Get Out

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Jordan Peele’s directorial debut, Get Out stresses an all-consuming danger. Its lead, Chris (Daniel Kaluuya), has a knowing wariness of every interaction around him. A black man driven up to visit his white girlfriend Rose’s (Allison Williams) family, he doesn’t get into conversations so much as get subjected to them. He’s questioned, touched, studied, physically challenged, at times even mentally subjugated (through hypnosis), yet reassured by his hosts that, yes, they would all have voted Obama a third time if they could. They apologize for “how it looks” that they have black servants. Chris isn’t allowed a space to just be, he is constantly reminded of his outsider status. At best–as when Bradley Whitford’s neurosurgeon patriarch Dean shows a picture of Jesse Owens, before gushing about the athlete’s historic Olympic win–they offer a lurid idealization of the black man’s body. While there are signifiers of plantation lifestyle (even an auction block, with Chris’ photo on display), there’s an altogether different form of capitalizing human beings at play.

While this subtext is driven by a series of script flips (particularly about the suburbs being dangerous, a jokey inversion of a common horror trope), Peele is far more interested in the difference between genuine and rehearsed behavior. Even before overt malevolence sets in, the Armitages are stagey with their behavior: Dean’s drawling “thang” and repetition of “my man”; the way Rose dismisses Chris’ discomfort (and, later, suspicions about the cagey hired help) with a wink; the apologism. It’s all routine to them, an attempt to approximate well-meaning liberalism. Chris finds this off-putting. All he wants is a nice weekend with the parents. Unfortunately, he’s only welcomed so long as his hosts can benefit from him.

A Cure for Wellness

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For a movie about a Wall Street parasite trapped in a spa from hell, there is little (if any) bite to A Cure for Wellness. Tension is oddly kept slack, with Lockhart (Dane DeHaan) able to navigate the Gothic castle/sanitarium/wellness center-hybrid facility with relative ease, and every opportunity to wring genuine discomfort from its premise is dashed with a quick cut to the next scene. Lockhart–a sickly-looking shit-stain whose most human quality is wanting to put his mother in a home by the beach–travels to the Swiss Alps, under blackmail for his financial indiscretions, to whisk his boss back to New York to authorize a merger. Once at the retreat, he gets runaround from the staff and clue-piecing chatter from some elderly patients. A car accident gets him admitted (or, rather, imprisoned), and Lockhart becomes haunted by visions of his dead father as he gulps down the water and chases leads stringing together mad science, deranged barons, eels and incest.

Despite its subject matter and R-rating, Gore Verbinski’s film seems intended for PG-13 (as with his last attempt at Gothic horror, The Ring). DeHaan himself, with his soft features and Damien Thorn haircut, portrays Lockhart as an even more youthful version of Robert Pattinson’s Cosmopolis yuppie (the opening stretch even involves him talking finances in the back seat of a car). He becomes infatuated with Hannah (Mia Goth), a girl whose dress and demeanor suggests preadolescence. Their relationship is kept at a distance, however, with the shots getting wider and further back the closer they are in proximity. Sexuality crops up, but noncommittally: Lockhart leers at a nurse once, and there’s an incongruous scene of an orderly masturbating to the sight of a topless nurse; even a bit of senior citizen nudity. Yet, the audience is always locked away from these moments, chaste.

Verbinski and his DP, Bojan Bazelli (who worked with the director on The Ring and The Lone Ranger), are far more interested in thresholds. Every twist or development, every clue is preceded by Lockhart (or, in one instance, Hannah) passing through some opening or barrier which signals further danger–a doorway or gate, usually, but a tunnel or even a pool on occasion. The pair take great joy in these moments, building mood with swooping cameras and conspiring with sound design to create some odd rhythms (i.e. the straining creak of Lockhart’s crutches, combined with the tile floor in a sauna). This chilly remoteness typifies the film, suggesting a clinical approach in keeping with its setting. There’s a brief insinuation we’re watching the unraveling mind of Lockhart, but this, too, is filed away and discarded (which also creates a gaping plot hole). What we’re watching is less a horror film and more a rambling series of anecdotes and tangents about dark whimsy.

Biohazard 7

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Capcom’s third wind for Resident Evil amounts to a reset, going back to a familiar premise with new tech and ideas cribbed from rivals. Effectively jettisoning the reams of lore the series has built up–along with the over-the-shoulder gunplay which became a staple from Resident Evil 4 onward–Resident Evil 7: Biohazard drops us in a Southern Gothic mansion populated with creaky doors, themed keys, puzzle traps (occasionally lethal), and skulking, hard-to-kill monstrosities. There are few weapons, and even fewer clues for survival.

As a setup, it’s basically identical to Shinji Mikami’s original, genre-defining installment. Time and tech advances have allowed for a far greater degree of formal playfulness, which Capcom’s team uses it to its advantage. Besides the switch from fixed Dutch angles to the ever-present POV shot giving a more visceral thrill to every creeping encounter, there’s also the way Resident Evil 7 presents challenges which only appear to conform to gamer expectations. Interactive video tapes of previous victims appear to offer solutions for future puzzles (and also questions about how the camera is being held in the found footage), but have steps that could very well cause death. Apparent boss fight scenarios which require players to opt instead to run over their immortal enemy with a car, or avoid the fight entirely. Whether less complicated or more, answers are counter-intuitive to how decades of genre-building have conditioned its audience.

This lines up nicely with the fringe nature of its storyline. Ethan Winters (a stock name for a stock protagonist) is searching for his missing wife in the Bayou when he runs afoul the Baker family. Trapped and forced to use his wits, players must wind Ethan through the cannibal rednecks’ labyrinthine estate, fighting/running from them and their brood of mutant horrors while piecing together clues about the latest bioweapon.

Delightfully, Resident Evil 7‘s aesthetic is built around oily corruption. Human(oids) come with a constant sweaty sheen. The grounds are overgrown with weeds and the swamp encroaches, as if nature is reclaiming this place. Early on, Ethan is tied at a dinner table where oozing, rotten innards are served on a platter like fried chicken. Where Resident Evil‘s more stately mansion had a cleanliness bordering on preserved sterility, every surface in Resident Evil 7 breathes and breeds. This isn’t a viral outbreak in a lab, or even a zombie siege, this is an epidemic hiding away in a remote corner of rural America. Appropriately, the monsters–bloated, distended beings with engorged mouths, protruding teeth, and blackened skin–seem to birth from bulbous sacs which line the walls of the Baker house’s bowels. The casual revelation they are missing people, having been abducted, experimented on, and “turned” subservient to a hierarchy of masters, almost qualifies as a political statement. It evokes the kind of revulsion you feel when recognizing an ugliness that’s always been in front of you.

Resident Evil: The Final Chapter

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For Resident Evil: The Final Chapter, Paul W.S. Anderson runs audiences through a gauntlet of successive phases rather than a three-act narrative, pushed on by a ticking clock. Given 48 hours to save humanity from annihilation, Alice (Milla Jovovich) must fight her way back to Umbrella’s Hive facility–where the series and its myriad zombies, mutants, clones, deathtraps, and global corporate conspiracies began–for an airborne cure. The opening stretch is a sprint straight out of Mad Max: Fury Road, Alice contending with Umbrella security and a newly-revived Dr. Isaacs (Iain Glen), who’s fashioned himself a fundamentalist Christian prophet, riding in a moving fortress leading thousands of zombies on a genocide march. The film slows down a tad in Raccoon City, where Alice meets with a group of survivors, led once again by Claire Redfield (Ali Larter), in time for a siege. Then, there’s a mad, final dash through the Hive’s winding corridors of doom for requisite plot twists and mind-screwing, with Isaacs and Wesker (Shawn Roberts) waiting in the wings. As always, the only constant is Jovovich, determining her way through annihilation.

Though it mines plot details from all its predecessors, The Final Chapter most closely hews to series high-point Extinction. It’s not just the white line nightmares and rusted DIY contraptions, but an overriding sense of futility. We’re introduced to the aftermath of Retribution‘s teased final stand, utterly devastated, with Alice stumbling through the ruins looking for water. Presumably, all the survivors of that film have been snuffed, Alien 3-style. A faint glimmer of salvation, offered by previously homicidal A.I. the Red Queen (Ever Anderson), is met with skepticism and hostility. Even the film’s biggest stake, the fate of humanity’s remaining settlement, is left off-screen, a question mark hanging over its very existence. Five movies’ worth of fakeouts and impenetrable machinations haven’t inspired confidence; Alice and gang only go along because their only other choice is waiting around to die. Even a sub-thread which returns us to the question of Alice’s origins is summed in a single line from Jovovich: “Sometimes I feel I spent my whole life running, killing.”

Anderson never hangs on this misery, palpable as it is. It lurks around the edges of The Final Chapter, grist for Alice to pulverize enemies in jittery fight sequences–overloaded with cuts, thanks to to Neveldine-Taylor editor Doobie White. The longest we’re ever held on to a moment is an agonizing wind tunnel setpiece, Alice straining to hold onto a comrade she rescued moments ago (from the same spinning blade trap). The music swells. Jovovich grits her teeth and tightens her grip. There’s a slip. Just a little longer. Her charge loses hold, is sucked in and diced. The power dies, the fans stop too late. Alice screams, continued frustration boiling over at last. Another life she couldn’t save.

In a movie series built out of trap-laden corridors, platformer-logic architecture, and recycled candy-colored carnage, guilt is a curious recurring device. Alice in Resident Evil attempted to hold a group together through sheer force of will, and failed. It set the tone for the sequels’ war of attrition, some losses stinging more than others. It’s an obvious fascination for Anderson and Jovovich, often paired with themes of exploitation and abuse of power crushing individuals (it’s revealed Umbrella deliberately started the zombie outbreak to save the world for the rich and powerful, an endgame built around “reboot[ing] it in our image”–an unsubtle nod to the movies’ fates). Their creation, Alice, relives torment over and over as she fends off cannibals both undead and executive. She fights and endures to keep in the same place. Like all the previous entries, The Final Chapter wants us hurrying along to the next trap, the next monster fight, the next labyrinthine plot twist rather than wrestling with anything like subtext. It’s only in the volume of them do the Resident Evils approach anything resembling a thesis, which is its own kind of brilliance.

Starship Troopers

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Almost 20 years later, Starship Troopers has only gotten more incisive. Paul Verhoeven and Ed Neumeier (co-writer of Verhoeven’s Robocop) construct an elaborate pisstake around Robert Heinlein’s militarist sci-fi novel, framing an otherwise standard issue war narrative about humanity against a varied collective of giant space bugs with the most fascistic embellishments. Kangaroo courts leading to televised executions; screeching, chickenhawk talking heads quick to shoot down anything resembling reason; teachers openly promoting genocide as legitimate solutions; news reports shot like Riefenstahl propaganda flicks; eugenics hints in dialogue; Doogie Howser as a scientist in an SS coat, no opportunity is wasted to twist the source material in the most mean-spirited fashion possible, director and writer laying bare their contempt of a society which valorizes killing for God and country above all else.

Perhaps the most sly touch of all is how little humanity Verhoeven allows these people to show. Chiselled and predominantly Aryan, despite a first act which takes place in Argentina, the cast–led by wooden Casper van Dien–have motivations ruled by pettiness and vapidity, rising through the ranks as much by a combination of nepotism and slaughtered predecessors as it is by any skills they possess. The only time they’re alive is when they’re killing or eyeing one another for a lay. This actually puts them a step down from the bugs: with their varied castes and a mindset ruled by collective well-being of the hive, they embody a form of self-sacrifice the faux-individualism the humans only pay lip service to. Their swarming isn’t out of malice, but an attempt to grind to a halt a force hellbent on extermination.

Would you like to know more?

Resident Evil: Retribution

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The Resident Evil series’ biggest strength has been succinctness. They tend towards the 90-100 minute range, long enough to not overstay their welcome. Each successive installment uses familiarity to race over exposition, recycling themes and incidents from predecessors (as well as the video games) to contrast Alice’s past with her present. Retribution is no different, in this regard, but it is the first in which its short length feels like a hindrance.

Alice, once again captured by Umbrella after the closing moments of Afterlife, awakens in the belly of an Arctic facility designed to stage trauma over and over. Previous outbreak hotspots are recreated to test out viral mutations, inflicting death and torture on a conveyor belt of duplicated franchise players. The Red Queen is brought back to micro-manage this memory lane deathtrap. Dual Michelle Rodriguezes lurk at the plot’s edge. Paul W.S. Anderson even takes another crack at Apocalypse‘s failed attempt at intertextuality with an anti-Umbrella strike team made up of Leon Kennedy, Ada Wong, and Barry Burton–winking references to the former pair’s spotty relationship and propensity towards death fakeouts.

Duplication and iteration are a prominent fascination with Anderson’s Resident Evil scripts. Up through Extinction, the films were bookended by the awakening of a nude Alice (or clone of Alice) to some fresh horror. Afterlife bucked the trend, teasing an escape from this vicious cycle, only to cruelly pull its heroine back into the fray. For all her superhuman (occasionally godlike) skill, Alice is very much a victim, locked into a struggle with something monolithic and automated. She’s able to weather, but her friends–even the planet–are dying off despite her efforts. Retribution confronts this with a squad of cloned fallen comrades, led by a brainwashed Jill Valentine (Sienna Guillory, allowed a more interesting space than before). Most notable in this crew are former love interest Carlos and Alice’s first bestie Rain (Rodriguez)–whose alternate is a civvie implanted with pro-gun control memories. The move reads as deliberate, an attempt to throw Alice’s own guilt back in her face, but the miscalculation is obvious: Alice has gone through this all before, and has hardened in response to it. The simple confrontation with known doubles is shrugged off.

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Instead, it’s the deaf child, Becky (Aryana Engineer), of yet another of her clones which troubles Alice. Introduced in one of Umbrella’s zombie test sequences, she later appears clinging to her dead mother’s lookalike. Unsure of how to deal with this child, Alice is adamant about protecting her, but quick to leave her in another’s care. Her pause following an “I love you” (spoken and signed) is Milla Jovovich’s best acting in the film, a brief, cutting moment of tangled emotions processing something innocent. While it’s an Aliens rip, the idea is good: the alternate possibility of life ruled by something better than violence and death being more alien to Jovovich’s badass superwoman than any of the monstrosities she fights.

Retribution teeters on moments like these, overstuffed with meta-ideas about its subjects while racing through sets alternating lavishly detailed city/suburbia with stark, glossy white hallways and dank industrial sectors. Lost in the shuffle are the twin Rains. Anderson almost toys with making Rodriguez a figure similar to Dolph Lundgren in Universal Soldier: Regeneration, a haunted shell sussing out her confused half-existence. When told about her “sister,” Good Rain stares, as if a bomb exploded in her mind. A confrontation is teased here, Rodriguez given a prime position to throw the narrative off-piste. With Evil Rain’s spotlight in the finale–beating down two allies before moving to put the hurt on Alice–and talk of many scenes cut from the assembly, this might even have been Anderson’s intention. It never happens in the theatrical cut, though: Good Rain is casually disposed by a CG mutant; Evil Rain is a minor texture to an obedient goon. She’s given no response to her mechanization, losing any power her return could have provided. This becomes a first in the Resident Evil franchise, in that it would have been better if it were longer, slower, and emphasized its ellipses.

Resident Evil: Afterlife

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Paul Anderson’s directorial return to the Resident Evil franchise is pure, delirious momentum. Afterlife opens with a dreamy, slow-mo sequence of Tokyo’s patient zero in their corner of the T-virus outbreak, capped with a zoom-out depicting fleeing civilians and their candy-colored umbrellas as individual cells in the death of the planetary body. Then, we’re racing through the promise of Extinction‘s finale, as Alice and her clone army assault the Umbrella Corporation’s headquarters, looking to kill (the now posh-voiced) Albert Wesker. She loses her duplicates and her powers in the process, but Alice destroys her enemies, then sets out to find the survivors she parted with.

This go-go-go mentality comes with cheaper production values. Resident Evil: Extinction brought a polished sheen to the franchise: crane and tracking shots, scale models and crisp cinematography were used to pore over surface details. Afterlife, however, has grainy, digital, green-screen backdrops, atop which CG objects are flung at the screen in 3D. The middle stretch of the film is a muddy brown wash, ugly save the occasional color saturation from a light source. Anderson seems to be stacking up all the worst tendencies of contemporary blockbusters as a challenge, and it works. The disconnect between backdrops and actors, combined with Tomandandy’s electronic score and a relentless stream of zombie variants (specifically importing Resident Evil 4 and 5‘s Las Plagas out of nowhere), stress unreality. Alice, despite lacking her God Mode abilities, still tackles the impossible with ease, swinging off rooftops guns a-blazing or obliterating skulls with shotgun blasts using quarters as ammo. Action often comes dosed with bullet-time. Spatial dimensions seem impossible, even before we get to the pearly bowels of a nightmare barge offering false salvation. Anderson has traded off the Pyun aesthetic, but he’s still operating in (and ramping up) the direct-to-video milieu which propelled his first Resident Evil.

With that, there’s also a (welcome) renewed emphasis on a bond between strong women in her reunion with Claire Redfield (Ali Larter), whose sudden amnesia mirrors Alice’s previous affliction (Wentworth Miller’s butch, growly Chris Redfield toys with being a foil to James Purefoy’s Spence, Alice’s duplicitous work-husband from the earlier film. Both are question marks that hang over the middle section of their respective films). The darker hues in Milla Jovovich’s hair and the throaty tones in her voice evoke Michelle Rodriguez as Rain. Alice is portrayed as instinctively taking a role to help Claire through her trauma. The relationship’s mutual, though: when Alice is KO’d by a big motherfucker with an axe, Claire wastes no time unloading her pistol on him, then going in for a kill.

Will It End? – Movies 2016: December

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  1. Jaws (1975) – dir. Steven Spielberg
  2. The Lost World: Jurassic Park (1997) – dir. Steven Spielberg
  3. Slaughter High (1986) – dir. Mark Ezra, Peter Litten, & George Dugdale
  4. Niagara (1953) – dir. Henry Hathaway
  5. C’était un rendez-vous (1976) (short) – dir.Claude Lelouch
  6. Black Christmas (1974) – dir. Bob Clark
  7. Regression (2016) – dir. Alejandro Amenabar
  8. Gods of Egypt (2016) – dir. Alex Proyas
  9. Train to Busan (2016) – dir. Yeon Sang-ho
  10. Rope (1948) – dir. Alfred Hitchcock
  11. Rogue One: A Star Wars Story (2016) – dir. Gareth Edwards
  12. Suspense (1913) (short) – dir. Lois Weber & Phillips Smalley
  13. The Monster (2016) – dir. Bryan Bertino
  14. London Has Fallen (2016) – dir. Babak Najafi
  15. Resident Evil (2002) – dir. Paul W.S. Anderson
  16. Resident Evil: Apocalypse (2004) – dir. Alexander Witt
  17. The Thing (1982) – dir. John Carpenter
  18. Resident Evil: Extinction (2007) – dir. Russell Mulcahy
  19. Gremlins (1984) – dir. Joe Dante

Year in Total: 273

Resident Evil: Extinction

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In the middle of a Resident Evil film marathon, Extinction is a shock to the system. The T-virus has spread, despite all attempts to contain it, and the world is plunged into a Mad Max future. Alice roams the wasteland, avoiding still-operational Umbrella satellites and getting into scrapes with zombies and rockabilly rapists. Occasionally, she exhibits telekinesis. Some familiar faces–Oded Fehr as Carlos and Mike Epps as L.J.–have banded together with new import Claire Redfield (Ali Larter), leading survivors from ruin to ruin, scrounging up canned food and gasoline. Another of Umbrella’s mad scientists (Iain Glen) passes time in a bunker, murdering cloned Alices with a deathtrap course built out of moments from the first film.. Lurking around the edges is video game baddie/shades enthusiast Wesker, low-key threatening Glen’s ambitions. The density of incidents, combined with the slightness of the feature’s actual narrative (the collision between Alice and Umbrella and the survivors is built out of multiple coincidences), gives the impression of having been dropped into some random episode of a TV show five seasons deep. We’re no longer at the outbreak, but in the midst of a long slog towards oblivion. In another franchise, this would be a sign of stagnation, but Extinction marks the Resident Evil films as embracing different modes of storytelling. It’s a considerable step-up.

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The improvement is two-fold: Russell Mulcahy, directing as a one-off, is a better fit for the series than Resident Evil: Apocalypse‘s Alexander Witt. His fast cut, tracking and crane shot signatures are well-suited to the rapid clip of Paul W.S. Anderson’s action-fantasy take on zombie horror. Here, he uses the camera to soak in sand-covered Vegas model sets and desert landscapes traversed by rusted transports with slapdash fortifications. Computer grid building layouts (a recurring motif in the series) are zoomed in, around, and through as scene transition. The constant cross-cutting between sun-blasted decay on the surface and sterility of Umbrella’s underground laboratory complex gives the impression of Extinction‘s protagonists fighting an all-consuming rot. Action still occurs in frenetic bursts, but shots and edits hang on just long enough to register the needed information. While the Resident Evil series is still assembling itself from other movies (besides references to Day of the Dead and The Road Warrior, there’s an infected crow attack with an introduction straight out of The Birds), Mulcahy brings a polish and atmosphere lacking in previous installments.

On the same wavelength is Anderson, whose script here is much sharper. Freed from the video game timeline, Anderson pitches Alice less as a Mary Sue and more an adjunct goddess, offering salvation from the undead with dual-wielded Kukri knives. Apocalypse leaned heavily on subordinating recognized characters to a superhero lead, interchangeable save for brand recognition. Extinction, then, is a corrective, portraying individuals with a common good but conflicting motivations: Claire, straining under the responsibility of many lives, doesn’t immediately defer to Milla Jovovich’s raspy-voiced alpha female. When Alice brings news of a sanctuary, Claire contests the intelligence, hashes out the details and the necessities, and chooses to present the case to the collective for a vote. Carlos, infatuated with Alice, questions her choice to go solo. L.J. hides being bitten by a zombie so he can make time with the group’s medic. An early moment involving the group’s cigarette supply pays off later, when it’s revealed one of the characters had one stashed away for their own personal use. They’re light touches, Anderson showing a knack for downtime and payoff, but in a lean, 94-minute actioner, they mean everything.

Resident Evil: Apocalypse

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First noticeable thing in movie Resident Evil 2 is the budget boost. No longer confined to impersonal corridors, the series opens up to a city under siege. A breathless montage gives a snapshot of pre-outbreak Raccoon City (including a suburb eerily similar to the one used for another contemporary zombie flick: Zach Snyder’s Dawn of the Dead remake) before seguing to a throng of civvies attempting to leave through a walled-off checkpoint. Alexander Witt subs for Paul W.S. Anderson in the director’s chair, and while he lacks Anderson’s visual panache–Witt’s framing is more traditional, while action’s left to an editor who jumbles it all about–he manages to maintain the same interest in lighting and surface (particularly, Witt is fond of actors in silhouette).

Anderson, meanwhile, provides a script which plays like fan fiction. He threads his sequel into the broad outline of Capcom’s Resident Evil 3: Nemesis, an emphasis on  original creation Alice (Milla Jovovich). Now superpowered, courtesy Umbrella Corporation’s insistence on tinkering with viral bio-weaponry, she unbalances the zombie narrative with God Mode combat skills. Hordes get their skulls kicked in or ventilated. Lickers, the previous film’s Final Boss, are dispatched with some shotgun blasts and a motorcycle to the face. Her only physical threat is Nemesis, a brutish, leather-clad rubber monster who thuds around in heavy boots and lugs a minigun and a rocket launcher. She’s backed by a couple normals and game imports Jill Valentine (Sienna Guillory) and Carlos Olivera (Oded Fehr). Aside from some whiz bang introduction–Jill casually strolling into a police precinct wearing a tube top and skirt, headshotting the undead before telling cops what’s what; Carlos attempting a rooftop rescue of a civilian, firing his gun as he jumps out of a helicopter–the pair exist to marvel at Alice.

This becomes the film’s biggest setback. Structurally, Apocalypse redoes its predecessor on a bigger scale. As before, it’s bookended with scenes of Alice waking up, nude, unsure of what’s going on, suggesting some ongoing cycle of victimization and retribution. Her red dress-black shorts combo is replaced with a cropped top, black jeans, and olive string vest, outfitted with various holsters. Later, the pants get ripped on one leg, giving a punk-like asymmetry to her design. The choice seems deliberate, Alice responding to her violation with defiant sexuality. She even flirts with Carlos (“Don’t worry, I’m not contagious”). Anderson very obviously wants to make this a vehicle for future wife Jovovich, while the game characters come across like a mandate.

Not that there isn’t a modicum of effort: early, obtuse references suggest the first film may have happened parallel to the source material, but it’s an intertextual detail robbed of meaning (for instance: Nemesis sent after members of STARS, Jill’s former unit, makes sense in the game’s storyline, but has nothing to do with his purpose in Apocalypse). Jill, herself, has little agency, an odd choice given Resident Evil 1’s wonderful depiction of the relationship between strong women. Guillory is no substitute for Michelle Rodriguez (she never characterizes Jill beyond a bratty pout), but it is strange to watch her passively go along with Jovovich’s prowling, mad science-powered superwoman. A more considered take could have developed tension between a veteran Jill and the suspicious outsider knocking her down the pecking order. Perhaps some distrust sown by Alice’s Umbrella connection. A misunderstanding here or there when Carlos and his partners arrive. Even a double cross? Nah, can’t allow anything like intra-group conflict in a zombie movie.