Take a group of survivors. Have them hold out hope for a safe paradise in a zombie-ridden dystopia. Add Alice and Claire to the alliance, and a new Resident Evil is born. In the visual department, Resident Evil: Afterlife is undeniably a stunner. The effects in actual 3D are naturally impressive. More points go to the style factor in its neat creature designs.
Whilst exceeding in style, the film neglects substance in its storytelling, or lack thereof. A mission takes place on a rapid pace that leaves unanswered questions in its trail. Where did The Executioner come from? Does ammunition come without limits in the future? Are the coins bursting out from the monsters a homage to the Mario games? (Probably not.)
So it seems, director Paul W.S. Anderson has accomplished a visually competent video game adventure with nothing else to rave about. Most scenes only exist for in-your-face action, while there is virtually no room for heart.
None of the side-crew are very likeable, while they do not seem to like each other much either. There is also the unappreciated fact that they seemed to be built on racial and gender stereotypes, whether unintentional or otherwise.
The main draw remains to be the returning cast of experienced zombie killers, Ali Larter and Milla Jovovich. New addition Wentworth Miller makes a good soldier for the team. Ironically, he is once again the only man who knows the way out, only this time zombies are the walls of his cell.
Immediately discrediting their acting is a ludicrous script, though they sure as hell did try. “It’s a trap,” the characters announce with a straight face in the conclusion of a tough fight. Right before they strut through the ominous doors without a chance of hesitation, to our dismay.