Tag: r

Random Acts of Unkindness by Jacqueline Ward

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Literary rating: ★★★★
Kick-butt quotient: ☆☆

Manchester Detective Sergeant Jan Pearce is part of an investigation into local crime lord, Connelly, whose family has managed to evade the reach of the law for decades. Indeed, this is the second recent investigation, the previous effort having collapsed, apparently due to procedural blunders. But the boss isn’t taking it lying down, beginning a campaign of intimidation against those investigating him. This hits DS Pearce, with the disappearance of her teenage son, Aiden: she’s convinced this is retribution from Connelly. But neither her colleagues on the force, nor her ex-husband, Sal, agree – they think Aiden simply ran off.

When investigating one of Connelly’s properties, Pearce finds the body of an old woman – along with a bag of cash and her hand-written memoir. It turns out the deceased, Bessy, and Jan had something in common – both had sons that went missing. As she reads the memoir and proceeds with the investigation of Connelly, Pearce gradually realizes that might not be all she shared with Bessie. But the truth about what is actually going on, in the underworld hidden below the working-class estates of Northern England, is infinitely more terrible than either of them would ever have imagined. And considering Bessy thought her son might be a victim of the infamous Moors Murderers (whom she refers to, only as “him” and “her”), that’s saying something.

I’m very much impressed by the way Ward is able to write in two entirely different voices. The sections which are Bessy’s writings, are completely different in tone and style from Jan’s, to the point it almost feels separate novels have had their chapters intertwined. The two women are opposites in many ways. Jan is a career policewoman, who has sacrificed a lot for the job – maybe too much, including her marriage and perhaps even her relationship with Aiden. Meanwhile Bessy is a housewife of the 1960’s, with no interest at all beyond being a home-maker. But the sudden loss of their child turns their worlds upside-down, and forces them to reassess what truly “matters”. Bessy’s life is, literally, never the same again, and there’s undeniable poignancy there, especially near the end of her story.

Both exhibit an utterly dogged determination to pursue what they see as the truth, regardless of the cost or what others may think. In Jan’s case, that leads her into direct peril, because she’s going up against some very dangerous people, who have good reason to prefer privacy. There’s a certain amount of happy coincidence needed for her to unravel the threads, yet there’s no denying her bravery, intelligence and tenacity. The special ops skills, of surveillance and its avoidance, don’t hurt either, though I’d have liked to see more of them being put to use. While the first in the series, it works as an entirely stand-alone novel. If you manage to see where this is going before it happens, you’re a better armchair detective than I.

Author: Jacqueline Ward
Publisher: Novelesque, available through Amazon in both printed and e-book versions.

Reign of Bone and Steel by Erin St Pierre and Gwynn White

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Literary rating: ★★★
Kick-butt quotient: ☆☆½

This certainly doesn’t waste any time, starting in the middle of a brutal pitched battle between the kingdom of Yatres, and their mortal enemies, the Nyhans. Among the Fae – basically, elves – in the former army is the warrior Caeda, and it’s her side that emerges victorious. But the price paid by the fallen on both sides is an ugly one. Their souls are absorbed through a magical sword, wielded by the Fae known as the Soul-Reaper, and fed to an artifact called the Bone. The trinity of Bone, sword and Reaper have helped sustain Yatres’s power down the centuries.

But while the nation is celebrating its victory, the Soul-Reaper is killed and the Bone stolen. Worst of all, for Caeda, the sword – which is intelligent, telepathic and very chatty – chooses her as the new Soul-Reaper. Caeda and her new pointy pal have to figure out who was responsible, before the power in the Bone can be wielded by the state’s enemies. Yet the more she interacts with the sword, the more she realizes that the soul energy powering Yatres is morally indefensible. Caeda comes to realize, the only legitimate thing she can do, is ensure the Bone is not returned to the service of her king either.

It’s an unusual mix of fantasy and whodunnit, with no small helping of romance. Caeda falls for Dominik, the scion of a the King’s closest advisor (who may, or may not, be involved in the Bone theft); unfortunate, since he is already engaged to be married to the Princess Taliesin. To be honest – and, let’s face it, as usual – this is likely the weakest element in my eyes. The heroine is a supposedly kick-ass warrioress, and certainly proves capable on that front, when necessary: in a world ripe with magic, it’s a nice touch that she doesn’t have any such skills. Given her apparent self-reliance, the speed with which Caeda melts into making moist, googly eyes at Dominik is almost embarrassing. The book also ends painfully abruptly, as if the authors had reached a predetermined word-count, though this is more likely a misguided effort to flog volume two.

It’s a shame, as this wasn’t bad until the cliffhanger which serves no purpose other than commercial. Pierre and White do a nice job of world-building, and the borderline insanity of the intelligent sword, a result of the unfortunate circumstances surrounding its creation, was particularly effective. Imagine having Gollum inside your head 24/7, and you’ll understand why the usual fate of Soul-Reapers involves being driven to insanity. Indeed, there’s a little from Lord of the Rings in the overall concept, with the hero(ine) seeking to destroy a powerful device which could be used for evil. However, the undercover nature of Caeda’s mission, which she can only share with a trusted few, is a good twist, and there’s enough fresh here to make for an enjoyable read.

Author: Erin St Pierre and Gwynn White
Publisher: CreateSpace, available through Amazon as a printed book. It also forms part of the Dominion Rising collection for Kindle.

The Assignment

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★★
“(Gender) Identity crisis”

I’m a big fan of any film with an outrageous premise, and this one certainly delivers. Mob hitman Frank Kitchen (Rodriguez) carries out his latest job with no qualms, killing a debtor. What he doesn’t realize is, the victim’s sister is a talented but EXTREMELY twisted surgeon, Dr. Rachel Jane (Weaver). She vows to take revenge on Frank by removing what she feels matters most to him: his masculinity. Kitchen is knocked out, kidnapped, and wakes up in a seedy hotel room, to find herself in possession of a couple of things she didn’t have before, and missing something she used to have. But gender reassignment does not make the (wo)man, and an extremely pissed-off Frank vows revenge of her own, both on Jane and Honest John Hartunian (LaPaglia), the former employer who betrayed Kitchen.

Said director Hill, “Is it lurid? Yes. Is it lowbrow? Well, maybe. Is it offensive? No. I’m just trying to honor the B movies that we grew up with.” Maybe he needed to take that actual step and actually be offensive. For I guarantee you, something like Ilsa, She-Wolf of the SS clearly did not give a damn about anyone who took offense at the concept, and was all the better for it. The only time this succeeds in provoking similar feelings of “What is this and why am I watching it?”, is when we get to see Rodriguez come out of the shower as male Frank, sporting a prosthetic penis.

The issue here is not the concept: if you have an issue with it, the solution is simple enough. Don’t watch. It’s fiction. It’s not intended to be an accurate portrayal of gender reassignment surgery, any more than Face Off was a documentary about facial reconstruction. I’m more amused by the reactions of people who can’t distinguish reality from cinema, asking questions like “Why is gender reassignment being depicted as a cruel punishment?” The answer is blindingly obvious: because it results in someone trapped in a body that’s the wrong sex for them. I would have thought the trans community might empathize with that. Apparently not.

No, the problem is… It’s not actually a very good film. It’s told mostly in flashback, Dr. Jane telling her story in a straitjacket to a psychiatrist, Dr. Ralph Galen (Shalhoub), and this helps leads to a muddled and confusing structure, when a straightforward linear narrative would likely have served the story better. The action scenes are also almost perfunctory: I’d have expected a lot better from the man who gave us an all-time classic in The Warriors. Mind you, that was a long time ago [though the script which formed the basis for this, also dates back to the seventies], and he hasn’t done anything of note since – pauses to check Wikipedia – uh… Last Man Standing, maybe? That was 1996. I saw it in a Dublin cinema, and fell asleep. Though that might have been the Guinness.

It may also have been a misstep (cisstep?) to have Rodriguez play both halves of Kitchen. She’s fine on the female side, delivering her usual tough attitude, entirely befitting the project’s original title, Tomboy. But she’s less than convincing as an “actual” man, looking more like Captain Jack Sparrow after a metrosexual makeover. I did like Weaver, delivering a mix of coolness and taut insanity that is interesting and unsettling to watch. However, the negatives outweigh the positives, and we’re left with a film that’s difficult to defend, purely on an artistic level. It is, however, the first time I’ve ever been uncertain whether a film should be included here, due to uncertainty over the “heroine” part of “action heroine”…

Dir: Walter Hill
Star: Michelle Rodriguez, Sigourney Weaver, Tony Shalhoub, Anthony LaPaglia

Red Sonja: Queen of Plagues

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★★
“A not-so-animated feature”

The rating here is largely based on my (I’d say, not unreasonable) expectation going in, that this would be actual animation. It isn’t. This appears to be, what I’ve since learned is called, a “motion comic”: think of it more as an illustrated radio play, with voice actors playing the parts in front of somewhat animated panels. And when I say, “somewhat”, I mean there is typically no more than one thing moving on them e.g. a character’s mouth. I can see comics for which this approach would work; unfortunately, a heavily action-oriented story such as Red Sonja is not among them.

It’s a shame, as the story and voice acting are both quite well-done. Sonja (Lee) and another prisoner are rescued by King Dimath, from a dungeon where they had been forced to fight other captives for the amusement of their captors. Years later, Dimath sends Sonja a call for help. His kingdom has fallen prey to a plague, and a horde is about to sweep through it, intent on salting the earth to prevent the disease spreading. And, wouldn’t you know it, commanding that horde is Annisia (Strom) – who just so happens to be Sonja’s co-captive from her time in the dungeon. Her experiences have pushed her into quite a different psychological path, shall we say.

It reminds me more than a little of the Xena: Warrior Princess arc which pitted Xena against her own blonde nemesis from the past, Callisto. That’s not a bad thing, and there’s no shortage of strong female characters, such as the bow-wielding bodyguards Dimath dispatches to stand alongside Sonja. Admittedly, they are more used to taking out rabbits – which may or may not be a Holy Grail reference. Yet what they lack in combat experience, they more than make for in the effusive complimentary terms by which they address Sonja, e.g. “your radiant ladyship,” “majestic blade mistress,” “our glorious sword princess” or even “she of the excellent cleavage”!

Lee certainly gives it her all, and so do the rest of the cast. It’s just that this needs a far greater range of motion than it gets here. These should be epic battle scenes, drenched wall-to-wall in blood and flying body parts – not still panels, with maybe an arm holding a sword moving slowly across the frame. If this had been the full-on animated feature I was expecting, all the other pieces are in place for it to have surpassed, by far, the woeful Brigitte Neilsen movie. It’s a damn shame the approach taken, instead robs all these aspects of their vitality and energy. What you’re left with falls short of reading the comic, because you have someone else turning the pages.

It’s barely an adequate place-holder for the proposed live-action version. That feature has been circling development hell since it was announced in 2008, with names as diverse as Rose McGowan, Megan Fox and Amber Heard linked to it. Last I heard was Feb 2015, when a new writer came on board. At this point, I’m certainly not holding my breath…

Dir: Gail Simone
Star (voice): Misty Lee, Becca Strom, Shannon Kingston, Tyler Nicol

The Rowdy Girls

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★★★
“If Andy Sidaris directed a Western.”

rowdygirlsThe self-awareness of the film’s own silliness is clear, virtually from the start in which a singing cowboy – referred to in the credits as a minstrel – strolls through the countryside, crooning his ballad of the titular ladies. He pops up intermittently throughout to narrate, and it does a good job of setting the tone: clearly, this is not intended, in any way, to be a serious look at historical life in America. It is, very much, gyno-centric: beyond the leads, this was also written by two women, including India Allen, who was the 1988 Playmate of the Year. Not just a pretty face, then.

The three characters at the center have different stories, that all end up taking them to the same place. Velvet McKenzie (Tweed) has bailed out of her life in a bordello, with a travel-bag full of cash, and is travelling disguised as a nun. Sarah Foster (Brooks) is similarly making a break, fleeing an arranged marriage and heading for San Francisco, on the same wagon as Velvet. But in their way is Mick (Strain), member of an outlaw gang and the leader’s lover; the group rob the stagecoach, taking both Velvet and Sarah hostage. The attack is interrupted by the local sheriff, until Mick slides a knife between his ribs; that just sets his younger brother, Joe Pepper (Varga) on the trail of both the criminals and their captives.

No shortage of curvy nudity here, as you’d expect given the cast, though it certainly qualifies as being at the tasteful end of the spectrum. There is probably more of a plot than you would expect too, with loyalties and alliances shifting over the course of the 87 minutes, and despite its B-movie origins, the production values are better than certain Troma movies I could mention [though I’m not entirely sure about the credibility of some of the costumes, which appear more Victoria’s Secret than 19th-century Western America!] Strain is particularly fun to watch, not least because her 6’1″ frame towers over some of the male cast, and her attitude is equally imposing, but Tweed, well into her forties at the time, is by no means outclassed.

Sure, the makers of this have set their sights low, not appearing too interested in offering up much more than a soft-core exercise in historical inaccuracy. Adopting a tongue-in-cheek approach to the whole thing was thus likely a wise movie, effectively defusing most of the (numerous) critical arguments which could be made against it. Manage your expectations, therefore, and those expectations will be met. For as soft-core exercises in historical inaccuracy go, you could certainly do an awful lot worse. Below, courtesy of Troma, you’ll find the whole thing, so you can judge for yourself!

Dir: Steven Nevius
Star: Shannon Tweed, Julie Strain, Deanna Brooks, Richie Varga

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.

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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
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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.

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

Roommate Wanted

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★★★
“Share today, gone tomorrow.”

If this concept sounds familiar, it should. Because this bears a strong resemblance to 2003 Japanese film 2LDK. Most obviously, both films are virtually single-location set pieces, in which the relationship between two room-mates devolve over the course of the feature, into a full-on brawl. Perhaps even more damningly, the original working title for this was 2BR/1BA – exactly like 2LDK, real-estate shorthand. [I wonder where the new title came from, since there’s no “wanted” at any point here] Yet there’s not even a “based on” credit to be seen, and no apparent acknowledgement of any inspiration. Hmm.

roomatewantedOn the other hand, if the plot has more than some similarities, the tone and approach are different here. There’s much more in the way of social commentary here, with the disparate personas of the two young women. [Indeed, so disparate, you have to question how the heck they ever ended up sharing a house] Jamie (Vega) is serious-minded, the kind of person who labels her food in the fridge, and seeking to pursue an academic career, but desperately needs funds to cover tuition at her chosen college. Dee (Grammer) is a party girl, whose days are filled with going to the gym and tanning, while her nights are filled with tequila and casual sex.

The culture clash between them is obvious, and provides most of the dramatic tension, as well as the more comedic aspects. For instance, Dee offers to make Jamie a smoothie, and on being reminded the latter is vegan, replies that she’ll use low-fat milk. Grammer nails the vapid, wannabe model-type perfectly, yet there’s an undercurrent of bitterness (particularly, as things turn out, toward Jamie and her perceived superiority) and you get the sense she’s smarter than she appears. Jamie has her own set of insecurities to deal with; as well as her tuition situation, she just broke up with her boyfriend after finding a thong in his car’s glove-box. Might Dee be able to shed some light on that?

Where this isn’t as good as 2LDK is in the mayhem. The Japanese version was, literally, no-holds barred, up to and including the use of a chainsaw. Here, there’s rather too much of the protagonists standing at a distance and lobbing things at one another. While the cynical social commentary and bite can make up some of the difference, this needs to amp up the brutality significantly, and include more surprises. When a point is made of a giant fish-tank in the living room, you know it’s only a matter of time before it’s going to come crashing down in a mini-tsunami of water, broken glass and flailing fishies.

Then there’s the ending. It could be the greatest ever. Or the worst ever. I’d listen to arguments, and could be convinced in either direction. It certainly is… a shocking ending. I should say no more than that. We will remember it, that’s for sure. But we’ll be more likely to watch 2LDK again, and an interest in doing so, is likely the main takeaway from this unofficial reboot.

Dir: Rob Margolies
Star: Alexa Vega, Spencer Grammer, Kathryn Morris, Bryan Dechart