In recent years, films like “Interstellar” and “Arrival” have increased the popularity of cerebral sci-fi, a genre that emphasizes ideas over action. Finding such a film that covers all of the bases — a complex protagonist, a mind-bending concept and an underlying message about humanity — is a difficult task. “Annihilation” checks most of the boxes and proves to be another thought-provoking addition to the genre, but seriously lacks execution.

Director Alex Garland attempts to explore similar themes to that of his critically acclaimed “Ex Machina,” but he can’t quite reach the intellectual prowess of his previous film. Though his ambition is admirable, “Annihilation” focuses so deeply on balancing profound insight with horror that it forgets to unravel the plot comprehensively.

The film opens with Natalie Portman’s Lena, the central protagonist, being interrogated in a room filled with people in hazmat suits. She just returned from her expedition into the “Shimmer” or “Area X”, a science-defying zone hidden behind a shimmery force field from which no one has ever returned.

A sudden flashback explains how Lena became involved in the first place; her husband and soldier Kane (Oscar Isaac), who had been presumably killed in action, returns from his covert mission not quite the same as when he left. Shortly after his arrival, Kane becomes severely sick, and both he and Lena are taken to Area X by a government-run group, led by Dr. Ventress (Jennifer Jason Leigh). Ventress explains the mysterious nature of the Shimmer and how Kane is the only member to make it back from the inside.

Lena soon finds herself in the company of a band of women willing to journey inside the Shimmer, including a physicist (Tessa Thompson), a paramedic (Gina Rodriguez), an anthropologist (Tuva Novotny) and even Ventress herself. In order to find out what happened to her husband, Lena accompanies the group into the unknown, and the bizarreness begins.

Above all, “Annihilation” establishes itself as a visual spectacle: its greatest achievement as well as the cause of its downfall. The middle of the film is the most interesting by far, as the team of women go deeper into the area and encounter truly terrifying creatures and abnormalities defying the laws of science. The worldbuilding is an exceptionally odd harmony of monstrosity and beauty.

However, the visual presentation of the Shimmer itself seems to take precedence over other aspects, most notably the plot. Throughout the duration of the film, the dazzling oddities, including a bear that imitates human voices and plants in humanoid shape, distract from underwhelming performances and confusing logic. The most puzzling revelation of all comes from the final sequence, which tries and fails to provide even basic insight into the overarching message.

Though “Annihilation” does leave a memorable impression, the subsequent questions are more along the lines of “What just happened?” rather than of the status of humanity or rebirth, as Garland intended. This hallucinatory film’s saving grace is its distinct tone and visual appeal, but those alone cannot salvage the mishmash of ideas. “Annihilation” deserves a B- for almost pulling off smart sci-fi, but in reality, it doesn’t quite hit the mark.