first to submit, what will make them crack: Reynolds's  perfectionism, Cyril's control of their business, or Alma's refusal to be a doormat.

Director and writer Paul Thomas Anderson created a film that has all the ingredients of what you expect of period films we've seen before, from gorgeous costumes and production design to a romance that seems doom to ever work. And yet a bizarre obsession in its characters and story sets itself apart.

Though Daniel Day Lewis earned rightful acclaim for what might be his last film performance ever, Phantom Thread has plenty of stars equally worthy of praise. Vicky Krieps is a force to be reckon with as Alma, a character whose an unshakable force coming up against immovable objects. You never know what's up her sleeve, or if she's ever going to be in on the game that her lover and his sister play. The other is Leslie Manville, stepping out of a career of smaller roles into one that is fiercely resolute, whose steely gaze will make you surrender in an instant. While Lewis definitely gives a good performance worthy of his career's curtain call, the three of them, Anderson's direction make a great team.

To say the least, this is not the romantic film one might anticipate. The whirlwind dalliance you think you're embarking on at the beginning is not exactly the one that unfolds, and that's truly a marvel. Anderson's writing is an example of how a script could've only been produced by its director; his attention to detail is on everything from the quaint English style of Woodcock's workplace and home that's charming but claustrophobic, to the impeccable costume design by Mark Bridges. He manages to make you feel like you've been transported into a beautiful, yet bizarre world of his own design. It's best to go into this with as little knowledge as possible because a big surprise in the characters' relationships can have a gasp-worthy effect (it did for me). As strange and unpredictable as the story evolves, it leaves one wondering so many questions, and with a feeling of having been hypnotized and bewildered.

Rating: ★★★

Have you seen Phantom Thread?

What did you think?

Black Panther (2018) Reigns Supreme in the MCU

Photo Credit: Marvel Studios

When a new movie enters the Marvel Cinematic Universe, critics expectantly hail it as a game-changer before it even hits theaters. Facing a mountain of expectations and pressure to deliver, sometimes the final product isn't worth the excitement or gets lost in the shuffle among all the other pending projects. As one of its most anticipated movies of the year, Black Panther had a lot to overcome. Entertaining, socially relevant, and engaging, the long-awaited film soars to the occasion and conquers the predictable MCU hype.

After his father's passing in Captain America: Civil War, T'Challa (Chadwick Boseman) must claim his throne as the King of Wakanda, a technologically-advanced African utopia that's shielded itself from the outside world. The transfer of power is challenged as his country questions hiding their innovation and culture to protect themselves in fear of being conquered. His journey is further caught in the crossfire when a black market arms dealer Ulysses Klaue (Andy Serkis) and special-ops agent Erik Stevens (Michael B. Jordan) aims to tip Wakanda out of the shadows whether the nation is ready or not.

As kings of separate courts on a road to self-discovery, Chadwick Boseman and Michael B. Jordan lead the story with intensity, passion, and heart. On the one hand, T'Challa is of noble birth, but to guide his people means facing his role model's darkest secrets that puts his own reign in jeopardy. Though he's earned his place on the throne, his decisions about his country's future will ultimately mirror the kind of person he wants to be, a shift that possibly dismantles the cherished legacy his father built. But he has to do right by his heart and what's best for Wakandans everywhere.

In his opposition, Erik Stevens grew up on the streets of Oakland, California; lost and forgotten he was formed by the corruption and oppression. He's not so much a villain, but someone who's left to think that destroying the world is his only option for justice. Hailing from opposite sides of the world but facing similar obstacles makes their feud so much much more than good versus evil; it's a search to do right by themselves and their people; how a system and its leaders has the power to build or break its people; to be seen, validated, and integrated into the world. It's the kind of story superheros often pursue but also become so formulated and repetitive. Here, they feel less invincible like we know masked crusaders to be, and more powerful by showing their humanity in its many different layers.

The film's cast is one of the most solid ensembles to come. Together and individually, as a family they bring their own brand of emotional and physical bad-assery. Rarely do action films harness the power of one headlining lady, let alone several. Here everyone gets to shine, working together for the greater good: Danai Gurira as Okoye, a traditionalist general of the all-female special forces of Wakanda; Letitia Wright as T'Challa's effervescent sister and innovative backbone of Wakanda's scientific and technological advancements; Lupia Nyong'o as Nakia, an undercover spy trying to will Wakanda out of its old ways. Together and individually, they are smart, clever, protective, passionate, generous, funny, vulnerable, and ready to kick-ass. They are a few highlights (including Angela Bassett, Forest Whittaker, Daniel Kaluuya, Martin Freeman, Andy Serkis) who bring an enthusiastic, fierce vibe to the T'Challa and Erik's clash.

Like Patty Jenkins and DC's monumental step-forward with Wonder Woman, director Ryan Coogler brings everything to the table. As a superhero movie, Black Panther is vibrant, rich, funny, action-packed and an emotional rollercoaster ride. Sure, it's fun to just go to the theaters and just enjoy a good popcorn-worthy showdown. But what truly elevates an entertaining, fulfilling story is the elements it weaves throughout. Black Panther packs great storytelling, intense fight sequences, and a wicked sense of humor, into a superhero movie. But it's not just a superhero movie.

Echoing Batman's Gotham or Superman's Metropolis, Coogler lets us Wakanda burst to life in gorgeous costumes, indigenous traditions, and the advanced technology it thrives on. Its soundtrack blends beautiful African tribal music with hip-hop and R&B, playing with the vibes of ancestral homages and modern music. Beyond delivering representation and long-deserved diversity, the story solidly weaves issues of race and blackness, political diplomacy, cultural differences between rich and the poor, and an identity for minorities that has been ignored and suppressed for too long. Black Panther is a fun ride, but its power also lies in blending reality into fiction, using storytelling to tell some potent, necessary truths. And, it's done with a deep well of passion that pours onto the screen.

In the same vein that all of the right cards had to be in place for Wonder Woman to receive her own feature film, Black Panther finally claims its throne. Why did it take so long? Because the industry is still stuck in its own web of what they think sells. A lot of films have come along to slowly but surely crack the glass ceiling - Get Out knocked it out of the park. Wonder Woman proved complex female heroines are important. And now, Black Panther has shattered expectations. The rest of 2018 has a lot to live up to. Long live the king.

Rating: ★★★

Have you seen Black Panther? What did you think?