Resident Evil: The Final Chapter

Resident Evil: The Final Chapter ★★★★

It's plastic as expected, but grimy, orange, dirty, post-grunge plastic! Also, importantly, not major label incubator post-grunge plastic, but 1998- post-grunge by people that did stuff before grunge e.g. Hole, The Smashing Pumpkins. Or even (sacrilege) Zwan! Propulsive action down CGI corridors. Roger Ebert once asked why a film would be game-ish when games exist to be played, but Ebert knew little of art or of games when he compared (and indeed attempted to draw a line between) the two. His argument against the latter is predicated on his knowledge of the former which skips the last 100 years' worth of art history (as well as the thousands' before art academies introduced the idea of art as useless, the artist as a genius, etc), ignores the 'play' that has always driven human expression and motivates creativity, and is ultimately doomed in its platonic idealism- the idea that art (or any concept) is in any way fixed. His observation that a film which feels like a game is no good and vice versa makes sense on the surface, but here is the popular and very very good Resident Evil: The Final Chapter taking on the arcade insanity of Metal Gear Rising: Revengeance plus references to Fallout's VATS system. Paintings have been praised as sculptural, films as painterly, photographs as architectural- none of this is dialectical. Nothing is fixed. Final Chapter's synthesis of forms is unsurprisingly excellent as we watch Milla play Milla as avatar tear violent through 2016/17. The idea that we should respond to hatred and hegemony through politeness is promptly dispelled as Milla revenge-tortures bad guys, kills thousands of fascists, and fires the president. "The trinity of bitches." Now's time to imagine a future, not an apocalypse. Passive liberalism vs. radical feminism. Fire!

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