Resident Evil: Retribution
The Ultimate Battle Begins
The Umbrella Corporation’s deadly T-virus continues to ravage the Earth, transforming the global population into legions of the flesh eating Undead. The human race’s last and only hope, Alice, awakens in the heart of Umbrella’s most clandestine operations facility and unveils more of her mysterious past as she delves further into the complex. Without a safe haven, Alice continues to hunt those responsible for the outbreak; a chase that takes her from Tokyo to New York, Washington, D.C. and Moscow, culminating in a mind-blowing revelation that will force her to rethink everything that she once thought to be true. Aided by new found allies and familiar friends, Alice must fight to survive long enough to escape a hostile world on the brink of oblivion. The countdown has begun.
Holy fuck. Not really sure what I was expecting with Resident Evil: Retribution, but if you would've told me before I began this series run-through that Paul W.S. Anderson created a stunning inverse of the Resident Evil franchise, and as a result, a recognition of the artificiality well past the point of mere escapism, I would've laughed in your face. But then again, if watching these films over the past few days has taught me anything, it's that Anderson builds worlds, set-pieces, and images like no one else today. Like a series of freely expanding paintings, his Resident Evil films (1,4, and 5) are the finished result of pure expression; a shot-by-shot playbook of what cinema can be, and…
"It's like a camera. Point and shoot."
NOTHING IN THIS SERIES MAKES ANY SENSE!!!!!
BUT I CAN'T STOP STARING AT MILLA JOVOVICH!!
"Where you were was just a detailed recreation, nothing more. It goes on for a few city blocks, that's all..."
The hyper-conceptualist post-modern masterpiece of the 21st & probably Anderson's best movie thus far - after Afterlife's almost wholly formalist work here finally PWSA culminates and progresses an entire body of ideas and politics simmering since Shopping. Like his best work it most closely resembles his favorite director, Fritz Lang, but this is like Lang chopped up, spewed out and reconstituted into something wholly new and immediate for the 21st century. Here is a world where the world itself does not exist - the only thing that can be trusted to be actually physical is a series of grids and corridors…
I'll keep this short and simple:
"none of this is real"
"... it is to her"
technology eats man…woman inherits the earth. a conceptually & emotionally clear, near-abstract remix of the franchise, and its iconography, as a way of meditating on the power/value of images & artifice -- legit masterwork.
An interesting turn in the "story" and even more ridiculous action and effects.
Anderson must've been taking notes from George Lucas, because the vast majority of this film is disgustingly greenscreened, and for better and for worse, it looks like a live action cutscene. Pretty much all of the elements in here are subpar (Mila in that suit is superb though), but it seems self-aware, and the constant change of scenery and cribbed ideas gives it enough meat to be fun on some levels.
You could make a point for Anderson being some kind of prominent figure in the vulgar auterism wave, but his action is garbage and his compositions uninspired and dull.
Totally meta-cinematic... and all the better for it. Recontextualizes all of its predecessors as (potential) simulations, then forces its main character to literally relive her past. If only more action franchises were this playful and snarky with their narratives.
I was not prepared for that. Resident Evil: Retribution is like the incredible opening sequences of Afterlife stretched out into an entire film. This has to be one of the most visually encapsulating movies of the decade.
After building the franchise into completely unreal proportions at the end of Resident Evil: Afterlife, Retribution takes that idea and creates a contemplative, deceptive masterpiece. Through a series of artificial sequences, manipulated upon her by the Red Queen, Alice must re-visit and re-connect with important moments and important people of her past. Ultimately becoming a way for Alice to make sense of and overcome the war and chaos she is experiencing, while coming off as equally vulnerable and unbeatable. 'Artificial' is the keyword…
Here we finally are, the final installment for now of the mostly abhorrent Resident Evil film franchise. After the utter abomination that was Afterlife, I was expecting this to be way worse than I remember, but to my surprise, it actually wasn't too bad? Maybe it was just because I had such a bad time with the previous film, but I had a much better time with this than most of the other films. This could possibly even be my favorite of the series. Again, that's not really saying much.
Taking place instantly after the events of Afterlife, this time we get Alice stuck in an Umbrella facility which she must escape from. The facility is built up of different…
Jesus Christ, only one more to go
Loved the setting of this one.
Άλλο ένα franchise που -στα χνάρια του F&F- κατέληξε πολύ πιο διασκεδαστικό απ' ό,τι είχε δικαίωμα να είναι. Ο Paul WS δεν μπορεί να βγάλει καλή ερμηνεία ούτε με σφαίρες, αλλά, holy shit, ξέρει να σκηνοθετεί δράση, ειδικά εδώ που το γύρισε σε 100% videogame-mode. Plus, η Milla Jovovich είναι θησαυρός.
For as much as I shit talk the vulgar auteurism movement (and I still think it's a joke as a whole), I was very VERY impressed with Resident Evil: Retribution. Despite being a very unfaithful adaptation of the game series, RE:R is without a doubt the best video game movie I've seen because it perfectly captures the feeling of a cheesy action horror game down to a T (virus).
Paul W.S. Anderson finally figures out how to flesh out his vision in this installment of the series after the previous two movies he directed in this franchise felt rather uninspired and generic. His action scenes are stylish and only brought down when the CGI is overly noticeable. Unlike Zack Synder,…
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