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The machines sat empty in the dark. Only a single light was on when Anne and Ed entered. A lone searcher was staring at the Other planet1, his face half-swallowed by the viewer, and the empty banks of blank screens2 sloped into the room’s vague emptiness.

______At its peak, the Institution for the Study of Extraterrestrial Life had employed 264 fully trained researchers at the banks of screens. The mania for the Other had gripped the world, and every school devoted a class a week to its study. Universities all over the world had Other departments. Biologists handled the various pockets of life discovered in the rest of the universe, slimes mutating fiercely but drably on dozens of freezing or burning hells. The Other was its own field. The similarity had come as an existential shock to the earth. A planet 1,564 light-years away had forests that were not dissimilar to Earth’s forests. They had animals that were not that unlike the remaining animals on Earth. And they had the Others, who lived in cities, with streets, or in villages, or in tribes, just like us. The Others wore clothes. They fell in love. They wrote books. They kept time. They had laws. The odds of two worlds being conjured by chance at such similar points in their development—the Other was roughly at Earth’s 1964—had to mean something. The anthropic principle was considered proven. The universe could only exist under conditions in which ourselves and the Others were there to witness it. Those were the days when children, like Anne when she was a kid, wore pajamas with patterns of glublefrings gamboling among the tzitziglug trees, and everybody called it The Yonder. But all novelty eventually wears off. The natural market for the shock of recognition is perishingly small.

Anne wanted to look a bit more closely. She reached down and her screen went blank. She had zoomed too far. She pulled up with a clenched fist and an elbow curl, and she was among the clouds above the mountains. The fire of the tribe’s torches made a red9 and blue dot in the center. She pushed down slowly, adjusting. She had asked one of her dissertation supervisors what it was like working on the screens and he had told her it was like being an impotent god, and the description was precise. Delicately, tentatively, Anne focused on the face of the Other woman holding a spear. Sometimes a gallack might not come to light for hours, and when it did, it offered maybe three seconds of its purple-streaked skull bone for a strike. The Otherwoman’s eyes had narrowed sharply in concentration, her eyes small, even for the eyes of the Others, who had no nasal bridge, and whose button noses, like tiny dogs, were considerably more powerful than a human nose. A horrific violence lurked in her gaze.

On Rotten Tomatoes, the film has an approval rating of 88%, based on 323 reviews, with an average rating of 7.7/10. The website"s critical consensus reads, "Annihilation backs up its sci-fi visual wonders and visceral genre thrills with an impressively ambitious—and surprisingly strange—exploration of challenging themes that should leave audiences pondering long after the end credits roll."Metacritic, the film has a weighted average score of 79 out of 100, based on reviews from 51 critics, indicating "generally favorable reviews".CinemaScore gave the film an average grade of "C" on an A+ to F scale, while PostTrak reported filmgoers gave it a 71% overall positive score.

Richard Roeper of the Peter Travers complimented the cast and Garland"s writing and direction, giving the film three and a half stars out of four and saying, "Garland need make no apologies for Annihilation. It"s a bracing brainteaser with the courage of its own ambiguity. You work out the answers in your own head, in your own time, in your own dreams, where the best sci-fi puzzles leave things."

On Rotten Tomatoes, the film has an approval rating of 88%, based on 323 reviews, with an average rating of 7.7/10. The website"s critical consensus reads, "Annihilation backs up its sci-fi visual wonders and visceral genre thrills with an impressively ambitious—and surprisingly strange—exploration of challenging themes that should leave audiences pondering long after the end credits roll."Metacritic, the film has a weighted average score of 79 out of 100, based on reviews from 51 critics, indicating "generally favorable reviews".CinemaScore gave the film an average grade of "C" on an A+ to F scale, while PostTrak reported filmgoers gave it a 71% overall positive score.

Richard Roeper of the Peter Travers complimented the cast and Garland"s writing and direction, giving the film three and a half stars out of four and saying, "Garland need make no apologies for Annihilation. It"s a bracing brainteaser with the courage of its own ambiguity. You work out the answers in your own head, in your own time, in your own dreams, where the best sci-fi puzzles leave things."

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