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Alex Garland Großbritannien, 2018
Jennifer Jason Leigh sidelines bad dialogue with her usual twitchy brilliance. Her presence as the head scientist also telegraphs doom. . . . Mutations in the Zone-like Shimmer are “corruptions of form, duplicates of form” in this B movie of overexplanation that copies 2001: A Space Odyssey, Stalker, and Solaris, all filtered through the yarn-bombed landscape of Fraggle Rock.
Juli 16, 2018
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What makes it exhilarating as sci-fi is that, like Arrival, it's not about scientific knowledge as a unified system, but about the differences embedded within the sciences, in this case, between biology and psychology. The script, on the other hand, isn't nearly as methodical and didactic as Arrival's, which means that you'll have to parse these differences by meddling through a propulsive yet opaque narrative arc.
März 13, 2018
Let’s say that Annihilation is a film I enjoyed enough to be disappointed. (Ditto Ex Machina, which I think is a better movie than this one.). . . . Garland learned at least part of a very important lesson from the movie’s most obvious influence (noted in every review): the Soviet director Andrei Tarkovsky. . . . But Garland’s parting shot is more of a straightforward horror-movie mindfuck, rather than one of the master’s cosmic ironies or paradoxes.
Februar 24, 2018
It feels like a vanity project in a very specific way: until a few strikingly inspired moments near the end, it plays like a film made for no personal need, no sense of inquiry or effort to understand situations, characters, or the universe—rather, it appears made to impress.
Februar 23, 2018
There’s a clever visual allusion to Stalker in an enigmatic close-up of a glass of water, and the Shimmer serves a similar function as the earlier film’s mysterious Zone. Annihilation is well-made and absorbing, and yet still not quite its own thing in the end. What’s finally disturbing about Garland’s movie is not what it suggests about the frailty of our relationships or the malleability of our DNA or our capacity for self-destruction, but the difficulty of producing something truly original.
Februar 23, 2018
Here as in Ex Machina (2015), Garland’s creative élan comes from his merging of sleek conceptual art and messy, juicy drama. . . . In the ominous sci-fi blankness of the “Area X” interrogation quarters, Lena’s fraught uncertainty generates fascination as well as suspense.
Februar 22, 2018
The New York Times
Mr. Garland likes to play with tones, mixing deadpan in with the frights, and later “Annihilation” becomes something of a head movie, swirling with cosmic and menacingly lysergic visions. . . . Ms. Portman does her part with presence and persuasive stern looks, yet there’s something missing from Mr. Garland’s conception of Lena, whose mythic story bristles with dread but lacks the soul that might make you care.
Februar 22, 2018