Milla Jovovich again makes a dynamic action hero, and there are any number of showy one-on-one smack downs amid the carnage and chaos, including a first-act climax atop at least one speeding automobile.Īside from the action, Anderson’s screenplay runs in place for much of its first hour, only really coming to life in the final few reels as the would-be final conflict comes about and we start getting tasty exposition nuggets. While the editing obscures many of the action beats, what we do get is impressively staged and choreographed. But the choppy editing is a real problem and a downturn from previous Resident Evil offerings.
This is doubly disappointing since these films are based on a video game, so you’d expect some fluid choreography, long takes, and a clear designation of geography. Our screening was in gorgeous 2D, and I’d frankly be wary of how dizzying it might play in 3D. Gone are the long, fluid, 3D-friendly action beats in favor of the all-too-common hyperactive editing style popularized by those trying to emulate Paul Greengrass’s Bourne sequels. The bad news is that, for reasons I can only speculate upon, the action is chopped to bits this time around.
Anderson-directed installments were almost hypnotically surreal and freaky weird, this one returns to the somewhat grounded nature of the first three films, specifically the first two sequels.
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Sure, this feels like an arbitrary “Oh, if you do this one newly revealed thing you win the whole game” development, but it gets the job done as a story for the would-be series finale. It is located back in The Hive in Raccoon City (full circle alert), and there is a ticking clock before the non-infected humans are wiped out. The so-called Red Queen has switched sides, now offering Alice an anti-virus that will destroy the infected and allow humanity to rebuild again. Once the table-setting is complete, we get an immediate establishment of the new stakes. I’m not sure why anyone would start with the fifth sequel of a continuity-driven franchise, but newbies will be able to follow along. As someone who has seen each of these films once and didn’t exactly commit every detail to memory, this sixth offering is surprisingly user-friendly. We open with a prologue that serves to jog the memory and set the stage for this film’s specific plot points. Alas a stand-alone movie, it stumbles more than it stands.įirst, the film picks up three weeks after the events of Resident Evil: Retribution, which means that promised “Alice and friends versus all the zombies in Washington DC” melee occurs entirely off-screen with little discussion beyond “It went badly, and only Alice remains.” That is a bit of a letdown right there, and it may well be a point of consternation for fans. Longtime fans will get their money’s worth regarding finality, and the series certainly ends with more honor than the Saw franchise. This sixth Resident Evil doesn’t have the “every step has led to this moment” finality until close to the end, but it ends well and offers a note of completion should the book indeed remain closed. After all, Friday the 13 th, Saw and Shrek all had “the final chapter” episodes that turned out (or will soon turn out) to not be the last chapter. I don’t know if this is truly the last installment of the 15-year old Resident Evil franchise. werewolves action-ers, so we’ll see how this plays out. The Resident Evil franchise has been a bigger deal worldwide than the “not based on anything” vampire vs. Sony’s other female-led sci-fi horror-ish franchise Underworld somewhat underwhelmed earlier this month with a sub-$30m running cume, but it too made up for it overseas with a $75m-and-counting cume on a $35m budget. This one cost just $40m, lower than the last two $65m-budgeted installments.
So we shouldn’t panic too much if the Constantin Film, Davis Films and Impact Pictures production opens below $20 million. The last two Resident Evil films, which took advantage of the whole “3D bump” factor, earned over/under 80% of their global takes outside of North America. 3 and opens in Russia and China on the weekend of Feb. It opens in the United Kingdom and Hong Kong on Feb. It will open in North America and a huge chunk of the world over the weekend. Of note, Sony release opened in Japan in late December where it has already earned $35 million, bringing the series lifetime total to $951m.
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