what was the movie analyzation about
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In the spoiler-sensitive environment of today’s entertainment, there may be people who resent the opening scenes of Annihilation, which gives away most of the movie’s direction. A biologist named Lena (Natalie Portman) has survived a cataclysmic event. Sitting in an isolation chamber, surrounded by unnerved people in hazmat suits, she’s interrogated about what just happened to her. In the process, she reveals who among the yet-to-be-introduced cast of characters survives, and who dies. And the scene makes it clear that while some of her companions may be alive, she’s the only one who made it back to report. This framing device can’t quite be called foreshadowing: the details Lena lays out are too solid to be shadows. They’re just fore-facts. And they hang over Annihilation with a sense of leaden inevitability.
There certainly are surprises in Annihilation’s slow, creepy march toward the sole-survivor situation laid out in the opening scene. Some even come through conventional action sequences. But mostly, Garland builds up the uncanniness and the dread factor of the world inside The Shimmer. There are specific principles at work in the phenomena Lena’s troop finds, but they unfold in a variety of quietly unsettling ways, suggesting a wide range of potential ugly deaths ahead. Annihilation follows the familiar form of science fiction horror found in films from Alien to The Cloverfield Paradox, with a cast of characters in isolation, slowly being picked off by a force they don’t understand. But Garland’s film more closely resembles Denis Villeneuve’s recent science fiction hit Arrival, another slow, airless, fascinating film pocked with moments of sudden explosive action. Like Arrival (or Ex Machina, for that matter), Annihilation is a thoughtful, philosophical movie, more interested in the nature of humanity and the urges that drive us rather than in who lives or dies.

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Alex Garland’s visionary, unsettling “Annihilation” doesn’t fall into the same neat categories as so many recent films in what has been a sci-fi genre boom of late. Whether it’s the big films like “Blade Runner 2049” or the Netflix ones like “Mute” and “The Cloverfield Paradox,” sci-fi is everywhere in the late ‘10s, with most of it owing a great deal to some combination of Stanley Kubrick’s “2001,” Ridley Scott’s “Blade Runner,” and the Wachowskis’ “The Matrix.” Even within this resurgence, rarely do you see a film that’s built from the templates of Tarkovsky films like “Solaris” or “Stalker,” movies that used sci-fi in a discomfiting, emotional register because, well, that kind of filmmaking is incredibly difficult to pull off. It’s so difficult in fact that Paramount had no idea what to do when they saw “Annihilation,” barely promoting it, holding it from press until a few days before release, and selling it to Netflix for international markets. Maybe they’re still burned by the failure of “mother!,” but they’re burying a genre gem here, an ambitious, challenging piece of work that people will be dissecting for years. Don’t miss it.

The social parable is clear—if the haves didn’t take more than they needed, there would be enough for the have-nots. However, writers David Desola & Pedro Rivero and director Galder Gaztelu-Urrutia aren’t content to merely sit back on that idea, expanding on it and unpacking it with each new development. It’s a film with multiple impressive twists given its limited setting, and each of them casts a new light on how the movie is supposed to reflect society. I particularly found fascinating the way the changing floors impacted people who had been on lower levels before but were now lucky enough to be high. Rather than be sympathetic to those in a place they just were, they seem to take even more, making up for lost time and aware they might not get this close to the top ever again.
Our eyes into this nightmare belong to Goreng (Ivan Massagué), who volunteered to enter the prison to quit smoking and read a book (everyone is allowed one item), without fully understanding what he was in for. His first cellmate explains the process of The Hole to Goreng as the film opens on level 48. By that time, there are usually some leftovers on the platform. But the evilest part of this system, and arguably the film’s most clever societal insight, is that inmates change floors every month. So you could be relatively happy on 8 one day and then on 133 the next day. And if you’re wondering how these people survive when they’re on the lower floors, you might not be ready for the grisly place this movie goes.

Without being affected by the trailers, marketing, and other reviews before watching a movie, you can really put your best foot forward to creating your authentic opinion and turning that into a movie review people can trust.
Trailers work well to provide some context and tone prior to watching a movie, but they can also be filled with spoilers, which is why I do my best to avoid them when possible. As for reviews, reading about what others think of the movie before watching or writing a review can affect your opinion heavily. And when you’re in reviewer mode, you want to be as honest with your own opinion as possible, and not allow any outside voice to alter it. Of course, after the review is finished, I always welcome a discussion with fellow cinephiles to hear and understand what they enjoyed and didn’t.
Now here’s a delightful oddity – a movie that does exactly what it says on the tin. The Fast And The Furious is a mindless, hellaciously hectic, borderline irresponsible drag race of a movie that flattens the accelerator in the first few seconds and doesn’t let it off until the final frame. And in Vin Diesel it invents the first genuine action hero since Bruce Willis paid a visit to Nakatomi Towers. In other words, itГ†s a gas. Lifting its title from an appropriately cheesy 1950s AIP racing flick (erstwhile creators of the classy likes of I Was A Teenage Werewolf) and its plot from Point Break, Rob Cohen’s movie is the kind of determinedly dimwitted popcorn entertainment that the big studios have been throwing hundreds of millions at ummer with, for the most part, limited success. Until now. And this, implausibly, from the man who made the execrable frat flick, The Skulls.
For a start, TFATF has a plot – not a complex one, granted, but at least there’s something close to a story. It has eye candy in the shape of dimwit bobby-dazzler Paul Walker (appropriately enough, a refugee from American soap The Young And The Restless) and Jordana Brewster. And it has Diesel, a unique brooding hulk of a man who looks as if he’s either going to rip your head off or read you poetry. But most of all it has car chases. Really fast ones. Cars roar past – and even through – the camera at speeds of up to 170 mph, while in the hi-jack sequences they hurtle around and under speeding trucks – and, of course, smash into each other with satisfying regularity. In seamlessly interweaving top-notch CGI and incredible stuntwork, Cohen has delivered some of the finest auto-action ever put on screen.
References:
http://www.rogerebert.com/reviews/annihilation-2018
http://www.rogerebert.com/reviews/the-platform-movie-review-2020
http://sdfilmfest.com/how-to-analyze-a-movie-step-by-step-guide-to-reviewing-films-from-a-screeners-point-of-view/
http://www.empireonline.com/movies/reviews/fast-furious-review/
http://courses.lumenlearning.com/introliterature/chapter/how-to-analyze-a-film/