Liz Bourke writes in her new column over at Tor.com:
Annihilation is luminous. It’s dizzying and visionary and strange, a balletic question with no certain answer, peculiar and horrifying and layered and gorgeous, and lit from within with its own artistic vision: unified, structurally and thematically, in a way that few Hollywood films ever are. It’s a film that speaks with its silences, embraces them. It layers implication, symbolic meaning, from the opening shot of a dividing and re-dividing cell—revealed by Natalie Portman’s Lena in a lecture to her students to be a tumour cell—to its asides about grief and self-destruction, and from the horrifying wonders (and bewildering horrors) of the Shimmer to the fact that the film is subtly framed as Lena’s narrative, and all things considered (“Lena is a liar,” as Anya Thorensen, played with brilliant intensity by Gina Rodriguez, says in a moment fraught with psychological horror), we can’t be entirely sure about our narrator’s reliability.