Liked it so much. I'll try to listen to the podcast. Wanna know what Yoda thinks. Also, welcome back bluedeed - I missed you!!!!!!!
Movie of the Month - Annihilation (June 2018)
Excellent! One of my favorite films of the year so far. Just bought the 4K/Blu-Ray the other week and plan on watching it again soon. I'll definitely have to tune into the podcast.
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I thought it was closer to a cross between Predator and Stalker with an otherworldly cancer taking over parts of the Earth. Watchable but uneven enough for me to rate it . Oh well, I rate all three films the same so I guess I deserve universal derision.
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I'm a little confused by this, because "similar" and "surreal" are not points on the same spectrum.
I'm also not sure how someone could dispute the idea that the imagery in Annihilation is surreal, even if they didn't like it much.
Or maybe I'm just full of sh*t.
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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
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Hahaha this movie! It's like an unwanted obsession for me. Sitting in a showing if Hereditary to relax after a rough week and this movie, Annihalation, is bugging me.
Ok. There were very beautiful considerations given to details. For example the use of light. Opening shot post-crash into the light house, the angle of light streaming from the light house demanded attention. The projection screen during her course lecture created a lens flair that called back to the light house illumination. The partial glass of water between Portman's character an her husband refracted and inverted their hands as she pulled away from his touch maybe suggesting his character's reflected existence, or foreshadowing their change in the final scene. The light of the shimmer as they wake and examine their surroundings also call back to the opening light house shot.
There are clever and intentional compositions throughout that were clearly doted over and significant---at least to the director, DP, and/or whoever.
Cancer and its continued reference as an intrusive and aggressive force totally parallels this entity. The contrast here, for me, is how much thought and love must have been given to these details, yet other, more obvious details to plot and necessary internal rules (if this movie wants to do more than pretend to be intelligent) seemed to be dismissed. If not dismissed, then I struggle to see the greater design.
For example, it appeared as though the U.S. government/military had simply given up on this. Facilities seemed to have hardly no staff, military personnel, or direction considering the risk of complete "Annihalation." Why then have no other countries been notified that might could help? Why only one guard on her husband under an open tent through which Portman's character could just walk into and touch him, while after she returned from the shimmer everyone was full-on quarantine mode? Why allow so many psychologically unstable and suicidal staff enter without additional support? Why draw parallels with this entity to cancer as an invasive, evolutionary-driven means to exist (completely unaware of itself or its affects on the host world or species) to later imply conscious intent through Dr. Ventress' increasingly awkward title-line speech near the end, followed by Portman and Isaac's "birth" and self awareness moment? It just so happens that the wife of the sole surviving team member is the one needed biologist that can figure out this puzzle that no one before could AND she has the military training to defend herself and her team? That's a Devine Intervention scale of coincidence, except that it's not. Because its just gallactic cancer.
The movie had beautiful moments, sure. But the attention to those details were not consistent in other elements of this movie, to me. Seeing those details work so well only heightened my awareness of so many other details that did not work so well. And that may be the core fault I had with it from which all other faults were magnified.
Ok so I had to watch Hereditary before finishing this. I hope it still reads in context of the earlier conversation.
Ok. There were very beautiful considerations given to details. For example the use of light. Opening shot post-crash into the light house, the angle of light streaming from the light house demanded attention. The projection screen during her course lecture created a lens flair that called back to the light house illumination. The partial glass of water between Portman's character an her husband refracted and inverted their hands as she pulled away from his touch maybe suggesting his character's reflected existence, or foreshadowing their change in the final scene. The light of the shimmer as they wake and examine their surroundings also call back to the opening light house shot.
There are clever and intentional compositions throughout that were clearly doted over and significant---at least to the director, DP, and/or whoever.
Cancer and its continued reference as an intrusive and aggressive force totally parallels this entity. The contrast here, for me, is how much thought and love must have been given to these details, yet other, more obvious details to plot and necessary internal rules (if this movie wants to do more than pretend to be intelligent) seemed to be dismissed. If not dismissed, then I struggle to see the greater design.
For example, it appeared as though the U.S. government/military had simply given up on this. Facilities seemed to have hardly no staff, military personnel, or direction considering the risk of complete "Annihalation." Why then have no other countries been notified that might could help? Why only one guard on her husband under an open tent through which Portman's character could just walk into and touch him, while after she returned from the shimmer everyone was full-on quarantine mode? Why allow so many psychologically unstable and suicidal staff enter without additional support? Why draw parallels with this entity to cancer as an invasive, evolutionary-driven means to exist (completely unaware of itself or its affects on the host world or species) to later imply conscious intent through Dr. Ventress' increasingly awkward title-line speech near the end, followed by Portman and Isaac's "birth" and self awareness moment? It just so happens that the wife of the sole surviving team member is the one needed biologist that can figure out this puzzle that no one before could AND she has the military training to defend herself and her team? That's a Devine Intervention scale of coincidence, except that it's not. Because its just gallactic cancer.
The movie had beautiful moments, sure. But the attention to those details were not consistent in other elements of this movie, to me. Seeing those details work so well only heightened my awareness of so many other details that did not work so well. And that may be the core fault I had with it from which all other faults were magnified.
Ok so I had to watch Hereditary before finishing this. I hope it still reads in context of the earlier conversation.
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I don't think the imagery in 2001 and Annihilation is similar let alone surreal.
I'm also not sure how someone could dispute the idea that the imagery in Annihilation is surreal, even if they didn't like it much.
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Haven’t seen it but will this week as plenty of free time. Will be keen to listen to the podcast also.
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I was gonna wait till Netflix, but I guess I need to get my 2 cents ready.
@Yoda
Have you thought about a call in/ chat/ email segment for these pods?
@Yoda
Have you thought about a call in/ chat/ email segment for these pods?
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It was very bleak. Not only that ending but I think it was devoid of any humour. Can’t say I founf any of the characters really likeable - not to say that makes it a bad movie. The story was the real focus. Am interested to here thoughts.
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It was very bleak. Not only that ending but I think it was devoid of any humour. Can’t say I founf any of the characters really likeable - not to say that makes it a bad movie. The story was the real focus. Am interested to here thoughts.
It was very bleak. Not only that ending but I think it was devoid of any humour. Can’t say I founf any of the characters really likeable - not to say that makes it a bad movie. The story was the real focus. Am interested to here thoughts.
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Oh yeah definitely. And I will rewatch this keeping that in mind. I didn't go for the chick flick element, but that's the same for anything I perceive to be pushing the girlfriend power agenda (yes I can't tolerate the word agenda used in this context either so please be gentle🙄😩
Oh yeah definitely. And I will rewatch this keeping that in mind. I didn't go for the chick flick element, but that's the same for anything I perceive to be pushing the girlfriend power agenda (yes I can't tolerate the word agenda used in this context either so please be gentle🙄😩
The physicist we don’t really get much from....she’s just sorta there moping around. And the leader, the blonde boss, she basically just speaks with an emotionless monotone which is not endearing. But I’m sure all of that was intentional and the real focus I believe is meant to be on the story.
Can’t say I really understood the animal attacks either lol.
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It struck me as mediocre, similar to some 1950s "B" sci-fi or horror movies. They must have had a good budget for all the special effects, especially the atmospheric ones, but they just didn't seem to convincingly accentuate the premise or the theme of the film properly. Are there paisleys and pastels in another dimension? I doubt it.
The story was actually rather cliched: Something comes from outer space, or from another dimension, the authorities send a crew to investigate, but they don't all make it back. Lord.
And why must they artificially put a group of women into situations where it is impossible to believe? I haven't read the book, so perhaps that was the way it was written in the novel. But to gather 5 women scientists who in a matter of hours turn into commando babes is somewhere between silly and ridiculous. There seems to be a concerted effort in Hollywood to portray women, lately especially in groups, in roles that were only marginally believable when portrayed by men. Cultural Stalinism has replaced good movie making.
The film was not without some interesting parts, but whatever it was that some people found deep, completely escaped me.
~Doc
The story was actually rather cliched: Something comes from outer space, or from another dimension, the authorities send a crew to investigate, but they don't all make it back. Lord.
And why must they artificially put a group of women into situations where it is impossible to believe? I haven't read the book, so perhaps that was the way it was written in the novel. But to gather 5 women scientists who in a matter of hours turn into commando babes is somewhere between silly and ridiculous. There seems to be a concerted effort in Hollywood to portray women, lately especially in groups, in roles that were only marginally believable when portrayed by men. Cultural Stalinism has replaced good movie making.
The film was not without some interesting parts, but whatever it was that some people found deep, completely escaped me.
~Doc
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It struck me as mediocre, similar to some 1950s "B" sci-fi or horror movies. They must have had a good budget for all the special effects, especially the atmospheric ones, but they just didn't seem to convincingly accentuate the premise or the theme of the film properly. Are there paisleys and pastels in another dimension? I doubt it.
The story was actually rather cliched: Something comes from outer space, or from another dimension, the authorities send a crew to investigate, but they don't all make it back. Lord.
And why must they artificially put a group of women into situations where it is impossible to believe? I haven't read the book, so perhaps that was the way it was written in the novel. But to gather 5 women scientists who in a matter of hours turn into commando babes is somewhere between silly and ridiculous. There seems to be a concerted effort in Hollywood to portray women, lately especially in groups, in roles that were only marginally believable when portrayed by men. Cultural Stalinism has replaced good movie making.
The film was not without some interesting parts, but whatever it was that some people found deep, completely escaped me.
~Doc
The story was actually rather cliched: Something comes from outer space, or from another dimension, the authorities send a crew to investigate, but they don't all make it back. Lord.
And why must they artificially put a group of women into situations where it is impossible to believe? I haven't read the book, so perhaps that was the way it was written in the novel. But to gather 5 women scientists who in a matter of hours turn into commando babes is somewhere between silly and ridiculous. There seems to be a concerted effort in Hollywood to portray women, lately especially in groups, in roles that were only marginally believable when portrayed by men. Cultural Stalinism has replaced good movie making.
The film was not without some interesting parts, but whatever it was that some people found deep, completely escaped me.
~Doc
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Hahaha this movie! It's like an unwanted obsession for me. Sitting in a showing if Hereditary to relax after a rough week and this movie, Annihalation, is bugging me.
Ok. There were very beautiful considerations given to details. For example the use of light. Opening shot post-crash into the light house, the angle of light streaming from the light house demanded attention. The projection screen during her course lecture created a lens flair that called back to the light house illumination. The partial glass of water between Portman's character an her husband refracted and inverted their hands as she pulled away from his touch maybe suggesting his character's reflected existence, or foreshadowing their change in the final scene. The light of the shimmer as they wake and examine their surroundings also call back to the opening light house shot.
There are clever and intentional compositions throughout that were clearly doted over and significant---at least to the director, DP, and/or whoever.
Cancer and its continued reference as an intrusive and aggressive force totally parallels this entity. The contrast here, for me, is how much thought and love must have been given to these details, yet other, more obvious details to plot and necessary internal rules (if this movie wants to do more than pretend to be intelligent) seemed to be dismissed. If not dismissed, then I struggle to see the greater design.
For example, it appeared as though the U.S. government/military had simply given up on this. Facilities seemed to have hardly no staff, military personnel, or direction considering the risk of complete "Annihalation." Why then have no other countries been notified that might could help? Why only one guard on her husband under an open tent through which Portman's character could just walk into and touch him, while after she returned from the shimmer everyone was full-on quarantine mode? Why allow so many psychologically unstable and suicidal staff enter without additional support? Why draw parallels with this entity to cancer as an invasive, evolutionary-driven means to exist (completely unaware of itself or its affects on the host world or species) to later imply conscious intent through Dr. Ventress' increasingly awkward title-line speech near the end, followed by Portman and Isaac's "birth" and self awareness moment? It just so happens that the wife of the sole surviving team member is the one needed biologist that can figure out this puzzle that no one before could AND she has the military training to defend herself and her team? That's a Devine Intervention scale of coincidence, except that it's not. Because its just gallactic cancer.
The movie had beautiful moments, sure. But the attention to those details were not consistent in other elements of this movie, to me. Seeing those details work so well only heightened my awareness of so many other details that did not work so well. And that may be the core fault I had with it from which all other faults were magnified.
Ok so I had to watch Hereditary before finishing this. I hope it still reads in context of the earlier conversation.
Ok. There were very beautiful considerations given to details. For example the use of light. Opening shot post-crash into the light house, the angle of light streaming from the light house demanded attention. The projection screen during her course lecture created a lens flair that called back to the light house illumination. The partial glass of water between Portman's character an her husband refracted and inverted their hands as she pulled away from his touch maybe suggesting his character's reflected existence, or foreshadowing their change in the final scene. The light of the shimmer as they wake and examine their surroundings also call back to the opening light house shot.
There are clever and intentional compositions throughout that were clearly doted over and significant---at least to the director, DP, and/or whoever.
Cancer and its continued reference as an intrusive and aggressive force totally parallels this entity. The contrast here, for me, is how much thought and love must have been given to these details, yet other, more obvious details to plot and necessary internal rules (if this movie wants to do more than pretend to be intelligent) seemed to be dismissed. If not dismissed, then I struggle to see the greater design.
For example, it appeared as though the U.S. government/military had simply given up on this. Facilities seemed to have hardly no staff, military personnel, or direction considering the risk of complete "Annihalation." Why then have no other countries been notified that might could help? Why only one guard on her husband under an open tent through which Portman's character could just walk into and touch him, while after she returned from the shimmer everyone was full-on quarantine mode? Why allow so many psychologically unstable and suicidal staff enter without additional support? Why draw parallels with this entity to cancer as an invasive, evolutionary-driven means to exist (completely unaware of itself or its affects on the host world or species) to later imply conscious intent through Dr. Ventress' increasingly awkward title-line speech near the end, followed by Portman and Isaac's "birth" and self awareness moment? It just so happens that the wife of the sole surviving team member is the one needed biologist that can figure out this puzzle that no one before could AND she has the military training to defend herself and her team? That's a Devine Intervention scale of coincidence, except that it's not. Because its just gallactic cancer.
The movie had beautiful moments, sure. But the attention to those details were not consistent in other elements of this movie, to me. Seeing those details work so well only heightened my awareness of so many other details that did not work so well. And that may be the core fault I had with it from which all other faults were magnified.
Ok so I had to watch Hereditary before finishing this. I hope it still reads in context of the earlier conversation.
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