Resident Evil: Retribution

Title: Resident Evil: Retribution

Director: Paul W.S. Anderson

Released: 2012

Starring: Milla Jovovich, Michelle Rodriguez, Kevin Durand, Sienna Guillory, Shawn Roberts, Aryana Engineer, Oded Fehr, Colin Salmon, Johann Urb, Boris Kodjoe, Li Bingbing

Plot: Picking up directly after the end of “Resident Evil: Afterlife” Alice (Jovovich) now finds herself captured by the Umbrella Corperation and placed in an underwater facility which also doubles as a demonstration ground for the effects of the T-Virus. Now Alice must team up with the mysterious Ada Wong to escape the facility which is now under the control of a recently reactivated “Red Queen”.

Review: Its staggering to think at this point in the series that we are five films deep in the franchise which at this point has also gone on its own very unique path from the source material as we continue to follow the journey of Alice in her battle against the Umbrella Corporation and of course the zombie hordes created by the T-Virus. Still just when we thought the series had already gone way off the deep end Director Paul W. S. Anderson somehow manages to find a way to top it.

Seeing how the previous film ended on the fantastic cliffhanger of Alice on the deck of of the Umbrella Tanker Arcadia as she stared down a squadron of Umbrella Tiltrotors. Now half expecting the film to open with Alice being captured what Anderson gives us instead is actually something pretty special as we get to the events which transpired played out in reverse slow motion which honestly only serves to make it all the more impactful than if we’d seen it played out normally.

One of the strengths of the series has always been Jovovich’s performance as Alice a role she truly has made more and more her own with each film even designing Alice’s outfits through her own fashion line. Here though we get to see a new side to Alice as she finds herself waking up in a suburban dream life complete with husband and deaf daughter Becky (Engineer) only for dream to quickly turn into the same sort of zombie nightmare we saw at the start of Zack Snyder’s “Dawn of the Dead” remake. Here in lies the kicker for this instalment as Alice finds herself in a facility made up of large scale remakes of various cities such as Tokyo and New York which originally had been designed as a way of selling the T-virus to various countries replicating the rival country at the facility. This of course really is just an excuse for Anderson to craft a series of large scale and flamboyant action sequences as the film itself feels like one long shoot out, especially with the plot moving at such a fast pace.

The action throughout is great to look and while this entry perhaps features more heroic gunplay than previous entries with the introduction of Ada Wong here played note perfect by Li Bingbing whose performance was surprisingly dubbed well by Sall Cahill but watching the film I couldn’t tell . Ada as a character though is finally a character able to stand toe to toe with Alice and to see them working together in the film really was a thrill. Afterall why have one kickass lady when you can have two.

Each of the settings are unique enough to stand out and provides a decent change from another round of post-apocalyptic wastelands or the sterile facilities of the umbrella corporation. True none of it is shot with seemingly the slightest concern for what is realistic or not but its really hard to complain when its so much fun to have scenes such as a high speed chase through a simulated Moscow or an army of zombie soldiers. These scenes only being added to by Anderson’s visual style which here once again works really well.

This facility setting for the film also means we get to see the return of several characters such as James (Salmon) and Rain (Rodriguez) who get to return to the series as clones. Rodriguez in perticular getting to play two versions of herself as we see her playing her Strike team persona from the first film sent to hunt Alice and Ada aswell as the suburban version who plays like the complete opposite as she acts openly shocked at the idea of using guns. Yes I could have done without seeing Colin Salmon again, but then I can pretty much do without seeing him in most things., Rodriguez meanwhile is enjoyable as always and getting to see the super powered version at the end was only an added treat.

For some reason Anderson here also chooses to saddle Alice with a Deaf daughter, who its explained early on is infact a clone from the suburban simulation created to play her daughter. Of course knowing this Alice still shows a mothers devotion to the child perhaps because Anderson couldn’t find a way to morally justify dumping the kid without turning her into a zombie kid. Maybe this was just another way of working his obsession with James Cameron’s “Aliens” into the film and creating his own version of Ripley and Newt. At the same time you could also see the different settings the group travel through as being a nod to “Westworld” which was also reportedly another source of inspiration for the film.

Ending on another tantalising cliffhanger with Alice having her superhuman abilities restored and the sight of humanity making its last stand from the grounds of the fortified White House. Say what you will about Anderson as a director he really knows how to make an audience crave that next instalment.

Summer Wars

Title: Summer Wars

Director: Mamoru Hosoda

Released: 2009

Starring: Ryunosuke Kamiki, Nanami Sakuraba, Mitsuki Tanimura, Sumiko Fuji, Takahiro Yokokawa

Plot: Kenji (Kamiki) is a high school student with a gift for mathematics who also works as a part-time moderator along with his best friend Takashi (Yokokawa) for the VR World OZ which has replaced the internet for worldwide conectivity. However when an AI called “Love Machine” hacks Kenji’s account her is drawn into a battle with the entity before it takes over OZ.

Review: Following on from the success of “The Girl Who Leapt Through Time” Director Mamoru Hosoda here once more returns to give another unique spin on a fantastical subject, having previously combined High School romance with time travel for his previous film, this time he combines elements of a family reunion drama with a tech fantasy.

While it might have been enough to set the film within the virtual world of Oz which is introduced at the start of the film as this sprawling network of information were users create unique avatars which they can then use to interact with other people to play games, socialise or even conduct business there really is no limit to what you can do, all the while watched over by its guardian whales John and Yoko. This of course provides the perfect area for Hosoda to conjurer up any fanatical idea he can think of. Needless to say its rather fitting as we become ever more dependent on living our lives on the net that Hosoda would craft this story which really questions if perhaps with a more fantastical edge what would happen if the network contracted a virus that took it all out.

The other element to the plot concerns Kenji being invited by his friend and fellow student Natsuki (Sakuraba) to her great-grandmother Sakae (Fuji) 90^th birthday being held at her estate, were to his suprise he finds himself introduced to her family as her fiancé. This of course is the least of his worries though as its safe to say that Natsuki’s family are a colourful bunch to say the least as we soon get to discover aswell as how one of them is connected to Love Machine.

The world of OZ while essentially a white background with characters superimposed on the top so that they fly around the central structure of this world and yet its a world which perfectly works for this idea of a super information hub, especially once the battle against Love Machine starts as it becomes one which can be turned suddenly into any structure Hosoda needs and enables him to craft some truly exciting sequences such as showdown between Love Machine and Natsuki’s cousin Kazuma whose avatar King Kazma takes the form of a samurai rabbit.

While the majority of the film takes place in the virtual world we also get a sizeable portion spent with the oddball characters of Natsuki’s family who ultimately become key in beating Love Machine as they perhaps alittle to coincidently all come with either skills or access to resources that Kenji needs and leading to the slightly surreal scenes of a supercomputer suddenly being delivered let alone a ship being dumped in the koi pond to power it and yet somehow none of them are able to chase up a few fans to keep the computer cool leading to the ground instead filling the room with large blocks of ice, which seemed kind of strange considering everything else they’d put together on the fly.

Despite their usefulness the family group I felt could have benefited from losing a couple of members as while on one hand its amusing seeing Kenji trying to deal with this huge group while on the other we end up with several members feeling supplemental and underdeveloped. That being said they are still a colourful group of characters and help hold your interest when not in the virtual world. It can be assumed that the decision to have such a large family unit was derived from Hosoda’s own large family and this ends up just being one of those overly sentimental nods that just doesn’t quite play out.

The animation is unquestionably vibrant throughout with every character being animated it makes it only the more enjoyable to see what each character is doing on the screen, rather than just using looped animations that other productions might use for their background characters. The crispness of the animation is none the more clear than those in the virtual world which at times can feature hundreds of unique characters bringing back fond memories of “Paprika”. Again like our real world characters the avatars we encounter in this world come with their own personalities let alone distinct designs which of course only adds to the scenes when you have large groups on the screen. True a lot of these avatars are more simple designs than those belonging to main characters like Love Machine or Kazuma’s Samurai Rabbit avatar King Kazma.

An entertaining film which with its engaging visuals and colourful characters makes for a great companion piece to the likes of “Paprika” as Hosoda juggles multiple genres to craft a truly fascinating anime which reminds us that anime goes a lot deeper than giant robots, ass kicking schoolgirls and tentacle porn a stereotype which Hosoda seems more than happy to break.

Antiviral

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Title: Antiviral

Director: Brandon Cronenberg
Released: 2012
Starring: Caleb Landry Jones, Sarah Gadon, Malcom McDowell, Douglas Smith, Joe Pingue, Nicholas Campbell, James Cade, Lara Jean Chorostecki

Plot: Syd March (Jones) is an employee at the Lucas clinic selling injections of live viruses harvested from sick celebrities to their obsessed fans. Syd unknown to his employers also has a sideline supplying illegal samples of these viruses to piracy groups, smuggling them from the clinic in his own body. However when he becomes infected with the disease that kills super sensation Hannah Geist (Gadon), Syd must unravel the mystery surrounding her death before he suffers the same fate.



Review: It’s always going to be difficult for the offspring of a famous director when they decide to follow in their parents footsteps and throw their hat into the directorial ring. Meanwhile the more cynical critics eagerly await the first opportunity to draw comparisons between their work and that of their more established parent, while often covering for their stalled attempts at breaking into directing by sneering that the sole reason they are able to make their film is due to their parents legacy. It’s an attitude I try to avoid when faced with these circumstances….well except when its the likes of the intolerable Peaches Geldof.

Thankfully safe to say he has made an intriguing debut to say the least, while one which at the same time seems equally at home amongst the familiar themes of his father, especially seeing how the two seem to share a love for the themes of infection and mutation, which have served his father so well over the course of his career and it is something very key to this film which fully embraces them with the same warped fascination Cronenberg snr. does. Equally at the same time he has also found  certainly unique way of exploring society’s on going obsession with celebrity as the Lucas company deals on a warped version of these celebrity obsessions, were obsessed fans can for a price be infected with the same diseases as their idols. Still it would seem it is not enough to just peddle these celebrity diseases, seeing how the company employees have turned their trade in disease and infection into what could almost be seen as an art form, as especially seen during a scene in which Syd is shown advising one client one the best location to receive a shot of a celebrity herpes to replicate contracting said disease through a kiss.

Set in what could only be perceived as being the near future, seeing how Cronenberg doesn’t seem to have much of an interest in doing anything to assign a particular date to things, mixing things up frequently by combining shots of the sterile white minimalist offices of the Lucas clinic with essentially the flipside which in this case is the downtown traders who deal in celebrity steaks in an environment much like a butchers shop, only here dealing in manufactured celebrity flesh than any of the more traditional sources, something which trader Avid (Pringue) assures Syd that it’s not quite cannibalism – But they’ll get there soon enough. Despite playing both sides of the celebrity disease trade, Syd is still a low level player on either side, but given a chance to take a sample from his employer’s biggest client Hannah Geist he soon finds himself in a situation he is far from equipped to deal with, especially when Geist suddenly dies. This of course is a situation only made worst by the fact that Syd intentionally infects himself with the diseases he is smuggling, leading him not only a desperate quest to find out what exactly she was infected with, but also caught up in a game of industrial espionage, as both sides try to claim the virus he is carrying.

Bizarrely considering this is his main plotline, things are played surprisingly straightforward and at times perhaps alittle more underplayed than I would have liked, especially when he only occasionally throws in a surprise twist to maintain the audiences interest, with more of his focus seemingly on the more surreal moments of the film which includes a random biomechanical transformation seemingly coming out of nowhere while the tone he has chosen here is decidedly icy throughout while he is at the same time clearly striving to carve out his own film making identity still manages to draw comparisons to the later films of his father. However throughout Cronenberg is keen to not take things to far into the fantastic realm, while allowing himself a brief fantastical moment, by giving his virus’s a blurred face as part of a copy protection system, due to diseases being viewed as highly guarded intellectual property.

While the subject matter might present every opportunity for gooey visuals, things are surprisingly kept fairly restrained and with none of the grotesque and warped flesh which made his father’s work so memorable. Despite this what gore we do get is effectively used with Cronenberg’s sterile whites only appearing more effective when used as the background from the frequent splashes of crimson blood, while the main focus is clearly with the slowly deteriorating condition of Syd. Still by showing this restraint he does keep the focus with the plot, rather than distracting the audience with imaginative visuals.

The real strength of the film though comes from the casting of Jones, who might at first sight might seem like the cheaper alternative to casting Michael Pritt, with whom he shares a strikingly similar resemblance to. Still despite Jones not having the same star power, especially with his most memorable role to date being as Banshee in “X Men: First Class”, yet despite this he fully embodies the role of Syd, taking on an almost vampire like persona with his pasty white skin and social awkwardness, never smiling and with his sole focus on life being with the sale of his biological wares, rather than anything resembling a life outside of his trade, especially when the closest we see that he has to a friend being with underground trader Avid.

Elsewhere Cronenberg has managed to assembled an equally strong supporting cast, which includes Malcom McDowell (who seems to be trying to currently beat Nicolas Cage for sheer workload) in a brief but none the less effective appearance. Though with Cronenberg putting such focus on Syd, most supporting characters do tend to get overshadowed, especially with Jones giving such a fascinating performance which makes me eager to see what he does next especially with his career at this point only just beginning.

I guess my main issue with this film  is that essentially nothing really happens and while it might be all very pretty to look at with the ideas well handled it still makes a testing watch for the less open minded movie goer and even with Cronenberg trimming six minutes off the original run time it can still at times be a an infuriating watch. Nevertheless it is still a fascinating debut and one which shows him keen to establish his own style even if his choice to work with such similar subject matter to his father makes him open to comparison still, while leaving me curious to see how he follows it up.

Doomsday

Title: Doomsday
Director: Neil Marshall
Released: 2008
Staring: Rhona Mitra, Bob Hoskins, Malcolm McDowell, Alexander Siddig, David O’Hara, Craig Conway, Adrian Lester, Chris Robson, Leslie Simpson, Sean Pertwee, Darren Morfitt

Plot: In 2008 the reaper virus was discovered in Scotland, infecting hundreds and killing millions, leading the authorities to quarantine Scotland from the rest of England to prevent the prevent the virus spreading further. Three decades later the virus appears again in London and Eden Sinclair (Mitra) and a team of specialists have been sent back to Scotland to search for the elusive Dr. Kane (McDowell), while in the time since the quarantine has caused those who survived to become brutal savages



Review: For one reason or another I’ve never got around to watching this film until recently when it happened to be on “Sci-fi”, so recalling that it was somewhere in depths of the “Lovefilm” rental list I thought I’d actually give it a watch, especially seeing how the list currently stands around 475 queued titles, I doubted that it would be getting watched anytime soon otherwise, especially with the reviews on it’s initial release being pretty much meh! With this in mind I can’t say that I was exactly expecting much from this film.

Right from the start there is a creeping sensation of Déjà vu, as the military forces gun down a frenzied mob of the potentially infected, in scenes all to reminiscent of “28 Weeks later” (2002), with this feeling only growing throughout when it suddenly becomes clear that Marshall is attempting to use the Tarantino style of film making by scrapbooking and adapting scenes and ideas from his favourite films and while Tarantino takes his inspirations and gives them his own unique spin to create a multi layered homage to the cinema he adores, were as here Marshall seems to be simply cutting and pasting scenes were needed into his Scottish setting, which at times seems to the sole original element on hand and while it largely works, it certainly took me more and more out of the film, every time one of these lifted sequences appeared as I tried to remember were I’d seen them before, with the inspirations coming from the predictable such as “Escape from New York” (1981) and “Mad Max” (1979) with Eden’s character being an amalgamation of the leads of those two films, with the loner attitude and eye patch of New York’s Snake Pliskin and the cold personality of Mad Max’s Max Rockatansky with both drawing this nature from their surroundings aswell as the trauma of losing a loved one, with Eden losing her mother during the opening riots, causing her to become isolated from the rest of society. Still despite being a combination of two of cinema’s greatest antiheroes, Eden stands up well which is no doubt largely on part to a believable performance by Mitra, seen here in one of her first leading roles, with the original intention of giving her a handful of witty one liners being thankfully removed, while more questionable aspects such as her bionic eye work surprisingly well, while only adding more much needed originality to her character. Still both of those films director atleast get some recognition in the form of Soldiers Miller and Carpenter, though this felt like brick to the face in the terms to subtly much like Marshall’s blatant plagiarism of ideas.

Marshall’s vision for his quarantined Scotland is certainly an interesting one as the action is split between the apocalyptic and savage city, which I’m sure we are supposed to assume, is Glasgow which is now under the anarchic rule of Kane’s son Sol (Conway) who is one half psycho while the other half is pure side show barker as he rules the punk like Marauders with a mixture of violence and alternative cabaret which also includes an interesting use of the Fine Young Cannibals track “Good Thing” which has a whole bunch of interesting imagery now attached to it, thanks to this film like much of the 80’s influenced soundtrack, with Marshal originally aiming for an equally 80’s synth track, but later opting for a heavy orchestra score instead.
The flip side to Marshall’s vision comes in the form of Dr. Kane’s Medieval influenced empire, were he has established himself as a Col. Kurtz esq figure and despite the country being in quarantine it certainly hasn’t stopped his group from using authentic looking medieval outfits and weapons, yet no mention of how he managed to convince his numerous followers to go along with the idea of taking things literally medieval. This sudden change of surrounding does however mean that you end up feeling that the group have somehow stumbled into another movie altogether.

The action sequences are all handed well from the city foot chase sequences and Mitra handles herself well in a fist fight with Marshall providing a good action quota throughout and even finding space for a couple of car chases, which again draw heavily from their inspiration with the first taking it from “Aliens” and the second seeming like a mash up of the best bits of the Mad Max trilogy, with the location being exchanged for the Scottish Highlands, which although it’s exciting to watch in places with some clumsy camera placement causing the illusion of high speed to seriously be lost to the point were pedestrians would no doubt be moving quicker than some of the vehicles..

As a director Marshall hasn’t really won me over with his films to date with both “Dog Soldiers” (2002) and “The Descent” (2005) being largely forgettable, while his last film “Centurion” (2010) was enjoyable enough but not enough to make him a director worth watching for future projects and I can’t say that this film really changed that opinion, even though it surprisingly proved to be a largely fun film despite it’s flaws, while it’s blatant plagiarism prevents it from becoming little more than disposable fun, even though Marshall seems all set to take us back to the Apocalyptic highlands judging by the open ending, I personally think that one trip is more than enough for most but the least cinematically educated of viewers.