Resident Evil: The Final Chapter

Resident Evil: The Final Chapter ★★★★½

It occurs to me that in The Final Chapter Anderson is wrapping up a thread I've never really honed in on: What makes the good characters more human than the bad? A typical humanist work would grant humanity equally across moralities, but in RE it is something to be earned. Throughout the series, the architecture, the script's secrets, and most of the onscreen space have all been primarily aligned with Umbrella. Anderson thus suggests that the focusing on the whims of the film over the whims of the truth of the people trapped inside is fascistic, monstrous, and strips the humanity from those that execute these whims, including he the filmmaker. This film signifies Anderson's promise to change, to free his characters at last after engineering their prisons even as it tore him up to do so. The kineticism of this film is a kind of action equivalent for direct cinema, Anderson's static symmetry nowhere to be found. Typically such symmetry would imprison Milla, but the quick-cut handheld approach to the film attempts to make Dionysian her every move, the camera's Appolonian scribe now too rushed to embellish. This film is a profound act of self sacrifice in the name of love. Anderson here does with stylization what his nominal usurper Wes still hasn't realized he even needs to start thinking about doing.

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