We meet Chris Redfield (Wentworth Miller). He opens in Tokyo, where multiple Alices (Milla Jovovich) siege Wesker’s (Shawn Roberts) hideaway and can’t stop ripping off The Matrix’s slow-motion action (with less complexity and grace). After a refresher? I still cannot.Īnderson’s first Resident Evil back in the director’s chair since the original is a stark contrast. Upon my rewatch, I couldn’t remember a single signifying aspect of Resident Evil: Afterlife. I can only recommend The Final Chapter if you’re looking for a reason to get motion sick from camera cuts or want to study one of the chief examples of how not to end an already off-the-rails franchise. It’s an unpleasant experience visually, comprehensively, any way you slice. Devoid of horror, mindless in its plotted jungle of incoherency, and ultimately lost in its failed attempt to make corporate commentaries on Umbrella’s behalf. Those who’ve anxiously yelped while playing Capcom’s sustainably tense series can only ask how we’ve gotten to “the trinity of bitches,” as Dr. Resident Evil: The Final Chapter shows less respect towards its viewers than Paranormal Activity: The Ghost Dimension does its own franchise devotees. It’s the one that populates a random roster of characters despite there being no correlation to those left standing atop the White House when Retribution closes.Īt least Retribution cares about its audience. It’s the one that edits every single scene into a whiplash-inducing tornado of incomprehensible fly-by proportions. It’s the one that willfully ignores paying off Resident Evil: Retribution’s Washington D.C. Anderson's haphazard references pluck from recognizable game experiences for on-screen déjà vu, and what's reused dangles the proverbial carrot fans can't help but chase. Some even value the sillier moments involving Axeman (times two), Las Plagas, and Jill Valentine's traitorous mindwipe. From Raccoon City's facility outbreak to Nemesis' revenge, to Las Vegas' dystopian sand dunes. Everything gets embarrassingly fan-service-y in the back half, but quality aside, the horror genre proves itself the most capable medium for video game adaptations. Whenever questions arise, Anderson falls back on the age-old excuse of, "well, clones!"Įven still, there's a solid trifecta of zombie horror to Anderson and two co-directors' names. So what does Anderson do? Go wildly "off-script," so to say, opting for a clunky sci-fi action structure that becomes an ongoing guessing game of tangled plotlines as the franchise tailspins into later entries. The Resident Evil games are impressively cinematic themselves and offer a blueprint one could retrace beat-for-beat. I use the word "fixation" above because Anderson's screenplays follow a confounding narrative throughline.
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