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And in a big, darkened room full of similarly awestruck viewers, you're more drawn into the world unfolding in front of you.Īnd Annihilation has one hell of a world, full of weird, off-kilter visuals that mix the joy of nature with extreme body horror. If you want to get pedantic about it, there's a film theory term - scopophilia - which denotes the pleasure you get from watching something. But, as slow and tense as Annihilation is, it's hard to be as gripped in your living room as you are in a cinema. Whether he's writing or directing, Garland's work resonates with a paranoid, woozy energy that amplifies the skin-tearing tension.
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It's the first time I've been denied the opportunity to watch an Alex Garland movie in a cinema, which is how I'd experienced all of his work thus far, from 28 Days Later onward. Seeing Annihilation for the first time on the small screen left me with the sense that I'd missed something from the whole experience.
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UK: PS4 running Netflix on a 40-inch Blaupunkt HDTV, optical out to a Sony HT-CT80 At home on my couch, it's like trying to find enlightenment from a televangelist. It soothes my soul, and I feel even more at ease when I'm with an audience that's seeing the light. Seeing a film in a theater, especially a film as masterful as Annihilation, is a bit like going to church. (I could tell from the collective sigh of relief when it was all over.) The film's astounding finale, a dialogue-free visual feast that would be right at home at the Museum of Modern Art, felt almost like a collective religious experience. A scene with a monster prowling through a room, as our intrepid explorers can only sit trembling, praying not to get attacked, had my audience holding their breath. Several sequences seemed purposefully built to be experienced with a crowd on an enormous screen. If you're just watching it on a TV or - movie gods forbid - on your laptop or tablet, you'll definitely miss out on the film's epic scope and rich sound design. I'm sure I'll enjoy watching Annihilation at home, but I'm also a movie nerd with a projector and an extensive surround sound setup. A Netflix deal would certainly fetch more for Paramount, and, of course, it would give even more people access to the film. Ex Machina also suffered at the box office internationally, making a mere $11.4 million (on top of its $25.4 million domestic gross). I suppose that's understandable for Paramount, though, following a string of box office failures and a rough few years of earnings. Not so much because I feared it meant the film was bad rather, it seemed as if the studio was just dumping it to make some quick cash, instead of doing the work to get people into theaters. But I was a bit worried when Paramount announced its unusual split distribution strategy. If this is the future of film distribution, I fear that we're losing something essential.Īs someone who deeply admired Alex Garland's Ex Machina and Jeff VanderMeer's original novel Annihilation, my expectations were high for the movie. And I felt sorry for audiences outside of the US, Canada and China who won't have the opportunity to experience it in theaters. I was grateful to experience such a gorgeous, transcendent film with a group of strangers, on a giant screen that demanded our attention. After seeing Annihilation in a packed New York City theater on opening night, I had two thoughts.