Resident Evil: Afterlife

For those not familiar with the series, Resident Evil began as a video game. Initially known as Biohazard upon its release in Japan, it was renames after it was made known that this title could not be trademarked in the United States, and it appeared on the screens of numerous Sony Playstations some time in 1996. The game was heralded as a triumph, bringing a new brand of “survival horror” to gaming systems. The original followed the story of a small special ops task force as they tried to solve the mystery of a series of bizarre murders on the outskirts of Raccoon City, and the horror that they encountered along the way.

Fast forward fourteen years and the franchise is well into double figures in terms of video game releases, and the fourth studio film, Resident Evil: Afterlife has just been released. Having written all four movies, Paul W.S Anderson returns to direct his second of the series, his first since the screen debut of the franchise. Considering this is the same director who has brought us Mortal Kombat, Alien Versus Predator and Death Race, its no surprise that this latest offering is less than impressive.

Anderson seems determined to under-utilise the materials at his disposal. The Resident Evil series has amazing potential, it could easily have been as dark, atmospheric and tense as Alien, while also being every bit as gory as any hack and slash film that you could imagine. Instead, none of these characteristics are utilised to their full potential, with the focus instead being placed on mindless gunfire and a plethora of zombie killings, without the spectacular geysers of blood.

The movie franchise basically picks existing characters and drops them around Alice (Milla Jovovich)on an alternate route through the same horror witnessed in the games. Essentially she is trying to sort out the Umbrella Corporation, who have manufactured a bio weapon called the T-virus, and caused the zombie virus upon its release, which has been the case for the previous three films as well. One of the noteworthy aspects of this sequel is the pretty decent summation offered in the second scene as to what has gone on before, which allows the casual viewer to turn up and watch it without any background info.

Unfortunately, for anyone who has seen The Matrix, some sequences will feel a little all too familiar, in particular one action scene, where Alice fends off a hoard of Umbrella security guards in a narrow corridor. This feels very reminiscent of the exploits of Keanu Reeves, not to mention the obvious similarities in showing off the technology available. Whereas The Matrix had “bullet time”, Resident Evil: Afterlife has full use of the James Cameron designed Fusion Camera System, which explains the overkill of slow motion shots. Although effective at times, the use of slow motion detracts from the whole film as an experience. It feels as though every time you become accustomed to what is going on, the atmosphere of the piece is murdered spectacularly.

The action scenes themselves are quite good, although at times the reliance on the ridiculous should be diluted, and more realistic scenarios portrayed, which would no doubt enhance the overall feel of the film. Having said that, a lot of thought clearly went in to the choreographing of the action sequences, with a very impressive one in particular seeing both Claire and Alice take on The Executioner, a giant hooded man (well, at one stage), who wields a giant cross breed between an axe and a hammer. A formidable opponent seen in Resident Evil 5, is only enhanced by the 3D technology and the floundering females.

Speaking of characters, it appears as if it’s not just the director who seems to enjoy abusing the potential of the franchise, as the acting is just as bad at times. For someone with vast experience of the genre, Milla Jovovich performs at a particularly low level. At times her displays of both "emotion" and "intensity" are nothing short of laughable. Considering the story is focused on her, it’s not too much to expect a performance of some decent level at least, although in her defence she manages a pretty good snarl every now and then. At least Ali Larter provides some more credible talent, reprising her role as Claire Redfield, providing a decent effort in the kind of femme fatale role that she is well used to by now. Her fictional brother Chris Redfield (Wentworth Miller) is cast very well, and does his best as another fearless type, even if his leadership qualities and characteristics in general seem a little watered down from what we should expect.

The casting was also kind to the character of Albert Wesker. Played by Shawn Roberts- dressed darkly, blending in with the shadowy backgrounds and plotting sinister plans behind his pitch black glasses- Wesker is looks exactly as he should. Unfortunately, a black cape and robotic movements again evoke Matrix-inspired nostalgia, and it’s hard to ignore the Agent Smith qualities on display, not to mention his seemingly indestructible physicality. Unfortunately many of the other characters are both irrelevant and utterly pointless with respect to the story. Too many of them are expendable, with no notable skills or abilities that could be utilised in forging a way to their goal.

There are still some cool moments, as expected. Anderson is not completely oblivious to the wants and needs of a watching audience, and this is reflected by drawing in money each time he revisits the franchise. The plot twist involving “Arcadia”, a disease free haven, and the events that unfold when this occurs is intriguing, and it feels as though so much more could have been done. And of course, there is the 3D, which is spectacular at times. Regrettably, this is another extremely flawed chapter in a great series. With similar flaws affecting it’s prequels, one cannot hold out much hope for the future under the current regime, especially given the ending, which sets us up for a direct sequel (confirmed by Jovovich on behalf of her husband Anderson). What the series really needs is a complete makeover, and a reboot with a different director, a different writer, and fresh ideas.

Rating:
2/5