I almost don’t know what to say. I just… I… Words are escaping me now. Well, I guess structural integrity is the way to go. Here goes nothing. This trippy science-fiction horror marks the second directorial effort of Alex Garland, following his massively acclaimed debut Ex Machina in 2015. Produced on a budget of around $40 million, the film has thus far earned back over $11 million following its stateside release on February 23rd, 2018. I suspect that a large portion of its profit will come from the United States, as international audiences won’t get to see it in a conventional manner. That’s something that I’ll explain more on in a little bit. Though it’s adapted from the first part in a literary trilogy, Alex Garland has said that he approached the source material as its own story, which he took from and morphed freely. Based on the novel of the same name by Jeff VanderMeer, Natalie Portman stars as Lena, a cellular biologist hired by a mysterious program called the Southern Reach. Following her thought-to-be deceased husband Kane’s sudden reappearance, she learns of a quarantined zone called The Shimmer that has been cut off from the rest of civilization. She then agrees to go out into the Shimmer with four other female experts and hopes to find new evidence of what happened to Kane and just what the heck is going on here. I loved Ex Machina, Garland’s debut feature. In an age where we’re practically surrounded by rip-offs and reboots and sequels that decades late, the screenwriter behind 28 Days Later and Sunshine created an original breath of fresh sci-fi that leaned more on speculative ideas than spectacle. And in anticipation for his new release, I read the VanderMeer novel, and can tell you two things. First, it’s one of the weirdest and boldest stories in recent fiction. Second, the film adaptation took massive liberties with the source material yet found ways to make its ideas still profound and complex. Hands down, either Annihilation will be the best movie I’ll see this year or 2018 is going to be an incredible year for cinema. It’s sad, however, that not everyone in the world will get to experience it in a traditional sense. Apparently, an executive from Paramount Pictures demanded that changes be made both to the ending and the main character, sighting it as “too intellectual” or “too complicated” for a wide audience. In response, producer Scott Rudin, who retains rights to the final cut, took Garland’s side and refused any notes or changes. As a result, while folks in the U.S. and China will get to see it in theaters, international audiences will have a chance to watch it 17 days later… premiering on Netflix. While I’m not necessarily opposed to Netflix picking up distribution rights for a film, this decision makes me really upset. No matter how large you 4K television is and even if you can watch it on the go, nothing will compare to sitting down in a dark theater and soaking it all in. The lengthy discourse I had with a handful of strangers after it finished is proof enough. Over the last few years, Natalie Portman has consistently proven to be one of my favorite actresses working today. Her performance here is a truly versatile one, bouncing between traumatized and tough-as-nails with ease. A damaged soul, some may find her character to be unlikable, but it’s honestly refreshing to watch a sci-fi movie where the female lead isn’t just a damsel in distress or a love interest. And she’s surrounded by Jennifer Jason-Leigh, Tessa Thompson, Gina Rodriguez, and Tuva Novotny as her teammates. You get a glimpse of each of their individual personalities and every decision they made in the Shimmer was intelligent and reasonable. Oscar Isaac also does great work as Kane, subverting the traditional idea of a traumatized soldier. He initially gives a very wooden performance, but the reasons for it become clear later on. Meanwhile, on a technical scale, this film is nothing short of astounding. The visual effects inside of The Shimmer are something to behold, rarely have on-screen visuals been so simultaneously beautiful yet also terrifying. I won’t actually describe any of them for you so that you can be as surprised as I was watching it. But Garland managed to pull off a number of creature designs from the book I thought would have been impossible to visualize. The lush green landscapes and unique animals can be noticeably CGI, but the fantastic production design and ethereal lighting make it all the more pleasant to look at. Meanwhile, the cinematography by Rob Hardy feels like something straight out of a John Carpenter film. Wonderful, steady wideshots of both the Southern Reach outpost and the landscapes inside The Shimmer feel lucid and almost dreamlike. The widescreen format and excellent lighting allows for an intense, immersive atmosphere that feels so lacking in other horror films. Composers Ban Salisbury and Geoff Barrow both provide the musical score, which perfectly fits the surreal tone of the film. In some of the more mundane scenes, it just consists of an acoustic guitar getting plucked with some accompanying percussion. But during some of the more fantastical moments, it shifts into an ambient mix of synthesizers and suppressed strings. Interestingly, this dichotomy works perfectly to explore the duality of the characters’ situation and bring out a genuine reaction from the audience. The last 15 minutes of the movie are almost dialogue-free, save for that powerful music. As a result, my jaw just dropped. However, I can appreciate that this movie is not for everyone. Like the novel, this movie is like a modern-day H.P. Lovecraft story. For those unfamiliar, H.P. Lovecraft was one of the fathers of horror fiction, creating the myth of Cthulu. In all of his stories, as well as ones that imitated them, the main theme involved ordinary characters trying (And failing) to make sense of the impossible. If you’re unable to accept that from the beginning, then you’ll just be left behind. For those with the fortitude to wait it out and really soak it all in, Annihilation is a stunning, psychedelic piece of science-fiction cinema. Whether you love it or hate it, this is a movie that is going to stick with you long after the credits start rolling. Luckily for people like me, that’s a feeling that I cherish these days with the current studio system.