Resident Evil: Afterlife

A patchwork of digital effects slide over the screen, a parade of artifice, but always in service of the characters inhabiting the spaces. A prison as a haven, and a haven as a prison. So far this the most free of conventional shape, and yet the clearest (read: most readable) in every possible way.

Also, I so much encourage more films to skip over the nonsense and keep to their bare bones elements to deliver a lean and mean 90~100 minutes. PWSA’s economic movement through plot and space reminds me a lot of Carpenter. It’s just that the former’s conclusions are so much further away from the start than Carpenter’s, that it’s admirable he can be this minimalist in his maximalism.

Milla is incredible as per usual, but her playful smirk is rivaled by those of Ali Larter and Shawn Roberts.

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