ANNIHILATION** Puffed Up Nonsense

ALEX GARLAND IS the director who brought us the extraordinary Ex Machina (and also exposed the world to Alicia Vikander). Ex Machina dramatized the chilling moment known as the singularity: when the machine becomes, essentially human. Mr. Garland has returned with his new movie: Annihilation.

It’s a movie with a problem: dismal audiences in the US and straight to Netflix here in Europe.

Annihilation submerges us into a world…an idea…where cellular reproduction…DNA…begins to go berserk. Is this a frightening take on what may be in store for humanity as it continues to muck with nature? Is man (even unconsciously) pulled toward self-destruction…as part of our human condition?

The story starts with the sudden and unexpected return of Kane (Oscar Isaac). He’s been gone for over a year on a super-secret mission. But now, much to the shock of his partner, biologist Lena (Natalie Portman), here he is: discombobulated, unaware of time and hemorrhaging. Garland pulls you deeper and deeper into the mystery of his disappearance. Kane was one of several soldiers who had dared to enter The Shimmer: a vast blurry force field that is slowly growing and that is proving impervious to all attempts as understanding it. Lena’s, perhaps guilt-laden, search for an antidote to her partner’s critical condition leads her to volunteer to a small (suicide?) science expedition: four (female) scientists who are prepared to brave entering The Shimmer.

Once in The Shimmer, things immediately begin to go awry. After a week in, the team feel they’ve been there for mere hours; they encounter strange beautiful, mutant growths that cling to walls and trees; other-worldly beasts attack out of nowhere, slowly picking them off. Why would Kane have signed up for what he must have known was a suicide mission? Similarly, why did Lena and the other members of the team sign up? They too must all have known they’d never return.

Garland layers mystery upon mystery and keeps turning up the heartbeats of tension, notch by agonizing notch.

But here’s the problem: all this layered tension, the fascinating build-up really has nowhere to go. The story does not build to some moment of insightful revelation. About an hour into the movie, the story begins to sag. Even Natalie Portman, bringing her most “whatthefuckisgoingon” face can’t contain the rising bathos. What began as a thought-provoking exploration of the way we mutually affect/infect others with our burdens and ‘sins’ runs aground with a director who seems to have become as lost as his plot and his characters.

Basically nothing begins to make sense. One rule of sci-fi (any fiction for that matter) is that there be enough credibility to drive belief. We’ve got to believe that no matter how fantastical, these characters could be real people experiencing these strange things. None of this pertains in Annihilation. As the questions mount (Is there a thematic reason why all the scientists are women? Why aren’t there more chimera creatures? Why didn’t they camp in the obvious secure place in The Shimmer?), everything soon begins to feel as artificial and trumped-up as the faux forest they inhabit.

The story slowly slips from “What’s going to happen next?” to “Where’s this story going?” And the answer, sadly, was a resolute, “Nowhere”

Garland seems to be a terribly thoughtful and talented director. Based on one movie. Let’s hope he’s not going to turn into that other one- note wonder, M. Night Shyamalan


ANNIHILATION. Dir: Alex Garland. Screenplay: Alex Garland (based on the novel by Jeff VanderMeer).  With: Natalie Portman. Jennifer Jason Leigh. Benedict Wong. Oscar Isaac. Cinematographer: Rob Hardy (Ex Machina). Production Designer: Mark Digby (Ex Machina)



EX MACHINA****Riveting


EVEN AS IT asks some pretty heavy questions about the nature of consciousness and artificial intelligence (which might suggest a ponderous and overly serious tome) “Ex Machina” is a taut, riveting drama. It’s equal parts creepy, sensuous and thoughtful; writer/director Alex Garland (“28 Days Later”, “Never Let Me Go”) pulls us into a bizarre world where, like the hero, Caleb (Domhall Gleeson from “About Time” and “Calvary”), we begin to have real feelings for and side with an entity that we know is a robot.

Caleb is a computer programmer working for the world’s largest internet company. He has ostensibly won an office prize to spend a week with Nathan (an extraordinary Oscar Isaac), the mega rich owner of the company. Nathan’s a combustible combination of Larry Page, Howard Hughes and Frankenstein; and a man with a towering God complex.

Caleb is whisked by helicopter to Nathan’s home/laboratory, a bunkered place far beyond the reach of civilization. It is here that he is building the uber android: one that has reached the point of a singularity where the wall that divides artificial intelligence and self consciousness is collapsed resulting in a manufactured entity that is to all extent and purpose, a sentient being. This is Eva (the stunning Alicia Vikander of “A Royal Affair”, “Testament of Youth” and the upcoming “Son of a Gun”), half woman, half android. Caleb’s job is to evaluate whether he thinks this gorgeous entity has the self-consciousness to be considered ‘human’; which, if he does, will be a redefining of what ‘human’ means.

Writer Garland lays out the territory clearly: He’s not seeking to develop a better Deep Blue (IBM’s chess master), or an enhanced version of Siri with it’s algorhythmic intelligence. He says to Caleb that he could have built a neutral grey box, but instead what he built was Eva. Vikander is so beautiful that her seemingly empathetic, intelligent and vulnerable personality are just the obvious qualities pulled into play to persuade Caleb of her consciousness. What really matters to this geeky, single man is the sexual factor: her desirability. For Nathan has quite deliberately programmed Eva to be heterosexual (As Nathan points out to Caleb, sexual desire is a fundamental part of the human condition, and anyway, it’s fun). Eva is enough of a seductress (the face, the voice, the breasts, the curve of her hips and ass; she’s fully functional sexually he tells Caleb) to ensnare her evaluator.

Thing is, Caleb, and us the audience, may very well consciously and rationally understand that Eva, the android, is just a non-human, programmed machine. But she is able to unlock layers of feeling deeper than the rational thinking brain, perhaps to what the Phenomenologists call pre-reflective self consciousness, or perhaps what we might also call lust. Despite ourselves, we begin to entertain a real human connection with the machine. This is more than an examination of the point at which a machine becomes conscious (we’ve seen enough of that from Will Smith’s “I am Robot” to the terminator’s Skynet). It’s a freaky look at what will eradicate the distance between the machina and the deus. For Caleb, it’s desire and love (and when the object of desire is Alicia Vikander, frankly I’m of Caleb’s camp).


The pull and intrigue of this fascinating movie though is that it isn’t only about what Caleb (or we) think about the machine; it’s also about what the machine thinks about itself/herself and us. Indeed, at what point does artificial intelligence veer into artificial empathy? At what point does a machine’s simulacrum of desire become a reality of deception?

For Eva, her humanity lies in the lengths she’s prepared to go in a search for free will, the underpinning of true self-identity. To do this, she must liberate herself from Nathan, her maker, the omniscient God and puppet master: he who must be obeyed; and who is also the bringer of death (Caleb quotes Oppenheimer’s words, “I am become death, the destroyer of worlds”). She must liberate herself from needing a deus ex machina to control and program her actions and thoughts. It is not unlike Ahab’s need to proclaim his identity by slaying Moby Dick, the white whale, the God.

Not so much “I think therefore I am” but “I am, therefore I can think”

So how will she free herself? Did the all-powerful Nathan really need Caleb, a mid level programmer, to endorse his creation? If not why has he been invited to this God forsaken retreat? Why does the electricity suddenly fail at unexplained times? And who is the mysterious, silent Asian serving woman?
This stunningly designed movie hooks itself into you from the first frame and with Geoff Barlow’s thumping score, never releases you right up to its shocking conclusion

Ex Machina. Dir/writer: Alex Garland. With Oscar Isaac, Alicia Vikander and Domhall Gleeson. Production Designer: Mark Digby (“Rush”, “Dredd”, “Slumdog Millionaire”).