"CATCH YOU FUCKERS AT A BAD TIME?"

Resident Evil: The Final Chapter

RESIDENT EVIL: THE FINAL CHAPTER is a partly satisfying, partly frustrating ending to the epic billion-dollar-grossing sextology that people all around the world have been following for 15 years and that I have been following for about a month.

Writer-director Paul W.S. Anderson returns (he ended up directing all but parts 2 and 3) and follows many of the fun traditions of the series:

1. Starting off with a ludicrously long and convoluted narrated recap/revision of the story thus far

2. Sort of following up on the last cliffhanger, but in a way that suggests they abandoned the original idea they had when they made the last one. At the end of RETRIBUTION, the surviving characters were on top of the White House surrounded by millions of zombies and monsters, about to begin “the last battle to save humanity.” Now we CUT TO: Alice (Milla Jovovich) all alone in a completely destroyed and barren DC. Last time Wesker (Shawn Roberts) had just given her her powers back to fight this battle, now they tell us that was a trick and she actually doesn’t have powers. Huh? She keeps losing and regaining them without much consequence.

3. Giving it a different look and style from all the other installments. This one is very brown and smoky, everything is dirty and blown up or worn out. Even some of the areas of the Hive that they return to are weathered and grimy instead of smooth and sleek. (read the rest of this shit…)

January 30th, 2017 | 13 Comments »

Resident Evil: Retribution

Paul W.S. Anderson stays in the director’s chair for the fifth one, RESIDENT EVIL: RETRIBUTION. This one starts at the end of the action scene that starts right where AFTERLIFE left off. Then it shows us that scene in reverse, then regular, and narrator Alice (Milla Jovovich, ULTRAVIOLET) tries to summarize the convoluted events of parts 1, 2, 3 and 4. And then they remake the remake of DAWN OF THE DEAD, showing Alice as a suburban mom just going about her business when the zombie outbreak explodes into her life.

That’s the fun of this series: the unpredictable patchwork of set pieces and gimmicks, often playing with expectations, making it seem like the story (like a video game?) is starting over and everything is different, but things usually turn out to have a pretty good explanation.

Okay, the explanation is always clones. Clones are the reason Michelle Rodriguez and Oded Fehr, whose characters died in previous chapters, are suddenly back as different people. Multiple different people. For a while it seems like Rodriguez came back to the series after a ten year absence just for a comically brief cameo where she gives Alice a ride and then crashes 30 seconds later. Then Alice is killed by a zombie. (read the rest of this shit…)

January 27th, 2017 | 21 Comments »

Resident Evil: Afterlife

RESIDENT EVIL: AFTERLIFE is part 4. Series writer-producer Paul W.S. Anderson returns as director for the first time since part 1. I really like how each chapter seems to be completely different from the previous ones, and this is no exception. The new style may be in part because Anderson hadn’t directed a RESIDENT EVIL in eight years (having only directed ALIEN VS. PREDATOR and DEATH RACE in the interim), but I think a huge part of it is that it was shot in 3D with the cameras developed for AVATAR. Not since STEP UP 3D have I so regretted not having seen a movie in 3D. It’s carefully composed with steady camera moves, lots of depth, with numerous scenes of acrobatic fight moves and projectiles coming toward the audience, many times in slow motion. Bullets, knives, swords, tentacles, people, raindrops, quarters, blood, pieces of bullet-ridden walls and shards of glass are among the things that fly out of the screen. You can just tell it would look really cool in 3D, and luckily this is a style that also looks good in 2D. Anderson has a reputation as a hack, but at least give him this: he is in a very small group of directors who actually put in elbow grease to use the 3D medium well.

As is the RESIDENT EVIL tradition, the opening is like a short film unto itself. There’s a security breach at the Umbrella Headquarters in Tokyo, which makes The Hive look like the FIRST BLOOD police station by comparison. A small army of security troops surround the elevator waiting for the intruder to emerge, a drawn out sequence playing with our anticipation for what Alice promised at the end of the last one. (read the rest of this shit…)

January 26th, 2017 | 20 Comments »

Resident Evil: Extinction

RESIDENT EVIL: EXTINCTION is part 3. It takes place five years after part 2, APOCALYPSE, and was released five years after the first film in the series. It has a different style and tone, a little more serious, a little more grounded, but still pulpy, and it really works.

The opening tricked me. It begins so much like the first film – Milla Jovovich as Alice waking up naked and confused in the mansion, putting on the red dress and boots – that I thought I might’ve rented the wrong one. But she explores the place and ends up in a hallway in the Hive with the lasers and booby traps and one of them shoots and… gulp… kills her. Then some guys in biohazard suits appear, take the body up to the surface and throw it in a ditch. The camera pulls out to show a whole pile of dead Alices. And by the way, they’re all wearing that same outfit. I don’t know if that makes sense that they would have duplicate outfits to give these clones they keep testing, but if not it’s better than making sense. Nobody wants to see them wearing different outfits. (read the rest of this shit…)

January 25th, 2017 | 11 Comments »

Resident Evil: Apocalypse

RESIDENT EVIL: APOCALPYSE is the second one. Part 1’s Paul W.S. Anderson scripted it, but handed directing duties over to Alexander Witt (the second unit director for SPEED and the train heist in FAST FIVE) while he himself focused on ALIEN VS. PREDATOR, and it reminds me a little bit of the sequel to Anderson’s MORTAL KOMBAT: it’s way less like a real movie, but therefore kind of more fun. This sequel looks much more expensive than the original – there are huge crowd scenes, explosions and shootouts, it’s not all confined to some underground tunnels. It’s a chaotic mish-mash of styles (normal movie, shaky news footage, blurred frames) and crazy shit happening, often without much regard to rhythm, flow, or logic.

It starts out with a couple minutes of Alice (Milla Jovovich, HE GOT GAME) narrating exposition over flashy computer graphics, but as soon as the title comes up it ditches her and we go back to the day before in happy suburban Raccoon City while the T-virus crisis is going on underground. A menacing procession of identical Umbrella Corp SUVs plow through the streets to bring important scientists to safety. But Dr. Ashford (Jared Harris, NATURAL BORN KILLERS, THE BOXTROLLS)’s daughter Angie (Sophie Vavasseur) is in a vehicle that crashes, and she gets stranded above.

We meet Raccoon City’s militarized police force as well as a special unit called S.T.A.R.S. (“Special Tactics and Rescue Squad. They’re the best”). These are cops who do things like rappel from a helicopter facing straight down firing two machine guns accompanied by rockin electric guitar soundtrack. The kind of people you want, I guess, in a movie version of a video game version of a zombie outbreak. The most memorable of these characters is a wonderfully ludicrous one called Jill Valentine (Sienna Guillory, HIGH-RISE), an edgy suspended cop who looks like a model but luckily switches from stilettos to combat boots when she learns about the zombies from the news and goes into action. She spends the movie wearing a turquoise tube top, mini-skirt and holsters. There’s nothing wrong with that, but everyone else looks like they’re wearing movie costumes, and she looks like a cosplayer.

(read the rest of this shit…)

January 24th, 2017 | 18 Comments »

Resident Evil

The RESIDENT EVIL movie series is sort of a zombie in its own right – a dead thing leftover from another time, somehow still walking the earth. When the first one came out in 2002, movies based on video games were still a novel concept that had only really been done successfully by this same director, Paul Anderson, with MORTAL KOMBAT (1995). According to a chart I found, the video game industry itself made $48.29 billion in 2002. That’s a bunch of money, but it also says that as of three years ago they were making $76 billion. And I’m sure it’s still going up.

I don’t know of any charts for this, but I bet the revenue from zombie related entertainment has increased tenfold during that period. This may be hard for the youths to imagine, but zombie movies were a genre that had been fallow for nearly two decades, and only horror people obsessed with DAWN OF THE DEAD ever thought about them. This complicated the reception of RESIDENT EVIL for people like me. On one hand, it was exciting to see any take on this type of monster. On the other hand, we were still holding out for a comeback for George A. Romero, who had not yet done LAND OF THE DEAD (or DIARY OF THE DEAD or SURVIVAL OF THE DEAD). We knew because of internetting that he’d shot a series of Japanese commercials for the Resident Evil video game, and had been hired to write and direct the movie until the company didn’t like his script and replaced him.

So it was interesting to watch RESIDENT EVIL again in 2016, remembering that I hated it when it came out, but not much remembering why (here’s the dumb review I wrote almost 15 years ago). At the very least there’s a good opening sequence that I had no memory of. Employees of the Umbrella Corporation in Raccoon City, Wherever arrive one morning at their underground lab work place known as “The Hive,” having no idea that the shit is floating mid-air in a cool MATRIX style slo-mo flight toward the fan, because somebody broke open a vial of the deadly experimental T-virus. (read the rest of this shit…)

January 23rd, 2017 | 37 Comments »

xXx: Return of Xander Cage

It’s weird how long I’ve been anticipating xXx: RETURN OF XANDER CAGE. I didn’t actually like the first one very much other than the lovably ridiculous first chunk before the actual mission starts. The second one starring Ice Cube is a fairly enjoyable B movie, but doesn’t live up to part 1 director Rob Cohen’s talk before he and Diesel left. He really sparked my imagination in the interview where he said one of the scripts he was developing “takes place in Washington DC, where, I think, our most colorful character will go up against all the grey men. I can see him mountain-biking on the top of the Capitol Dome, where in a domestic context, as opposed to an exotic context, he gets to shake up old George Bush and all that he represents.”

Nevertheless, ever since Diesel announced his intention to star in a xXx part 3 ten years ago (!) I’ve been anxiously awaiting it. And that optimism, though unearned, wasn’t wrong. RETURN OF XANDER CAGE (no “THE” for some reason) is just the stupid movie I always wanted out of this series. (read the rest of this shit…)

January 23rd, 2017 | 43 Comments »

The Shallows

With the inauguration about to happen I think alot of us kinda feel like we’re all alone, torn open, bleeding and floating on a dead whale, unable to get to shore because a shark the size of a fuckin bus wants to eat us and will not leave us be. So I thought you know what, what if there was a movie about somebody else in that situation, maybe if it had a positive outcome it would be a good inspirational tool for all of us as citizens of the United States and the world who hope to somehow survive the coming shit show of dangerous ignorance and blatant, barely-even-trying-to-fuckin-hide-it-at-all corruption.

The title THE SHALLOWS is not about the new management, it’s just referring to an area of not-that-deep water that is the setting for a pleasingly simple 80-minute romp from Jaume Collet-Serra, director of HOUSE OF WAX, GOAL II, ORPHAN and three Liam Neeson vehicles (UNKNOWN, NON-STOP and RUN ALL NIGHT). Liam must’ve been busy doing SILENCE or something, so Collet-Serra went off and made this adaptation of Blake Lively’s one woman off Broadway show about a surfer trapped on a rock after a shark attack.

I lied. It is not based on a one woman show. But it is almost entirely balanced on Lively’s shoulders. She plays Nancy, who is always on screen and usually alone. Supporting characters who she’d also play in the stage version are:

1. Little boy seen on beach in prologue

2. Guy who gives her ride to beach

3. Her friend who was supposed to be with her, portrayed through text messages (read the rest of this shit…)

January 19th, 2017 | 14 Comments »

Fist 2 Fist

Writer/director/actor/martial artist Jino Kang’s first film BLADE WARRIOR had a bit of an EL MARIACHI passionate-no-budget-debut energy to it. It was shot over a few years and bridged the independent film world’s switch from film to digital. (I like the grainy film look better, but of course we’re not gonna see much of that anymore.)

His second film FIST 2 FIST (the distributor changed it from his preferred title HAND 2 HAND, which was meant to have a double meaning) was released a decade later, in 2011. It looks a little more slick and professional and normal, but he still feels like an underdog filmmaker, and with age he’s become an even more interesting leading man.

There’s little flash or ego to Kang’s persona playing Ken, a former criminal turned martial arts instructor for at risk youth. He’s the serious, responsible, grownup badass, the positive role model of asskicking. (read the rest of this shit…)

January 18th, 2017 | 1 Comment »

Monster Trucks

MONSTER TRUCKS is literally about monster trucks. This is a movie about an oil company drilling through a pocket of water deep beneath the earth, accidentally releasing a huge, squid-like creature who crawls into a junkyard and hides inside the chassis of a teen’s crappy pickup truck. Soon the teen discovers that the creature can wrap its tentacles around the axels and spin them, basically acting as its engine. Also it eats oil and it can not only drive and steer the truck but jump and bounce and climb up walls and shit.

So this teen, Tripp (Lucas Till, aka Havok in X-MEN and TV’s new MacGyver), names the monster “Creech” and drives around in him like extreme E.T. But he has to hide him from a private security team led by cruel Burke (Holt McCallany, CREEPSHOW 2, TYSON, BULLET TO THE HEAD, BLACKHAT, JACK REACHER: NEVER GO BACK) and, like Free Willy or the T-800 or somebody, get him back home. He does it with the help of his squeaky-voiced biology tutor Meredith (I had no idea that was Jane Levy, star of EVIL DEAD and DON’T BREATHE) and a conscience-stricken scientist from the oil company (Thomas Lennon, HERBIE FULLY LOADED). (read the rest of this shit…)

January 17th, 2017 | 33 Comments »

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