Resident Evil: Retribution Reviews
30% is too much positive reviews on this.
I don't know why most people i know would attempt to like this!
Resident Evil was bearable,
Resident Evil Apocolypse was slight and worth fun,
Resident Evil Extinction shake too much,
Resident Evil Afterlife was the best sequel,
But This would have been fair if they replaced Jovovich into Scarlett Johanson,
Jovovich is an appalling actress. It's The Worst Of The Worst Resident Evils.
Horrible movie... It's a shame and is so disrespectful to the games. Too bad there's no less rank than half stars.
Exhausted, overdone and over capitalized, the extremely lucrative Resident Evil franchise has simply gone beyond it, and according to RE5's final scene; it's still not over. As indestructible as its badass poster-gal glutton-for-zombie-punishment heroin Alice (Milla Jovovich), Resident Evil always seems to claw its way back (and for some reason squished into a yet another version of its trademark figure-embracing bondage inspired latex suit).
The apt tiles of its predecessors always hinted at the individual installments main theme, Apocalypse, Extinction and Afterlife intertwined the films reasoning and premise. Retribution however lacks this anchor and could easily be replaced with repetition, replication, repeat or even redundant and result in the same effect. Even longtime series fans are reaching saturation point.
Director Paul W.S Anderson (who wrote all five parts and directed three) does a great job of replicating the games artificially lavish stylized imagery but sadly has become too comfortable, no longer feeling the need to push the visual bounds in any way. Feeling generic and recycled, the hyper-violent slow-motion vaults, sprints, summersaults and bullets hurtle themselves through overly familiar computer-simulated locations at each other and the viewers in 3D.
After a unique rewound slow-motion opening, the story is picked up straight after 2010's Afterlife conclusion. An introductory narration by Alice briefly explains that it has been a decade since the evil Umbrella Corporation released the self-evolving T-Virus on humanity, laying the world to waste and transforming its inhabitants into mindless cannibal zombies.
Since then the Immune part-human part-virus (and totally airbrushed) Alice has be besieged by a seemingly never-ending series of unnatural beings, waged war against the insidious conglomerates forces and is plagued by nightmares of her own making.
The hedonistic action shifts to a serene suburban neighborhood where the now average housewife Alice dotes over her hearing-impaired young daughter (Aryana Engineer) whilst her loving husband (Oded Fehr) makes a fool of himself spilling coffee. Abruptly, the obvious dream sequence ends when legions of the undead swarm the house and the real captured Alice shocks awake naked but for two towel strips (pathetically aimed at horny teenage boys) in the sadistic surroundings of an underwater city-simulation compound.
Designed to asses people's resilience and inert abilities, the test facility is comprises of different 'stages' each posing a new vicious threat. Dressing in her usual dominatrix inspired garb and donning an obscenely high amount of military grade artillery, Alice proceeds through the maze at lightning speed (considering her 'superpowers' were repossessed in part 4) to rendezvous with a group of allies, but some unexpected friends provide both help and hindrance to her mission.
Employing convenient plot device of cloning, the film is able to not only able to bring back fallen series favorites, but terminate them again and again in all manner of situations in complete disregard to logic. Fehr, Michelle Rodriguez and Sienna Guillory all reprise their roles in one way or another, satisfying series diehard's nostalgic needs whilst newcomer sidekick Li Bingbing adds fresh blood.
The Verdict: As illogical as a zombie feeding frenzy on a nuclear submarine in artic waters after the end of the world is the fact that there is an endless abundance of leather, bullets and genetic material to create clones seems to be the hard part so swallow. Gravity, storyline and logic all seem to have left the building, and I hate to admit it but I won't be far behind if this series doesn't find either a way to finish or get infinitely.
Published: The Queanbeyan Age
Date of Publication: 20/09/2012
With the producers apparently believing that the narrative of Resident Evil: Retribution actually matters at all, the film opens by taking viewers through the film's context by using flashbacks to the preceding films while Milla Jovovich delivers a generic monologue without a hint of emotion. This follows an action scene depicted entirely in reverse and is then followed by the same action scene in real time before getting to the point that every Resident Evil film opens up with: Alice Abernathy awakens confused as to the events leading up to teh contemporary moment. After this scene, she wakes up once again in a state of near-nakedness, so that establishes that the narrative has actually begun to proceed. But in no time it becomes clear that there is actually no story in the film. We already knew that Paul W.S. Anderson never had any stories worth telling within the Resident Evil universe based on the quality of every single film in the series, and after giving viewers context in the intro he doesn't even pretend like there is any story actually worth following in Resident Evil: Retribution. The viewer has to do the same if they are to enjoy the film because the lack of a story is burdened by the pretentious cliches in the dialogue.
If anyone is to enjoy Resident Evil: Retribution, it lies simply on the status of the film as a visual experience. For me, it was far from it. So removed from the idea of practicality, Paul W.S. Anderson pushes this entry into the series to be closer in tune with the Resident Evil films which are actually complete animations. I would be slightly more accepting of this abundance of artificiality if not for the fact that the visual effects are far from sufficient quality to create any credibility within the film whatsoever. There are only two types of visual effects shots in Resident Evil: Retribution: ones in which the green screen behind the characters are obvious and ones with the unnecessary addition of 3D which is even harder to miss. In the case of the latter, though better use of 3D is made than in most contemporary films, it still adds nothing to the experience. But in the case of the former, there are just way too many green screen shots to ignore. Milla Jovovich spends so much time on a green screen that the film almost feels like a promo for the Playstation 2 interactive camera EyeToy where she has to perform a bunch of dance moves in front of an obvious screen. Of course, it shouldn't be this obvious because the film has to maintain the illusion of narrative. Yet since it has no narrative and no convincing illusion of spectacle either, Resident Evil: Retribution just fails on every level.
Like I said, I was told that Resident Evil: Retribution offered the finest action scenes of the series. I can see that the film had the potential to offer this, but it was far from realized. There is clearly potential within the fight choreography, but it gets buried beneath an excess of changing angles over the course of too many quick edits. Though the editing is not of the same poor calibre that turns most Hollywood action films into despicable features aimed to cater to a PG-13 audience, it still makes its way into territory far from the idea of entertainment. By contrast to this speedy element, the action is extended by a a heavy quantity of slow motion which goes beyond surplus and pushes on developmentally disabled. Apparently having taken to Roger Mitchell's book on how to direct a film with Golden Raspberry Award winning results, Paul W.S. Anderson burdens Resident Evil: Retribution with enough slow motion to compete with the atrocious Battlefield Earth (2000). Problem is, Paul W.S. Anderson's film fails to reach the territory of being so bad that it's good.
And of course, the cast offers nothing to bolster the feature.
Milla Jovovich's performance in Resident Evil: Retribution is no better or worse than you could have expected. She delivers exactly what she has brought to the same role every time before, meaning that she offers a modicum of sex appeal, some impressive fight skills and a distinctive lack of emotion. The gimmicks get more tiresome every time, and in a film where the action is smothered beneath such poor direction there is little admiration for her shortage of skills this time especially. Milla Jovovich is a poor excuse for a lead, but to quote Jason Bateman "I don't know what I expected".
But this time, someone manages to actually bring less charisma to a Resident Evil film than Milla Jovovich. The godforsaken excuse for an actress goes by the name of Li Bingbing. Milla Jovovich may be poor, but you can tell at some moments that she is at least trying. From the beginning, Li Bingbing is so bereft of any charisma whatsoever that every word she says is stiff.. Most of the cast is forgettable, but the amount of screen time she gets in comparison to the amount of charisma she carries is way off the scales. Li Bingbing is, for lack of any more appropriate word, depressin.
You'd think that the return of Michelle Rodriguez would achieve entertaining results particularly considering that her action heroine status has just built in the years since she first appeared in Resident Evil (2002), but with the action scenes being no better than the screenplay she contributes success on neither levels in Resident Evil: Retribution. Michelle Rodriguez is the one cast member in Resident Evil: Retribution who actively deserves better than she gets, so I can only hope that her paycheck was big enough for the crime of taking her away from some other film which is likely to be much better.
Resident Evil: Retribution offers no story whatsoever and focuses on the CGI-overkill action scenes, packing its 96 minute running time with a reminder that Paul W.S. Anderson doesn't know how to be the slightest bit practical with stunts or sensible with the slow motion.