Tag: horror

Crazyhead

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★★★½
“Buffy does Britain.”

Amy (Theobold) is insane. Or so the rest of society thinks, due to her being able to see things nobody else can. She’s trying to keep her head down, working quietly at a bowling alley. But after being attacked, she is rescued by Raquel (Wokoma), another young woman who can see exactly the same things. Amy learns from her new friend that demons are real, and live among us: Raquel has appointed herself a demon-hunter, and convinces the reluctant Amy to join her. This causes no end of issues, not the least of which is Amy’s room-mate becoming one of the possessed, and the most of which is likely the apocalyptic plan of Callum (Curran). He intends to use Raquel to open the gates of hell on Halloween, allowing thousands more demons to flood into our world and take over humans.

It is, very clearly, inspired by Buffy in many aspects, from its blonde heroine, through the “Scooby Gang” of friends in assistance, such as long-suffering bowling-alley colleague, Jake (Reeves), who carries a torch for Amy and likes canoeing. On the villainous side, Callum also seems to owe a particularly large debt to the Mayor of Sunnydale (though in our house, Curran will always be Van Gogh from Doctor Who!). However, it’s almost fourteen years since Buffy Summers rode off into the sunset, so I guess the statute of limitations has run out there. Another potential inspiration could be a distaff version of Supernatural, but there’s still plenty here that’s fresh and fun, and it has a particularly British approach

For instance, it’s laden with sarcastic banter, as well as (for those who might be offended) plenty of harsh language and general crudity – an exorcism, for instance, requires a very special shower for the target… If somewhat lacking in originality, the dynamic between the two leads helps make up for this; it’s likely the show’s strongest suit, and overcomes most of the scripting flaws. Amy and Raquel are each outsiders in their own ways, who can mesh together into an effective whole. One possesses better social skills, and can hold down a job, so is able to interface with other people if necessary; while the other has superior knowledge about what’s going on, in part thanks to her “special” background. Though both are quite happy to resort to a more physical approach when necessary – and, given who they’re facing, that would be quite often.

It’s all over remarkably quickly, especially if you are more used to American series, typically lasting 20+ editions a season. This only takes six 45-minute episodes to go from introducing the characters to the eve of the apocalypse. It is perhaps a good thing, as the story written by creator Howard Overman is somewhat thin, and could potentially feel stretched if told at any greater length. Instead, you will likely be left wanting more, and that’s never a bad position for the audience to be in, at the end of a show’s first season.

Dir: Al Mackay and Declan O’Dwyer
Star: Cara Theobold, Susan Wokoma, Lewis Reeves, Tony Curran

I Spit on Your Grave 3: Vengeance is Mine

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★★★½
“Point made.”

Like much horror, the rape-revenge genre is one which overlaps with, rather than being wholly encompassed by, the action-heroine field. Some entries qualify: the awesome glory which is Ms. 45 being the most obvious example. But others appear to focus more on the rape than the revenge, and are far less interesting as a result. Such was the case for the first two entries in this series – and, indeed, the 1978 grindhouse classic which it rebooted. Here, however, in an interesting twist we bypass the assault entirely. This starts instead with the victim in the earlier movies (Butler) having adopted a new identity, that of Angela, and attending both one-on-one therapy as well as group sessions.

It’s at the latter she meets Marla (Landon), who shares Angela’s dislike for the whole touchy-feely aspect of recovery, and prefers a more… “hands-on” approach to working things out. When they discover that another member of the group is still being molested by her stepfather, it’s time to put their theory into practice. While apparently a success, at least initially, it turns out Marla has her own issues that still need to be dealt with. Additionally, the aftermath of their street justice is bringing the attention of the cops, in particular SVU Detective McDylan (Hogan). It’s kinda hard to explain why you’re in a bad part of town, fighting with a man in a back-alley, and carrying a knife, a Tazer and a can of lighter fluid.

I was sure I knew where this was going. Meeting someone called “Marla” at a support group, is such an obvious nod to Fight Club, I was certain she’d turn out to be a figment of Angela’s imagination, and there are fantasy sequences also pointing down that road. Happy to be proved wrong, and the film twists in some unexpected directions the rest of the way, right until the end. It’s most memorable feature, however, would be two absolutely – bold and capital letters please – BRUTAL sequences of Angela’s revenge. The first, in particular, is going to stick in my mind for a very long time, in part because it comes virtually out of nowhere. But once it begins, it delivers a one-two punch of almost unsurpassed magnitude: barely had the words “Holy sh…” begun to escape my lips, when it got ten times more savage.

It has to be said, having set the bar so staggeringly high in terms of carnage, I was left wondering how the movie could follow up. Truth is, it doesn’t, and that probably counts as a misstep, since it also distracts unnecessarily from what’s actually a solid performance from Butler. She gets to run the gamut from seductive to extremely scary, and is effective enough at both ends of the spectrum. Make no mistake, this is frequently vile and repellent; yet, it’s exactly how sexual assault should be depicted, because that’s what it is. Just be sure to find an unrated version, and if you’re male, you may want to watch from a spot where curling up into the foetal position is easily managed.

Dir: R.D. Braunstein
Star: Sarah Butler, Jennifer Landon, Doug McKeon, Gabriel Hogan

All Girls Weekend

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★½
“Why we don’t camp, #173.”

There’s something admirable about a film entirely cast with and directed by women, especially in such a generally male-dominated genre as horror. Unfortunately, all this effort really goes to prove, is that the fairer sex are every bit as capable of turning out uninteresting crap as any man. An ill-conceived cross between The Descent and The Blair Witch Project, this has four old school friends reuniting, along with the workmate of one of them, who tags along because… Well, as with so much in the movie, for no particularly good reason.  There’s friction between the friends, from the moment Nancy (Bernadette) shows up four hours late, forcing their departure to be pushed back.

But it’s when an innocent little pre-dinner hike is suggested that things truly go off the rails. For the workmate falls, and is impaled on… well, let’s be honest, and call it a twig. The party is unable to get out of the woods and find help, finding themselves perpetually going in circles. It’s almost as if the forest itself is trying to keep them from leaving. Turns out that’s exactly the case – not much of a spoiler this – for there was a mill there, which polluted the entire area, and unleashed a curse. Now, in order to regenerate, the earth spirit is now demanding blood sacrifices. So, before you can say, “Hang on – this doesn’t make much sense,” the party are being threatened in different, mostly fairly ludicrous ways. It’s almost like a live-action version of The Gashleycrumb Tinies: “N is for Nancy, pursued by a bear,” albeit where it’s abundantly apparent that Nancy and the bear were never simultaneously in the same zip-code.

Whoever designed the poster likely deserves some kind of award, for making the film look a hundred times more exciting than it is ever capable of delivering. The final 10 minutes can’t make up for the poor pacing and horribly talky nature of what has gone before, Simon appearing to have misheard the cardinal rule of cinema as, “Tell, don’t show.” Hence, we get an awful lot of scenes of exposition and unnecessary back-chat: I mean, do we really care that one of the girls used to be fat at high-school? Does it matter in the slightest? Meanwhile, seems like at least half the deaths take place off-screen, culminating in a staggering moment where it appears someone is found drowned in a pile of leaves. What? No, really: what? About the only positive to come out of this is Bernadette, who gives Nancy more of a character arc than everyone else in the film combined, her character turning a full 360-degrees over its course.

I guess we should at least be grateful that Simon did not make the obvious artistic decision and turn this into yet another “found footage” abomination. It’s one of the few things which would have made this more of a chore to watch.

Dir: Lou Simon
Star: Jamie Bernadette, Katie Carpenter, Gema Calero, Karishma Lakhani

Night of the Living Dead (1990)

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★★★½
“Better head(-shot) than dead.”

Important to note the year here, because the original Night of the Living Dead, for all its massive influence (without it, there’d be no The Walking Dead or World War Z) was very, very far from an action heroine film. Though it started off focusing on its female lead, Barbara, after she reaches sanctuary in the farmhouse, she spends virtually the rest of the movie in a near-catatonic state, and the film switches focus to Ben, who becomes the film’s hero. The change for this remake is one of a number of alterations, which are likely both necessary and helpful: when you are redoing a film widely regarded as a classic, you’d better bring something new to the party. That’s something largely forgotten by many horror remakes.

Even to non-horror fans, the plot likely doesn’t need much description. On a visit to her mother’s grave with her brother, Barbara (Tallman) finds herself the target for first one, then multiple, crazed attackers. She takes refuge nearby, along with others seeking shelter. They include Ben (Todd), a no-nonsense type, who repeatedly and at increasing volume crosses swords with Harry (Towles) over whether or not everyone would be better off sheltering in the cellar. As the zombie hordes congregate, various escape plans are formulated and tried – but tensions continue to rise, and the biggest threat to collective survival may not be the undead, banging on the doors.

Largely done for financial reasons – creator George A. Romero made very little from the original, despite its success – this works unexpectedly well. Right from the start, it adjusts the story in small ways that will surprise those familiar with the original, on its way to an ending which twists sharply away from the source, not once but twice. However, it’s the change in Barbara which probably represents the largest shift. Initially, it looks like she’s going the same route, and will spend much of the film suffering from shock. However, she snaps out of it, and rapidly becomes the most sensible member of the group: her suggestions are credible, and she doesn’t engage in the bickering which threatens to tear the group apart, instead firing back, “You can talk to me about ‘losing it’ when you stop screaming at each other like a bunch of two-year-olds.”

She’s well ahead of the curve in terms to figuring things out, too. Witness the scene where there’s still some uncertainty about what they’re facing: she fires several shots into a zombie’s body, asking repeatedly, “Is he dead?”, before finishing the creature off with the archetypal bullet to the brain. No further questions. At the end, while still having some moral qualms – “We’re them and they’re us” – she is capable of putting them aside, and become a bandolier-wearing bad-ass. In the event of a zombie apocalypse, this version of Barbara is one of the people you’d most want beside you; she’s smart, ruthless and takes absolutely no shit from anyone, human or zombie.

Dir: Tom Savini
Star: Patricia Tallman, Tony Todd, Tom Towles, McKee Anderson

The Monster

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★★
“Less would be more.”

monsterThere is a time when a film-maker needs to fall out of love with their script, and approach the resulting movie with a cold, critical eye, analyzing every scene with a single question in mind: Is it essential to the story being told? And if the answer isn’t “Yes”, then the scene needs to be ruthlessly excised. If you don’t, then what results is this film, where a good idea, which could have been lean, mean survival horror at its most stripped-down, becomes instead a cumbersome exercise in social drama.

Single mother Kathy (Kazan) is driving teenage daughter Lizzy (Ballentine) to her father, when they hit a wolf that has run out into the middle of the road on a remote country stretch of highway. While injuries are relatively minor, the car is unable to continue, and they have to hang out and wait for a repair truck to show up. However, when it does, and the mechanic is at work beneath their vehicle, the wolf’s corpse vanishes. Lizzy tracks it down in the woods, only to discover it shows signs of having been eaten, leaving her and her mother to wonder: what was bad enough that it could make a wolf run? They’re about to meet the answer.

It’s all the film needs, and when it concentrates on this, Bertino (who directed above-average home-invasion film, The Strangers) crafts a taut, effective work, as mother and daughter have to put aside their differences in the name of fending off the creature. The problem is the film’s insistence on inserting entirely unnecessary flashback scenes. They’re unnecessary because the dysfunctional nature of Kathy is established perfectly well before they have even left the house; everything thereafter is superfluous, and had me suppressing an urge to yell, “Enough, already! We get it!” at the screen.

I also get that the creature is intended to be a metaphor – though whether it’s intended to represent Kathy’s addiction-affected personality or Lizzy’s issues with trust and abandonment, is likely open to discussion. Either way, the mother is the monster in this interpretation; but again, it’s the kind of thing which works best when left for the audience to figure out or not, offering bonus depth if you want it. Here, Bertino seems to prefer whacking the viewer over the head with his subtext, to the point I had to undergo concussion tests.

On the plus side, Ballentine makes for an engaging young heroine, and the monster was laudably done with practical effects rather than CGI; given the relatively small budget, it looks decent enough. If you liked The Babadook – and I wasn’t particularly impressed with that either – then you might look more kindly on this attempt to merge the cerebral and the visceral. Only the latter half worked for me, the former providing more of an annoying distraction than offering any enhancement to the story.

Dir: Bryan Bertino
Star: Zoe Kazan, Ella Ballentine

Resident Evil: The Novels, by S.D. Perry

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I will cheerfully confess to never having played any of the Resident Evil video-games at all. Everything I know about its universe, I learned from the films starring Milla Jovovich. It was thus something of a surprise to learn that her character, Alice, was entirely created for the films, and doesn’t appear in the game series at all. That said, there’s a reason why Paul Anderson opted to make his hero a heroine. The series has been emphatic about being thoroughly equal-opportunity in its carnage since 1996. It was then the first game came out, as Biohazard in Japan, offering players a choice between playing as either Chris Redfield or Jill Valentine.

With the film series coming to an end (supposedly!), it seemed like a good point to dip into the more “authentic” parts of the universe. I don’t have the time or enthusiasm for the games, but figured the novels, written by S.D. Perry, would fit my lifestyle nicely. There are seven of these, with five being novelizations based on the first five games, along with two original stories, which take place between #1 and #2, and #2 and #3 respectively. While they’re not as thoroughly heroine-centric as the movies, they’re no less equal-opportunity than the games, with Valentine leading a swathe of solid and strong female characters.

resnovel1

The Umbrella Conspiracy

In the opening book, we follow members of  the S.T.A.R.S. task force, investigating a series of brutal murders on the outskirts of Raccoon City, only to be trapped in a manor house. This turns out to be a research facility for the Umbrella Corporation, abandoned after an accidental release of T-virus and now inhabited by zombies and other unpleasant creatures. These include cannibalistic plants and the “Big Bad”, the Tyrant, the end result of prolonged exposure to the virus.

In terms of spirit, this isn’t dissimilar to the first film, which similarly had a group of soldier types exploring a research complex infested with both monsters and traps, albeit a far larger one. The book’s origins as a game are sometimes clunkily obvious here, with traps and puzzles showing up in the prose here, in ways that would only make sense in a Playstation context. It’s also a little heavy on minute details, such as getting very specific on the layout of the house, which really doesn’t deserve as many words.

There’s a multi-threaded storyline, focusing on Redfield and Valentine, but also involving the other members of the S.T.A.R.S. team, and this works better than you might expect. Perry keeps all the balls in the air effectively, and things converge nicely on a rather Aliens-esque finale, the team rushing to escape the facility before it self-destructs. Which probably makes sense, as Perry also wrote several entries based on the Dark Horse Comics Aliens series
resnovel2

Caliban Cove

The second book takes place between the first and second entries in the game series, rather than being an adaptation. Despite this, it feels similar to the first novel, with another S.T.A.R.S. team – this one not officially sanctioned – investigating another Umbrella facility gone awry. In this case, however, it’s not the result of an accident, but deliberate malfeasance. Rogue biochemist, Dr. Nicholas Griffin, has created a virus which turns humans into zombies, and now is preparing to unleash that virus on the world.

The main heroine is Rebecca Chambers, the teenage biochemist who is the only significant player here carried forward from Book #1. So, I guess she’s playing the Ripley in Aliens role. The “puzzles” the team need to solve barely register: “As I was going to St. Ives…”? Really? Guess Perry didn’t see Die Hard With A Vengeance. The other weakness is the author’s struggles with the action sequences; while these are fine when it’s one-on-one, the depiction of anything involving more participants becomes hopelessly jumbled and confusing.

There are some positive aspects. One perspective provided in the book is that of someone infected by the virus, which is chilling in its depiction of the inexorable loss of control. Some of the monsters are also nicely done, particularly the aquatic Leviathans, whose understated descriptions are quite Lovecraftesque.  Otherwise, though, this feels too much like a retread of its predecessor, in both style and content.

City of the Dead

A novelization of the second game, this introduces two major characters. Along with Claire Redfield, who arrives in Raccoon City seeking her brother, the other hero is Leon Kennedy, a newly-assigned cop. Both are understandably disturbed to find it the epicentre of a zombie outbreak, and have to survive those and a bevy of even nastier monstrosities. There’s also Ada Wong, an independent agent, who has been sent in to obtain a sample of the G-virus, the even more twisted successor to the T-virus.

This is a relatively straightforward tale, simply and effectively told. That said, the Aliens aspects are almost overwhelming. Monster which crawls down your throat, gestates for a bit and then comes out? Check. [The book even calls it, “A chest-bursting parasitic creature. straight out of a sci-fi movie”…] Heroine who ‘adopts’ a little girl who has been scurrying around, trying to survive and hide from the monsters? Check. Frenzied rush to escape, as the location counts down towards complete immolation? Check.

Otherwise, though, it’s not bad at all, even if I could probably also have done without the clunky romantic tension between Kennedy and Wong. I definitely wish they had made this into a movie; Redfield and Wong provide enough action heroine-ness to go around, and the chief human antagonist is also female, Umbrella researcher, Annette Birkin. Perry delivers a solid page-turner, engaging in spectacularly moist prose to describe the creatures now roaming Racoon City.

Underworld

Sadly, not the hoped-for crossover featuring Milla Jovovich and Kate Beckinsale. Instead, it sees a five-person team of former S.T.A.R.S. sent to Utah, where the mysterious Trent tells them a simple retrieval mission awaits. Needless to say, it proves to be anything but, with the team separated. Three members are stranded up top, facing Umbrella security, while two are stuck below, to run a gauntlet through four test areas, stocked with some of Umbrella’s most lethal creations [It’s a little like the simulations in Resident Evil: Retribution, but with different terrain types, rather than different cities]

Indeed, this was disappointingly heroine-light: Leon and John Andrews do most of the heavy lifting, as the pair trapped in the underground complex. Rebecca and Claire are both left up top, and the former is wounded while trying to hide from the security team, so is more an encumbrance than an asset to her colleagues. That only leaves Claire; while brave and resourceful, she’s a civilian, with a civilian’s skill-set, and the ass-kicking which results is inevitably limited in its scope.

Like Caliban Cove, this is a standalone work rather than an adaptation of a game, though the structure of the test areas certainly has the feel of stages, with the “Fossil” at the end undeniably Boss-level. I did enjoy the “first-monster” perspective section, telling events from Fossil’s point of view; it’s a somewhat chilling angle, since its life is “Eat. Sleep. Repeat.” But overall, this would likely have been significantly improved if there had actually been considerably more Selene.

Nemesis

I was surprised to discover in the course of this one, the short time frame over which this all takes place – it’s only about six weeks since the events of the first novel, and we’re already into the fifth installment, based on the third computer game. The central characters here are Jill Valentine, returning from The Umbrella Conspiracy, and new hero, Carlos Olivera, an Umbrella operative who is unaware of the company’s secrets.

The latter is dropped into Raccoon City on a supposed rescue mission, really intended to provide data to the corporation, and it’s not long before he’s the sole survivor of his platoon. Meanwhile, Valentine seeks her own way out, having abandoned her humanitarian efforts, but is trailed by the Nemesis, a particularly unstoppable Umbrella creation programmed to hunt and kill S.T.A.R.S. members. The human villain is another Umbrella soldier Nicholai Ginovaef, a psychopath with his own agenda.

It’s decent enough, and good to see Valentine again, who kicks ass solidly. Its origins as a game occasionally remain too obvious – the laser cannon sure is convenient! – though at least the puzzle aspects are more restrained. Ginovaef is a nasty piece of work, especially disturbing since much of it is told from his perspective. Something of a shame he doesn’t get the deserved comeuppance, at the hands of Jill, since the game is played largely from her perspective (Olivera being a helpful NPC). Though Perry probably should have skipped the feeble attempt to explain her tube-top and miniskirt costume. “Mobility”? Suuuuuure…

Code: Veronica

Looked like earlier entries in the series were building toward a raid by the ex-S.T.A.R.S. on Umbrella’s European headquarters. But this entry leaps over it entirely, and the subsequent capture of Claire Redfield, and begins with her locked up on Rockfort Island, a remote corporation outpost in the Southern Hemisphere. The facility descends into chaos after a T-virus outbreak, and she is set free by a sympathetic employee, to fend for herself among the weaponized creatures roaming the isle. They’re overseen by Alfred Ashford, who’d be described by any passing psychiatrist as “batshit crazy”; she teams up with another prisoner, the even younger Steve Burnside. Cue romantic tension…

You sense even Perry is becoming jaded by the repetitive nature of the source material. Early on, Claire quips to herself, “What’s a biohazardous disaster without a crazy or two?”, and later, Steve wonders, “Keys and emblems and proofs and submarines; it was a wonder [Umbrella employees] ever got shit done.” However, Redfield’s return is as welcome as Valentine’s was – pity the game makers never saw fit to team them up. And if the nature of Alfred’s insanity will come as absolutely no shock to anyone who has seen Psycho, the story here then layers an additional level of horror on top, rescuing it from the over-obvious.

It felt like the novel is going to end at the 3/4 point, but the plot suddenly diverts to Antarctica for a final section. Claire’s brother, Chris, shows up at Rockfort in search of her, then ends up near the South Pole as well, where we get the grand finale, which seems tacked on. Again, hard to blame Perry for this, and likely not her fault either that, despite being the last novel chronologically, it offers very little in the way of a true conclusion.

Zero Hour

Hang on, didn’t you say Code Veronica was the last novel? Ah, important word there: “chronologically”. For Perry finished off the series with another novel, which comes at the beginning; it covers the first S.T.A.R.S team to come into contact with the results of the T-virus, whose ‘chopper goes does in the woods near Raccoon City. In particular, it’s the story of Rebecca Chambers, then on her first mission. She comes across a train which has been attacked by persons or creatures unknown, and also Billy Coen, a prisoner and former soldier who escaped while being taken to an impending execution.

On balance, I should probably have read this one in its position at the beginning. If there’s not much lost, I was aware Rebecca survived to appear in the subsequent entries, and Coen is nowhere to be found, so there wasn’t much tension here. However, the small cast – there is hardly anyone else present – does mean Perry has the chance to give the characters more depth than some entries in the series. The Coen/Chambers pairing is a good one too, matching up brawn and brains respectively, and I didn’t even mind the inevitable unresolved sexual tension too much.

What I particularly liked was the sense of vulnerability that we get from Chambers. She isn’t an unstoppable ass-kicking machine – frankly, after the preceding novels have left the score S.T.A.R.S 6, Umbrella 0, that’s a refreshing breath of fresh air. It left me wishing I’d seen more of her in the series.

All told, even as someone who has never so much as picked up one of the games, I generally found the novels entertaining. They’re a fast, easy read: my main criticism would be they’re too loyal to the puzzle-solving aspects. These may be an intrinsic part of the game experience, but fail to transfer at all well on to the printed page. But the books do offer a potential route forward for the film franchise, if they decide to continue with it, on past the “final chapter”.

Perhaps the main criticism from existing fans is the way they diverted from the games, but these novels do show, a more faithful adaptation can work as entertainment. There would still need to be some adjustments – tone down the puzzle solving and probably find out a way to limit the need for multiple perspectives too. But there’s little doubt that the characters, situations and monsters offer plenty of cinematic scope, and CGI has improved enough since the original movie in 2002, it is now capable of doing the creatures justice. If Sony opt to reboot, they could go back to Zero Hour, introducing Rebecca, then move into The Umbrella Conspiracy for the rest of the S.T.A.R.S. team. It would be a seam of fresh material, and one potentially also embraced by those “long-suffering” game fans.

“My name is Alice. And I remember everything”: Re-viewing Resident Evil 1-5

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With the sixth (and final?) installment in everyone’s #1 zombie-killing video-game adaptation franchise now in cinemas, it seemed a good time to go back and re-view the previous five installments, stretching back almost fifteen years. The original film came out so long ago, I wasn’t actually married. Damn. Now, however, I am. Which is why, one weekend in January, Chris and I ordered out for pizza, ensured the pillows were adequately fluffed and settled in on the couch for a marathon of maximum Umbrella mayhem. How have they stood the test of time? Here are our current takes on the series, preceded by summaries of our original reviews and a link to the full thing. But first, let’s warm up and refresh our memory with the trailers:

Resident Evil (2002)

“You’re all going to die down here!”

What we said then (3½ stars). “Not as good as it could have been, with even the most undemanding viewer able to imagine improvements. Yet, as an action/SF/horror film goes, it’s not bad at all, with very little slack or let-up. The virus is released in the first two minutes, and it’s pretty much non-stop from there on, with plenty going on. Jovovich looks the part, and the final shot has me anticipating the sequel, in a kind of Evil Dead 2 way, with her character getting totally medieval on the zombies’ asses. We can but hope.”

What we say now. This has stood up very well in 15 years, not least because it’s more practical effects than primitive CGI e.g. the zombie dogs. It’s worth remembering that, when it came out, zombies were not in fashion. This was before The Walking Dead, before World War Z; heck, it was even before the Dawn of the Dead remake. Indeed, it’s 40 minutes here before the first zombie shows up, and another 10 before Alice, as we know her, is born. Still, Rain Ocampo (Michelle Rodriguez) stands in well during the early going, the character being perfectly suited to Rodriguez’s sneer. She also gets the best line in the film. After fighting off an early corpse, thanks to Rain’s torrent of automatic fire, J.D. says “I shot her five times. How was she still standing?”, to which Rain replies, “Bitch isn’t standing now. ”

At this point, the makers were stating it was a “prequel” to the games, with Jovovich in effect playing the role of Jill Valentine. Not so sure about that, given subsequent flims, but it’s hard to deny the influence of the final sequence: Alice waking up in a hospital bed, to discover the zombie apocalypse, was also used in both 28 Days Later and the first ep of TWD. There was an alternate ending shot, with her going into Umbrella HQ, but I’m glad they went with the one used, which has an absolutely spectacular final shot, zooming back from her over a devastated city. The makers certainly extracted their bang for every penny of the $35 million budget, and the industrial soundtrack, including both Front Line Assembly and Nine Inch Nails, is perfect. Current rating: upgraded to **** and our seal of approval.

Resident Evil: Apocalypse (2004)

“I’m good – but I’m not THAT good.”

What we said then (4 stars). “There seemed to be two kinds of reviews for this: those who ‘get’ what’s intended here, and those who clearly don’t… How you react will likely be similarly split; given you’re on this site, I suspect the odds are in favour of Apocalypse, for its strong intuitive grasp of the ingredients necessary in a good action heroine, and its delivery thereof. Sure, the plot is some way short of perfect, and more/better-filmed fights would have been welcome, but the makers do a sound job of distracting you from the flaws, and there’s enough worthwhile stuff that will stick in your mind, to put it in the top quarter of this summer’s popcorn flicks.”

What we say now. If the original movie was Alien, this one is Aliens, upping the ante largely by vastly multiplying the number of enemies. The scope here is much broader: instead of the claustrophobic feel of a small group in an underground complex, it takes place across an entire city, and it’s not just Alice vs. zombies, she’s also taking on the human soldiers of Umbrella. Since she is the sole intact survivor of part one, we get a slew of new characters, including two from the game, in Jill Valentine (Sienna Guillory) and Carlos Olivera (Oded Fehr); the former is particularly iconic in her costume. There’s also L.J. (Mike Epps), who adds occasional comic moments almost entirely missing from the original; not sure if that’s a plus or not.

Alice is now a fully-fledged and hardcore heroine, apparent right from her arrival, crashing through a church window on her motorbike, and capable of snapping her own dislocated finger back into place, with little more than a roll of the eyes. It’s a near-constant stream of action, offering a relentless adrenaline buzz to the viewer, although less adrenaline would have been welcome during Alice’s final fight with nemesis, which degenerates into a choppily-edited mess. And, really: who decided it was a good idea to go through a cemetery during a zombie apocalypse? Still, between Alice and Jill, this remains a two-for-one action heroine special, and can only be appreciated as such. Current rating: holds steady at ****.

Resident Evil: Extinction (2007)

“Good thing I like a challenge.”

What we said then (3 stars). “S’ok. Mulcahy is no stranger to franchise cinema, having done the first couple of Highlander films, and the harsh desert lighting and exterior landscape is a nice contrast to the usual, dark, claustrophobic approach adopted by most Z-flicks. His experience is of particular use in the action sequences, where he does a better job of avoiding the cinematic excesses, in which Alexander Witt indulged, too frequently, last time up. The script is merely workmanlike: it feels too much like a series of cool set-pieces joined in the editing bay, rather than springing organically from the storyline.”

What we say now. I was confused by the opening, and wondered if I’d accidentally put the first film back in the DVD player. For I hadn’t seen this since its cinematic release, and it starts off by re-running the very beginning. Once that was established, we get Ian Glen as the villain – and he’s much needed, offering us a real human “villain” for the first time, and giving Umbrella a face of evil in Dr. Isaacs. The main problem is, Alice has now been imbued with superpowers. Speed and strength, I don’t mind, but telekinesis and the ability to block fire? What is this, X-Men: Extinction? Though clearly the main influence here is Mad Max, right down to Alice’s post-apocalypse chic of a long coat – plus, for no real reason beyond coolness, stockings and suspenders.

This film also absorbs the modern fondness for “fast zombies”, with the main set-piece taking on a slew of Umbrella-enhanced sprinters. While decent, and with an impressive depiction of Las Vegas, it’s likely placed too early in the movie, as nothing thereafter comes close. The only other sequence which might stick in the mind is an attack on a convoy of survivors by zombiefied crows, so I guess you can add The Birds to the list of influences here. I did like the “Pit O’ Millas”, the discards resulting from Dr. Isaacs’s experiments, and am surprised it took them three movies to use White Rabbit on the soundtrack, given its obvious Alice-ness. But Claire Redfield is disappointingly bland, and Alice’s increasing abilities cause way more problems than they solve. Current rating: dropped to **½, though likely a little above that, rather than below.

10 Iconic Sequences from Resident Evil 1-5

These are my picks for the most franchise-defining set pieces from each film. I aimed for two from each, but #3 was so weak, it could only manage a single entry (and that, barely!), so I pulled in an extra one from #4. These are not necessarily the “best” moments. For example, Alice’s fight against the zombie dogs in the original film, is memorable more because it’s the first time we’ve seen her kick ass. It was also that moment in the trailer which sold me on the movie. But having watched all five films in the last 24 hours, these are what stick in my mind.

  1. Alice enters the church (Resident Evil: Apocalypse)
  2. Alice vs. Zombie Dogs (Resident Evil)
  3. Million Milla March (Resident Evil: Afterlife)
  4. Alice vs. Jill (Resident Evil: Retribution)
  5. Tokyo sequence (Resident Evil: Retribution)
  6. Running down that wall (Resident Evil: Apocalypse)
  7. The laser corridor (Resident Evil)
  8. Roof-top escape (Resident Evil: Afterlife)
  9. Alice and Claire vs. the Axman (Resident Evil: Afterlife)
  10. Las Vegas ambush (Resident Evil: Extinction)

The play-list below includes all ten of these. Please enjoy. :)

Resident Evil: Afterlife (2010)

“Do you know who I am?”

What we said then (3 stars). “There’s way too much moving about in underground darkness here, and elements are lobbed in from the video game, which make no sense in the context of the movie… Nor is there much feeling of threat to the characters, who cheat death with blithe abandon – the sense of “anyone can die, at any time” present in the original is all but gone… [But] the action, is, as usual for the series, solid – meaning this is, overall, just worth the 92 minutes of your time it will take up.”

What we say now. This saw the return of Paul W.S. Anderson to the series, and wisely, opts rapidly to discard the angle which saw our heroine gaining ever-increasing superpowers. I totally loved the attack on Umbrella HQ by multiple Alice clones – what I call the Million Milla March – which lifts copiously from both The Matrix and the original Aeon Flux animations. Indeed, The Matrix is a source in other ways, not least Arnold Wesker (Shawn Roberts), who clearly is inspired heavily by Agent Smith. This and the other lifts here are a bit too obvious to work: the zombie dogs v2.0 are straight out of John Carpenter’s The Thing, and obnoxious asshole Bennett Sinclair (Kim Coates) is likely too close to Steve Marcus in the Dawn of the Dead remake. Even the use of a prison as a sanctuary from zombies was previously done a few years earlier, in The Walking Dead comics.

I note the walking pace of Evil‘s zombies continues to accelerate, here without any Umbrella tampering. But generally, this is on most solid ground when working with its own content, such as the Axman, who makes a ferocious foe for Claire and Alice (despite far too much slo-mo!). It was the first of the series to be made in 3D, and a lot of the shots used by Anderson make that very obvious, though I didn’t mind that too much. For someone supposedly back to being human again, Alice still seems to be insanely competent, best illustrated in an impressive escape off a roof-top infested with zombies. It even ends on the most hopeful note of any of the series so f… Er, never mind, scratch that. My mistake. Current rating: Upped to ***½; this was rather more impressive than I remembered it.

Resident Evil: Retribution (2012)

“Congratulations. You’re officially a badass.”

What we said then (4 stars). “This is the best Resident Evil movie in eight years. It may not be anything significant in the plot department. There are not hidden depths or great moments of character revelation. But it does contain entirely acceptable amounts of Milla Jovovich Kicking Righteous Ass, and succeeds as an entertainment spectacle, almost entirely due to this. Though actually, this is almost a “greatest hits” package, especially in terms of participants.”

What we say now. Feels like Anderson has largely given up in terms of trying to attract new fans, with a start that’s deliberately confusing, from an opening that plays out in reverse, through Alice’s new suburban life. It also introduces, without explanation, game elements such as characters Leon Kennedy and Ada Wong, and the Las Plagas parasites. But if you’ve been along for the ride since the beginning, this is a blast. It brings in new influences, most obviously Aliens (Alice protecting a pseudo-daughter) and Blade Runner (Ada telling her, “You were one of the 50 basic models”). It’s good to see favourite characters from earlier films return, such as Rain Ocampo or Carlos Olivera, and the cloning concept allows for nice variations. Not all Rains, for example, are on Alice’s side, though you know the concept of our heroine as a happy home-maker is not one built to last.

The scenario, involving a giant Umbrella testing area of different environments, seems a bit contrived, but there was something very similar in the Resident Evil: Underworld novel. I’ll let it slide, since this offers scope for a host of spectacular set-pieces. In terms of pure hand-to-hand fighting, the Tokyo sequence may be close to the best in the series, but the film likely sprays more rounds of ammunition around than any other entry too. It’s also great to see Alice go toe-to-toe against Jill Valentine, harking back to the “But I’m not that good” comment from Apocalypse. In some ways, the gap between the games and the movies has never been greater, with this abandoning almost all creepiness for loud, rambunctious battles. However, this is so solidly entertaining, I’d be hard pushed to call that any kind of a bad thing. Current rating: retains every bit of its ****.

So, what have we learned? Generally, to answer the question asked in the intro, the films have stood the test of time surprisingly well. Video-game adaptations remain problematic for Hollywood (Assassin’s Creed says hello), and the longevity and sheer number of Resident Evil films is almost unsurpassed. I think it’s because Anderson and his team have never felt under an obligation to be “true” to the games. While that may have alienated a chunk of the core fans, it has allowed the makers to focus on a more important task: making entertaining films, for there are aspects of the games which simply would not work on-screen, such as the puzzle-solving. They were also wise to concentrate heavily on practical effects, which tend to last better than CGI.

Not to say there haven’t been mis-steps – the mid-series diversion giving Alice super-powers would be the worst of these. But at its best – and I’d order the series #5, #2, #1, #4, #3, from top to bottom – it is excellent entertainment, that looks far slicker than many films with far bigger budgets, and the focus throughout has generally been on what matters. Which is: a great heroine who kicks ass, with (The Hunger Games please note) no love-triangles and virtually zero romantic interest. It seems Milla Jovovich is certain the sixth movie will be her final chapter, at least. If so, it seems only appropriate to finish by saying: So long, Milla – and thanks for all the mayhem.

Resident Evil: The Final Chapter

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★★★½
“Sometimes I feel like this has been my whole life.”

We’d skipped the last two installments at the movies, having been burned by part three, but after the excellent content of #5, and since this was likely to be our last chance, Chris and I made it a “dinner and a movie” thing on Saturday. Was disturbed by how many kids there were for this R-rated film – hell, even a couple of babes in arms, whom I’m sure loved the non-stop violence. I guess it was deemed kid-friendly by their parents, with this one getting its MPAA rating just “for sequences of violence throughout,” rather than anything truly corrupting, such as momentary Milla mammarage. Cutely, the feature was preceded by a quick personal message from director and star, thanking us for their support of the series. Yeah, it’s utterly meaningless, but nice to be appreciated.

Onto the movie, which I think probably would have been better received by us as a stand-alone entry, if we hadn’t watched parts 1-5 last weekend. #QuickPlug: re-reviews of all those to follow later this week. For there seems to be an awful lot of ret-conning going on, in particular for the Red Queen, played here by Milla’s daugher, Ever. Not only is her origin story drastically revised from Apocalypse, there’s also a new, Robocop-esque rule that she can’t harm Umbrella employees. [I note that Anderson even lifts the same escape clause used by Verhoeven] Must be Red Queen v1.1, because all the workers at the Hive she killed in the original movie, didn’t seem to benefit from this protection…

The story sees Alice (Jovovich) returning to Raccoon City, seeking the airborne antidote she discovers – from of all people, the Red Queen, little Miss Laser Corridor herself – was created by Umbrella. If Alice can release it into the wild, it will take out all the T-virus infected. Which is a bit of a problem since, don’t forget, the list includes our heroine herself. Standing in her way is Dr. Isaacs (Glen), who has set his plan in motion to exterminate the last remaining pockets of humanity and complete his apocalyptic vision thing, along with a massive swarm of zombies he’s leading back to the Hive. On Alice’s side are a few of those final survivors, including Claire Redfield (Larter) and Abigail (Rose), adding extra girls-with-guns firepower – as if it were really necessary here.

The main problem is this: editor Doobie White really should lay off the caffeine. I don’t think it’s Anderson’s problem, as Retribution was perfectly fine in this area, but the hand-to-hand fights look like they were edited by putting them through a highly enthusiastic wood-chipper. They stay just about on this side of incoherent, but you don’t so much watch these, as experience them on a subliminal level. Maybe it’s a result of protagonists Jovovich and Glen being in their forties and mid-50’s respectively: I know if I was appearing in an action movie, you’d certainly have to edit the hell out of me to look good! But it’s still annoying as hell. The best sequence is when the camera sits back a bit and we can actually appreciate Alice, dangling from an underpass, as she beats up a posse of hapless Umbrella drones (below).

Due to this, the film is at is most effective in other areas, mostly when going wide and giving us a look at the bigger picture, specifically the sheer scope of the devastation and conflict. There’s a couple of scenes where I think the zombie count may have surpassed World War Z, and that volume is undeniably impressive. It requires, naturally, equally large-scale defense and the sequence where the humans create multiple waterfalls of fire is startling and striking. An an aside, I note the film cost only $40 million, which is $25m less than last time, and little more than the price-tag for the original, 15 years ago. Anderson is clearly great at getting bang per buck, and if the box-office reception was lukewarm in North America, the film has already almost made its cost back in Japan alone.

I also was glad to see Glen back, and just as in #3, he brings a human face to the evil corporation. [Yes, he died at the end of that one. No, it’s not a problem.] I envisage a long career for him, in the mode of Charles Dance and Alan Rickman, being the go-to guy whenever a film needs a solidly British villain. Here, he gets to show a couple of facets, both coldly calculating and manically psychotic, and is fun to watch in both. But, of course, it’s Milla’s show, and she also gets to do a bit more than you might expect: if you ever wondered what she’ll look like in her seventies, this movie will answer your question. Though going by how little she seems to have changed over the decade and a half of the series, if she looked exactly the same at that age, I wouldn’t be surprised.

Otherwise, she has become Alice, adopting a world-weary stare here, reminiscent of our cat when we annoy him. It seems to say, “I could get violent, but you’re just not worth the effort,” while she re-enacts some of the series’s greatest hits, such as the laser corridor, or a whole pack of zombie dogs (well, more dog-shaped things, to be honest). Is there closure for Alice? Yes, although not as much as I would have liked. The film had a chance to draw a line under itself in permanent marker, and allow Milla to go off into the happy suburban life her character briefly enjoyed in #5. Sadly, the script doesn’t quite have the courage to do that; let’s just say, if Mr. and Mrs. Anderson need an extra wing on the mansion the franchise’s profits has bought them, it won’t be impossible.

All told, if you’ve got this far in the series, you’re not likely to be disappointed, except by the over-active editing. If you haven’t, this is certainly not going to convince you of its merits. And that’s okay too.

Dir: Paul W.S. Anderson
Star: Milla Jovovich, Ian Glen, Ali Larter, Ruby Rose

Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter

The Resident Evil animated films

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residentevilanimeThe Milla Jovovich series are not the only films set in the Resident Evil universe. There have also been two feature-length computer animated movies: Degeneration was released in 2008, and Damnation four years later. A third, Vendetta, is scheduled to be released in Japan this spring. While made in Japan, with a Japanese director and crew, the voice cast are English-speaking. As with the novels, the stories and characters are in line with the universe of the computer games, rather than the live-action features, and tend to occupy spots in the timeline between the entries in the game series. Therefore, there’s no Alice, but the animated films contain their fair share of strong heroines and, of course, action.

★★★
Resident Evil: Degeneration

degenerationThere’s a new EvilCorp in town, and its name is WilPharma, as we learn during the montage of news stories which opens this. In game terms, the film takes place after the events of “Resident Evil 4”, which saw the dismantling of the Umbrella Corporation. Its assets and research naturally proved too valuable to destroy, and WilPharma has taken over, with the announced goal of developing a vaccine for the troublesome T-virus. However, some dubious medical research in India leads to the company being targeted by protestors from TerraSave. It’s one such demo, at the Harvardville Airport, that kicks things off, as a plane of infected subjects crashes into the terminal, where Senator Davis is trying to avoid the protestors. TerraSave’s Claire Redfield (Court) finds herself trapped with the Senator, before they’re rescued by a team of soldiers including Angela Miller (Bailey) and Leon S. Kennedy (Mercier).

Claire goes to the WiiPharma research facility, at the invitation of researcher Frederic Downing, and discovers they have the even more lethal G-virus being studied. There is… oh, dammit, let’s just call it “quite a lot more plot”, involving WiiPharma’s efforts to sell the virus as a bioweapon to General Grande; Angela’s brother, Curtis (Smith) an ecoterrorist who deliberately injects himself with the G-virus; and the true identity of the mastermind behind it all. It’s probably too much to be crammed into 98 minutes, especially when you also have to fit in copious amounts of action. The second half, in particular, is more or less one long action sequence, with Angela and Leon trying to survive in the facility. It’s a change of focus, since Redfield was the main protagonist during the first half, becoming the guardian of a friend’s child during the attack at the airport, maybe reflecting her switch to pacifism (albeit pacifism of an oddly bad-ass kind!).

Being CG, and of a 2008 vintage, the animation is good at doing what 2008-era CG was good at, which is movement rather than emotion – as you’d probably also expect from a film produced by a video-game studio. The sequences and shots where the camera is swooping in and around the battle participants, are sometimes spectacularly good, and in general, while in motion, this is effective and exciting. Beyond the technical, its problems are more a plot which lurches from frantic action set pieces to expository lumps, and seems to rely too much on viewers being familiar with the characters and creatures from the games. But it has to be said, WiiPharma certainly seem to have a better handle on the proper use of containment mechanisms than Umbrella ever managed…

Dir: Makoto Kamiya
Star: Alyson Court, Paul Mercier, Laura Bailey, Roger Craig Smith

★★★½
Resident Evil: Damnation

adawong-jpgIncluded here largely for completeness, since the action heroine content likely would fall a little short of qualification on its own. Not that it’s entirely lacking, as the video at the bottom shows. But it’s definitely more a vehicle for Leon S. Kennedy (Mercer/Dorman). Which brings me to one of the odd things here: that is not a typo, it’s a double-credit for the character, because two different actors played the role, one providing the voice, the other the source for the motion-captured animation. Not sure I’ve seen that before.

Anyway, Kennedy finds himself dumped into the middle of a former Warsaw Pact satellite nation, the Eastern Slav Republic, which is being torn apart by a struggle between Government forces, under President Svetlana Belikova (Lee/Lee), and rebel groups. Both sides are making use of B.O.W’s, Bio-Organic Weapons, which have now been developed to such an extent that humans can now mind-control some of the creatures, using a parasitic organism called Plaga – albeit not without some unpleasant effects. Meanwhile Ada Wong (Taylor/Andersen) – hang on, last time I saw her, she was dying in one of the novels? – is trying to insert herself into Belikova’s circle, with her own agenda in mind. It all builds to an extended battle, pitting Leon and rebel commander, Alexander Kozachenko (Wittenberg/Earnest), along with the Lickers the latter controls, against the monstrous Tyrants fighting on behalf of Belikova.

This is particularly well done, a lengthy, escalating sequence of animated carnage, even if it does require something of a deus ex machina to show up at the end. It’s clear that animation has progressed markedly since the first movie, and this film takes full advantage of those improvements in its action scenes. For the purposes of this site, I’d really like to have seen more of Wong, whose moral ambivalence is intriguing; I reached the end, and still didn’t know on whose side she was supposed to be. [She does show up in RE: Retribution, played by Li BingBing, albeit dubbed there too]. The scene below, where she goes hand-to-hand with President Belikova, is a lot of fun – Belikova certainly counts as one of the more hard-core politicians I’ve seen! Bet she could kick Hillary Clinton’s ass…

And that is as close to politics as I’m ever going to get o

Dir: Makoto Kamiya
Star (voice): Matthew Mercer, Dave Wittenberg, Courtenay Taylor, Wendee Lee
Star (motion-capture): Kevin Dorman, David Earnest, Jolene Andersen, Melinda Lee

Underworld: Blood Wars

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★★★½
“Game of Vampires”

At this point, five movies into the franchise, it probably becomes churlish to complain about the aspects that have sustained the series thus far. You’re watching an epic war, waged down the centuries, between vampires and werewolves. It is, literally, non-sense. This, however, is separate and independent from any entertainment value, and despite some issues, this is perhaps the best in the series since the original [some may argue for the third entry, but that appears to have strayed in from a different franchise entirely, containing only peanut-allergy level traces of Selene].

Wisely, it begins with a “previously on Underworld” synopsis: it has been four years since the last installment, and neither Chris nor I could remember much of it without checking Wikipedia. Brief précis: Eve, the daughter of Selene (Beckinsale), is the key to determining who wins the vampire-lycan war; Selene has abandoned Eve and wiped her own memories to avoid being used to track her down. Now, moving into the current edition: word of this doesn’t appear to have reached the powers that be. For both her own team, under Thomas (Charles Dance, occupying the “British thespian” role previously occupied by Bill Nighy), and the rising werewolf overlord, Marcus (Menzies), want to use her to their own ends. After a bit of slaughter and betrayal, Eve and Thomas’s son, David (James) are forced north, to seek refuge in the last vampire coven, with Marcus and his pack in hot pursuit.

By this stage, Selene is clearly a character that gives precisely zero fucks. She’s lost her family, her one true love and her daughter in earlier installments, and the bastards still won’t leave her alone. By the end of this one, she has made some gains, in the shape of slutty blonde highlights and powers resulting from one too many sessions playing Mortal Kombat. I find myself endorsing both of these. It’s apparent the writers here are also big Game of Thrones fans: the Northern vampires are a cross between the Night’s Watch and Daenerys Targaryen. The whole back-stabbing familial stuff is cut from that cloth as well, and Dance isn’t the only Thrones face to show up. No, not Peter Dinklage, though the idea of him as a were-corgi appeals greatly.

It comes in at a remarkably brisk 91 minutes, a pace from which certain other movies could learn [I’m looking at you – and my watch – Rogue One], and there’s not much slack. Nor, admittedly, is there much of a complete plot: the ending opens more doors than it closes, particularly with regard to Selene’s new abilities. There are some elements that appear more style than substance, such as the heroine drinking her own blood to remember things. Wouldn’t it be easier to… ah, just remember things? I can only imagine a vampire going, “Now, I know there was something I had to do today. What was it?” [gnaws on wrist] “Oh, yeah: take the garbage out. Anyone got a Band-Aid?” It’s on much safer ground sticking to the hack-and-stabbage, though we could have done with some better lighting there. Disclaimer: we watched the 2D version, theatrically. Your mileage may vary in more dimensions, or at home.

On the plus side, we get a couple of bonus strong female characters. Lara Pulver makes a good impression as the scheming vampire, and Clementine Nicholson does a fine imitation of a low-rent Emilia Clarke, playing the Nordic Coven’s leading warrior, Lena (maybe another GoT nod in that name?). On the downside, the CGI werewolves still look awful, particularly during their transformations, and there’s another (sigh) vampire-werewolf romance, which works out as well as they always do i.e. not very. You’d think people would have learned by now. Then again, this is a universe where Kate Beckinsale is basically the same as she was in 2003 when the first film came out, and is still capable of kicking ass while being easy on the eye.

Interestingly, this entry was directed by a woman. Foerster makes her feature debut, though she has helmed episodes of Outlander, a show set just a few miles from where I grew up in Scotland. Sorry, that’s not relevant to anything – what probably is, is that Menzies played that series’s main villain. Foerster also did second-unit work on Aeon Flux and was director of photography on White House Down, so has action experience. Hard to say if this makes any particular difference to the tone here, but I generally  support more women directors in our genre, as they can potentially offer an alternative perspective. Here, though, it’s simply another entry in the franchise. If it’s unlikely to lure in or convert any new fans, those who appreciated the previous four entries are probably not going to come away feeling short-changed.

Dir: Anna Foerster
Star: Kate Beckinsale, Theo James, Tobias Menzies, Lara Pulver