Review: ‘Resident Evil: Welcome to Raccoon City’

Hollywood has struggled to make video games a viable movie franchise for over 30 years, and it’s a bit ironic that Paul W.S. Anderson Resident Evil would be the mold-breaker, spawning a series of six films that grossed over $1.2 billion at the box office.

Removing the active element when splicing dashboard properties to the big screen for a passive experience immediately eliminates the very thing that made them popular in the first place, so we often see developers Filmmakers doubled down on fan service and Easter Eggs to overcompensate. While all is well and good, it can often make lore impenetrable for newcomers, who are ultimately swayed by a flurry of visuals, references, and plot points. mean nothing to anyone but daredevils.

The closest comparison we can make to Johannes Roberts’ Resident Evil: Welcome to Raccoon City is this year Mortal Kombat reboot, because the fans will love it. The 1990s-set thriller is a treasure trove of delicacies and a nod to Capcom’s first two classics, but anyone outside of its target audience will struggle desperately to find anything. Whatever you like, don’t bother enjoying it.

It should be pointed out that this writer has never played a Resident Evil game and therefore has a knowledge of myths that can be generally described as painfully lacking. However, the whole point of making a genre wide movie based on a recognizable IP is to strike a good point between perception and recommendation, but almost nothing in it. Welcome to Raccoon City designed to appeal to those who haven’t tried the first two games.

It was a glaring mistake for Roberts to place the flash, and while you can’t fault his craft skills or his obvious appreciation for all things Resident Evil, much of the movie will leave those who haven’t started wondering exactly what the hell is going on, why it all matters, and why it’s been so dull for almost all of its 107 minutes.

That’s not to say Raccoon City was a disaster from start to finish, and it actually started off pretty strong. We meet young Chris and Claire Redfield at the iconic orphanage, long before they’ve grown up into the photogenic Kaya Scodelario and Robbie Amell. The atmospheric opening makes for a lot of weird intentions, introduces the always-welcoming Neil McDonough as the obvious villain William Birkin, and features some creepy realistic effects and scares. scared to jump.

From there, we fast-forward to 1998, with Claire of Scodelario on her way back to Raccoon City, acting on a trick handed down by a conspiracy theorist that the Umbrella Corporation is a crook. Back in town on a massive rig, there are some aesthetically-pleasing welcome period traps as early as the 1970s, but once the plot twists kick in, it returns to painful territory according to recipe.

It would be a one-sided disagreement to portray the rest of the characters like this, which is unfortunate, because they are all played by talented stars. Scodelario is the vengeful heroine seeking to correct her past, Chris’s Amell is the clean hero, Hannah John-Kamen’s Jill Valentine is the cannonball, Tom Hopper’s Albert Wesker is the cocky alpha male, Leon S by Avan Jogia. Kennedy is the rookie cop, Donal Logue is the mustached Sheriff Brian Irons who screams a lot, and Chad Rook is there as well as Richard Aiken.

If these names mean nothing to you, then you won’t be interested in any of these people. The actors do the best they can with the material, which is a particularly difficult task when the script allows you to deliver lines before they’re spoken and you’ll struggle to invest in the circumstances, their fate or their inevitable deaths unless you’ve taken a sip of Memberberries before taking your seat in the theater.

Welcome to Raccoon City It’s supposed to be a horror movie, but it’s not scary at all. It’s definitely R-rated and goblins should be satirized appropriately, but most of the scares are taken right from page 1 of the genre playbook. Flashing lights? Tick. Orchestral music? You bet. Is there something behind them that they still haven’t realized? Oh, yes. Issues that aren’t supported by CGI can often be so complex, you wonder if the post-production team is actively working on ways to recreate the PS1 visuals it has ever been. Skepticism is always key to things like this, but it’s hard to say that most of the gloom zombies don’t look convincing from afar even by the standards of a $40 million B-movie.

On the plus side, McDonough is having a tight blast on the scene, even as he also suffers from the insistence that all franchise-oriented fare must be determined by a climactic showdown. effect heavy. Jogia does well with a pre-written archetype, and Hopper brings his natural charms into a clear arc, while Amell and John-Kamen portray themselves as action heroes admirably when zombies attack fans.

In essence, what we have is a video game adaptation specifically and exclusively designed to appeal to those familiar with video games, and while that’s not necessarily a bad thing, it is. is a great loss to the entire work. An R-rated thriller set in the 1990s full of rapidly rising talent and respectable character actors battling an evil pharmaceutical corporation, genetically engineered zombies. capable of being very interesting, but the pervasive and steadfast desire to be relied upon Resident Evil the ultimate myth turns the kneecap any chance Welcome to Raccoon City broke out of the group and attracted the attention of anyone outside the designated target zone. Review: ‘Resident Evil: Welcome to Raccoon City’


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