One common critique of the Terminator franchise is that after the first two films, each subsequent terminator model (the T-X, T-RIP, T-3000, and REV-9) feels less threatening despite being more technologically advanced than the T-800 and the T-1000.
Why is this? Perhaps it’s because in the first two films, the characters are under-equipped to take on the terminators, and even those who are trained and know about their opponents (Kyle, the T-800) are aware that they aren’t going to win in a one-on-one fight and act accordingly. Their goal is to stay alive and not fight unless there is absolutely no other choice. They’re underdogs, and there’s a very real sense of danger every time they face the T-800 and the T-1000.
Starting with Terminator 3: Rise of the Machines, though, the characters become more willing to fight and are better equipped: in T-3, John, Kate, and the T-850 gain a large cache of weapons. In Salvation, humanity knows about terminators and has the weaponry to take them on. In Genysis, Sarah and Pops have built up an arsenal of weapons over several years and are unfazed to take on the T-3000. And in Dark Fate, Sarah and Grace are battle-hardened warriors unafraid to take on the Rev-9. As a result, the sense of danger is largely gone. The underdogs are no longer underdogs.
There are many ways for the Terminator series to make the terminators frightening again, but I think one important lesson is to take inspiration from, of all places, 1993’s Jurassic Park: the park’s game warden, Robert Muldoon was a big-game hunter armed with shotguns and decades of hunting experience, but even he was scared of facing velociraptors, only doing so when he had to. If the Terminator franchise gives its protagonists and robotic killers the same relationship, that can help restore the sense of danger and terror that’s faded since 1991… that, and stopping the terminators from just throwing everyone around instead of snapping necks and punching out hearts.
Once in a while, you come across a moment in a story that is so perfect that it stays in with you for years, or even a lifetime. These are moments that, in my opinion, are flawless; perfect gems of storytelling that cannot be improved in any way, and are a joy to treasure and revisit again and again.
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The Video:
Why it’s Perfect
Like many people, I was surprised and a little dismayed with the recent announcement that we’re getting another Toy Story sequel. Not because I hate the series, but because Toy Story 3 already had a perfect ending that tied everything up. Then Toy Story 4 came along and undid it all, and had an ending that had nowhere near the emotional weight it was going for. The thought of Pixar trying to undo that makes it seem like Disney is just trying to wring more money out of a story that should have ended for good over twelve years ago.
While it probably will be nothing like this fan-made pitch on what Toy Story 5 should be about, the idea here is fascinating: if Toy Story 3 was about accepting the inevitability of loss, and Toy Story 4 was about eventually finding a new path for yourself once your purpose in life is complete, then Toy Story 5 should logically be about accepting the inevitability of death. This pitch does a great job of setting that up… and then it ends with a scene that would be the most powerful, most emotional, and most heartbreaking thing Pixar has EVER done. If you haven’t seen the video yet, please do so before reading any further.
Done? Okay then.
The thought of Toy Story 5 ending with Woody reuniting with an elderly Andy on his deathbed, and Andy realizing that Woody is alive is an idea that’s so simple, but emotionally powerful. After decades apart, two old friends reunite for the last time, and Woody breaks the golden rule of toys to never reveal themselves as being alive to comfort Andy on his deathbed. And for a little while, the two reminisce about their lives before both of them pass away together of old age.
Pixar is almost certainly going to do something different than this idea, but if they went with this, it would be the perfect way to end the series for good. At its core, the Toy Story saga is about a toy’s relationship with his owner. And while they naturally grow apart as the series goes on, having them reunite at the very end shows how both have grown and changed, yet the love they have for each other is still there. As the the series’ theme song says, ‘our friendship will never die.’ It faded as time went on, but bloomed in full at the very end.
To close out my analysis and summary of the Resident Evil movies, here’s my own personal ranking of each film in the series, starting from the least enjoyable and working its way up to the most enjoyable.
It has threegoodscenes and twogreatmusical pieces, but no amount of production values, music, or cool sequences can save a generic zombie film with the Resident Evil brand slapped onto it at the last minute. This is a Resident Evil film in name only, and is the most disappointing overall.
The Final Chapter feels like the first draft of a script written by someone who wants to end the series on their terms without caring about what came before. Not only is the story filled with retcons that don’t work, it also suffers from disposable characters and awful editing that makes the movie physically painful to watch. However, the film does have some good ideas, some gorgeous post-apocalyptic scenery, and the surprisingly effective ending saves the movie from being a complete failure.
Favorite Scene: The ending, where Alice is given Alicia’s memories and sets out to continue fighting the undead.
Of all six films, Apocalypse is the one that feels like the most faithful adaptation of the games, due to following the basic story of Resident Evil 3: Nemesis, complete with corresponding characters, monsters, and Nemesis himself coming to life via fantastic practical effects. Plus, LJ – while a walking stereotype – is a welcome source of comic relief. Unfortunately, Alice is at her worst here, acting like a smug high schooler who thinks she’s the toughest girl around and doesn’t give a shit about anyone but herself, going out of her way to steal everyone’s thunder for her own glory.
Favorite Scene: Nemesis attacking the STARS members and sparing LJ
Retribution is in the unenviable position of being a commercial for The Final Chapter, and rewatching it knowing that all of the plot points it sets up will never be fulfilled makes it a bittersweet experience. However, it does has a lot of funactionsequences, the greatest variety of locations from any of the films, and the ending is still the best in the series.
The most original film of the series, Extinction is a satisfying, post-apocalyptic, Mad Max-style daylight horror film set almost entirely in a desert wasteland, a setting that has never appeared in the games. Coupled with good action sequences, a fantastic third-act fight against Dr. Issacs, and agreatsoundtrack, it’s a fun film that succeeds at carving out its own identity while staying true to the Resident Evil spirit.
The best film of the series is a blast, starting with an exciting assault on Umbrella headquarters before turning into a perfectly-paced siege film with plenty of memorable action sequences, including a fight against the Axeman, who’s my favorite monster from the games, and like Nemesis, was brought to life perfectly, and finishing with a duel against Albert Wesker, the most memorable character in the series. While the cliffhanger ending does prevent the movie from being self-contained and acting as a satisfying series finale, the rest of the film is a great watch, and I always enjoy watching it again and again.
Favorite Scene: The battle between Claire and the Axeman, which is my favorite scene of the entire series. The water, that massive axe, the music, all of it is just perfect!
Imagine that the year is 2001, and you’re off to see Peter Jackson’s adaptation of JRR Tolkien’s The Lord of the Rings: The Fellowship of the Ring. You love the books and can’t wait to see them brought to life on the big screen! You get your popcorn, take your seat, eagerly wait as the lights go down… and then watch a movie that follows a bunch of characters you’ve never heard of as they infiltrate a fortress never mentioned in the books. None of Tolkien’s characters appear, and while a few monsters do menace the heroes (orcs, uruk-hai, and a warg), the story ultimately has nothing to do with his books.
How would you feel after the movie was over? Probably infuriated that you got something that has a passing resembles its source material but is more interested in showcasing the writer’s own ideas than the story you paid to see. That’s what the Resident Evil films feel like: a series of movies that had a mountain of material to take inspiration from, but chose to go its own way for better or worse. And while the films were critical failures, they were financial successes, going on to become – for a time – the most successful live-action video game movie franchise, and the most financially successful horror film series in history.
But no matter their financial and critical success, the Resident Evil films were always destined to be B movies meant to provide lots of action and thrills with little to no philosophical musings about the human condition or discussions of morality. And by that criteria, the films largely delivered on what they set out to do, thanks to three things:
1. All the films have simple stories with clear, achievable goals for the characters.
2. They take the basic idea of the games (zombies get lose and have to be stopped before they infest the world) and expand on it (zombies get lose, take over the world, and have to be stopped before the human race is wiped out) in a way that feels true to the spirit of the series, allowing fans to see characters and monsters from said games in new and unique scenarios.
3. They have lots of unique action sequences featuring monsters and characters from the games, sometimes re-created shot for shot.
Yet, for all their success, the films don’t quite reach the height of what they could have been; they suffer from an overarching story that feels disjointed and held together with staples, duct-tape, and Elmer’s school glue when viewed back to back, due to said story being made up film-by-film as the series went along. And while all the elements for great action movies are present, the biggest obstacle holding the films back boils down to one thing: Alice, the main character.
For all the anecdotes listed above, the Resident Evil films have another, unofficial distinction: they’re the most expensive fan-fiction story of all time in that they follow an original character throughout her adventures in the Resident Evil universe. And like poorly-written fan-fiction, said character is a black hole sue whom the entire universe revolves around. Everyone, and I mean everyone, is either:
1. Trying to kill or capture her.
2. Taking orders from her or trying to save her, often at great risk to themselves.
3. Admiring how awesome she is.
Furthermore, Alice is extra-special in-universe because she’s one of only two people in the world to successfully bond with the T-virus without any side effect, the other being Angela from the second film. But then Alice gets a one-up on Angela by becoming the only person on Earth to get psychic powers, and then she gets an army of clones who also has psychic powers, and then she defeats the Umbrella corporation and saves the human race from extinction, sacrificing her life in the process, only to return to life, making her a modern-day Jesus (if Jesus went around killing zombies with guns and psychic powers, that is).
But did you notice something about that description? The established characters from the games – Jill Valentine, Chris Redfield, Claire Redfield, Carlos, Albert Wesker, etc. – have almost no part to play in the fight for humanity. While they may shoot guns and kill zombies, they’re reduced to supporting characters, only existing to help Alice accomplish her quest. If they get a moment to do something cool that has nothing to do with Alice, she’ll swoop in and steal that moment (see: Jill trying to save Becky, Claire trying to defeat the Axeman, etc.).
While she has her sympathetic moments, and ultimately goes from being an unlikable jerk to a heroic clone trying to save the human race, there’s no escaping the fact that Alice is the biggest problem with the Resident Evil films. If she had been replaced with, say, Jill Valentine, and not gotten any special powers, we would have gotten a series that went like this:
Jill Valentine – a cop with the Raccoon City police department – teams up with her allies to fight off a zombie apocalypse, only to learn that their employer, the Umbrella corporation, is responsible for the outbreak. Armed with nothing but guns, their wits, and their determination, Jill, Claire, Chris, Barry, Carlos, Nicholai, Sergei, Leon, Ada, and newcomers Luther, LJ, Rain, Chase, and Betty roam the apocalyptic wastelands, trying to stop Umbrella and save the human race, eventually having to team with their arch-nemesis Albert Wesker in a final, desperate assault that leaves them just narrowly managing to save the human race and destroying Umbrella once and for all, allowing Jill and her friends to begin rebuilding a ruined world.
Doesn’t that sound like a great story? If we had gotten that, it’s my belief that the series would have been better recieved by both fans and critics. But instead, it was foiled by a newcomer who shoves everyone else aside so she can be the messiah. And in that lies the one lesson the ‘Resident Evil’ films offers to writers:
When adapting a franchise from one medium to another, stay true to the spirit of the source material while keeping the focus on established characters instead of newcomers.
While things will inevitably be changed in any adaptation, writers need to still present the story fans come to see. Tell the story from the original book, show, or game, respect said story, and use new ideas and new characters to compliment and support the original, not overshadow it.
Viewing the Resident Evil films years after the series concluded was a fascinating experience for me: I can’t think of any other series adaptation that has good production values, a real sense that the filmmakers were trying hard and learning from their mistakes, but still runs the gauntlet from awful to fantastic (in a B movie way). Most frustrating is that there was always the feeling that the films were always a few inches away from reaching their full potential, and it does happen a few times! Most of the action sequences – save those from the last film – are a lot of fun, the post-apocalyptic world is well done, the monsters are mostly great, and, despite all the changes made, it really does feel like a Resident Evil story come to life… it’s just not the one we should have gotten.
In the end, despite its missteps, the Resident Evil film series mostly accomplishes what it set out to do, in my opinion. It started weak, gradually got better, reached its zenith, then fell flat on its face at the end, but managed to get to its feet and cross the finish line. If you’re a fan of action movies, zombies, horror, and video games, I believe they’re still worth a watch. But most of all, they’re an important reminder that when we, as writers, are adapting someone else’s work, we’re stewards for that story. It is up to us to faithfully adapt it as best we can and respect it, even when we have to make changes. If we deliver a faithful and respectful adaptation, we’ll not only delight long-term fans, but introduce others to a world that they’ll want to explore, guiding them towards the original books, games,and stories, ensuring that a beloved story will earn a new generation of fans and be kept alive for years to come.
There are a lot of great quotes about writing out there; these are some of the most insightful, thought-provoking, or ‘ah ha!’ ones I’ve come across.
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“It’s not just that he’s perfect manifestation of our modern heroic ideal. Superman is a character who essentially casts a purifying light on a cynical world. For both the audience, as well as the fictional world he inhabits, he is someone whose power is great, but his motivations are simple.
He just wants to help.
He just wants to do the right thing.
There’s nothing complicated, nuanced, or elaborate. There doesn’t have to be with Superman. He is just a big, strong boy scout. He’ll engage in an epic, multiverse-spanning fight Darkseid one day and save a cat from a tree the next. Both are equally important to him. He doesn’t even see it as being a hero. Being good, being kind, and doing the right thing is just part of who he is.”
-Jack Fisher, describing what makes Superman such a great character
The above is a snippet of a post by author Jack Fisher on his official blog regarding the departure of Henry Cavill from his role as Superman in the DC cinemantic universe. There’s much more on the full post, where Mr. Fisher eloquently sums up why the character has endured for almost a century in pop culture, and why we need him ever, but this bit is one of the best descriptions of Superman I’ve ever read, and would be something that all writers of Superman – whether in comics, TV, films, or games – would benefit from remembering.
It’s the evening of January 26th, 2017. Five years have passed since ‘Resident Evil: Retribution,’ and two friends and I leave the theater, where we were the only people to watch the premiere of ‘Resident Evil: The Final Chapter.” As we enter the lobby, one of the theater employees asks us how it was. I tell him about the film’s ludicrous mistakes, continuity errors, and how it wants us to care about all the newcomers, like Bearded Man, Blue Shirt Girl, That Guy With The Skull Sword, etc., and how it so desperately wanted me to feel sad when Blue Shirt Girl is chopped into mincemeat via a giant fan, despite the fact that she had been on screen for maybe two minutes and I knew nothing about her.
The longer I talk, I realize just how absurd everything is that’s coming out of my mouth to the point where I laugh at realizing I’ve watched one of the worst films in recent memory. Now, having watched the film for the first time in six years, I’m surprised to find that the passage of time has softened my views and made me realize that ‘The Final Chapter’ isn’t bad: it’s hilariously awful.
Join me now as we take a look at the comedic masterpiece that is ‘Resident Evil: The Final Chapter.’
What does the film do well?
It has a cool armored vehicle
Post-apocalyptic films frequently show humanity creating wicked-looking vehicles to help them survive in the wastes, and ‘The Final Chapter’ features a particularly cool mobile command tank equipped with missile launchers, miniguns, hidden compartments for storing motorcycles, nasty spikes, and the ability to communicate with Umbrella headquarters. Granted, all this firepower can’t kill someone driving away from it in a straight line, but it’s still a cool design that almost single-handily destroys the tower Claire and her fellow survivors have taken in, and is a worthy adversary for them to take on in a fight.
It has two memorable villains
Despite being sliced to bits in ‘Extinction,’ we get not one, but two Dr. Issacs in ‘The Final Chapter’: One is a clone who’s an insane religious fanatic, and the other is is the original Issacs, the calm, collected CEO of Umbrella ultimately responsible for the T-virus outbreak, making him the main villain of the entire saga… and unlike other greedy CEO’s, he’s a shockingly good fighter who can hold his own against Alice thanks to some nifty implanted computer technology that lets him dodge bullets, predict what his opponent is going to do, and even heal him after a grenade blasts out his torso, and would have killed her if she hadn’t used her wits to win.
It has the triple-barreled shotgun from the video games
The post-apocalyptic world is a great place to utilize awesome weapons, and what’s better than a sawed-off shotgun? A sawed-off shotgun with three barrels! It may not survive past the movie’s halfway point, but it’s still a cool gun that gets a decent amount of use.
It goes back to where the saga started
‘The Final Chapter’ takes place almost entirely within Raccoon City and the Hive, the locations of the first two movies. For the final film in the series, coming back to where the story began not only gives the story a chance to revisit old locations and reveal new areas within them (such as the cryogenic chamber and that sweet office located beneath the Hive), but to also let the audience reflect on how much has happened since Alice woke up in that shower stall so many years ago, and how she’s changed since her quest to destroy Umbrella began.
It brings back one of the characters from the previous films
Aside from Alice, Wesker, and Issacs, the only returning character from the previous films is Claire Redfield, who is now the leader of the survivors based in Raccoon City. She may not have much to do other than run, shoot guns, and accompany Alice into the Hive, but it’s nice that Alice gets at least one ally from the previous films to help her out, including helping her take on Issacs at the climax.
It gives the Umbrella Corporation a clever motive for everything they’ve done
The biggest revelation of ‘The Final Chapter’ is that instead of the viral outbreak being the result of corporate sabotage and greed, the outbreak was done on purpose: After realizing that Earth was heading towards global catastrophe due to climate change and societal breakdown, Issacs decided to release the virus to ‘cleanse’ the planet so that Umbrella could repopulate it afterwords.
While it may fall apart upon closer inspection (see the entry below on retcons), this revelation not only shows how cold and heartless the Umbrella corporation really is, but also reveals that Issacs is the main villain of the entire series, a man responsible for the murder of billions of people. And shockingly, the plan is… logical. While it’s a horrific, immoral plan that no sane person would dare go through with, it does make sense on a cold, logical level. The best villain plans are ones where the viewer pauses and wonders if they might have a point, and this revelation is an excellent example.
It concludes the series, yet still has an open ending
Unlike so many other franchises (especially horror) that claim to have final chapters, ‘The Final Chapter’ actually follows through on this promise in a clever way: Alice manages to release the airborne antivirus, which will cover the globe and destroy all the zombies, monsters, and undead, saving humanity. The only problem is that it will take years for this to happen, giving Alice plenty of time to continue roaming the earth and killing monsters.
This is a great example of the ‘And the Adventure Continues’ trope: It concludes the series’ story, but lets our imaginations run wild at all the adventures Alice will have as she roams the world (assuming she isn’t eaten by those three bat-things seconds after the screen cuts to black).
What could have been done better?
It could have edited the film so it didn’t look like a 2000’s music video
Here on Imperfect Glass, the focus is primarily on story and characters instead of production values and the physical aspects of filmmaking, but I’ll make an exception to say that the editing on ‘Resident Evil: The Final Chapter’ is awful.
If there was ever a film to showcase why ultra-fast editing with handheld camera shots should be permanently done away with, ‘The Final Chapter’ is it.
It could have not made so many retcons (that don’t work)
Beyond the awful editing, ‘The Final Chapter’ is most notable for featuring numerous retcons that alter the saga’s storyline all the way back to the first movie. While retcons are not a bad thing in and of themselves and can add new and exciting ideas to enhance past events, none of ‘The Final Chapter’s retcons work. At all.
1. In ‘Retribution,’ the Red Queen had taken over Umbrella, gone homicidal, and wanted to wipe out all life on Earth. But in ‘The Final Chapter,’ she still works for Umbrella and wants to help Alice save the last remaining human survivors by bringing Umbrella down.
2. The Red Queen states that she cannot harm an employee of the Umbrella Corporation, forgetting that she killed everyone in the Hive in the first movie. (maybe they were independent contractors?)
3. In ‘Retribution,’ Wesker made it clear that he broke Alice out of Umbrella Prime in order to give her back her psychic powers so she could help him defeat the Red Queen and save humanity. But in this movie, the Red Queen tells Alice that Wesker only pretended to give Alice back her powers, and that his plan was actually a trap in order to kill her and everyone else.
This plan makes no sense. If Wesker really wanted to kill Alice and everyone else who could stop him, then here’s what he needed to do:
-Go with his strike team to Umbrella Prime.
-Plant the explosives and follow team into Umbrella Prime.
-At the first opportunity, abandon the strike team and head back to the surface.
-Detonate the explosives to destroy the facility and kill everyone in it, including Alice.
-Head back to the Hive, enjoy alcoholic beverages, and play Mario Kart 64 to pass the time while waiting for the T-virus to finish wiping out all life on Earth.
4. The aforementioned retcon of Umbrella purposefully releasing the T-virus is a great idea… but the first film clearly shows that it was released in the Hive as an act of sabotage, and subsequently released into the open by idiotic Umbrella operatives. ‘Extinction’ showed that Umbrella was trying to find a way to control the zombies and stop the outbreak instead of just waiting for the virus to do its thing, ‘Afterlife’ had Umbrella kidnapping survivors to use them as test subjects to make even more powerful zombies, and ‘Retribution’ had the Red Queen-controlled corporation trying to wipe out all life on Earth (despite the Red Queen wanting to save humanity).
To be generous, it is possible that while Umbrella high command knew of the plan, their underlings and armies of clones didn’t and were trying to contain and control it, but why make all those clones in the first place? And why would Issacs make not one, but two clones of himself? And if Wesker is part of Umbrella high command, why would he stay awake for the apocalypse and run around instead of staying asleep with everyone else? Wouldn’t Issacs have wanted to keep him under instead of risking Wesker betraying him?
5. The second film established that Charles Ashford created the virus to save his little girl from dying, but this film says that it was actually a man named James Marcus who discovered it to save his daughter from dying. So who was it that ultimately created the T-Virus?
6. Alice says that the US government nuked Raccoon City when it was clearly the Umbrella Corporation that fired the nuke in an attempt to keep the virus under control (and again, if they had purposefully released the virus, why bother trying to contain it?).
7. It’s stated that the T-virus is airborne and infected the world in days after escaping Raccoon City… but at the end of the film, it’s said that it will take the antivirus years to spread to every corner of the globe via the same method. Yes, it traveled faster with jet planes, but it’s still airborne. Furthermore, it’s been established in every film so far that the T-virus is spread via bites from the undead; if the T-Virus is airborne, everyone in the series should have been infected by the end of the second movie and turned into zombies.
It could have brought back the characters from the cliffhanger ending of the last movie and removed all the new ones
Arguably the most exciting idea from the end of ‘Retribution’ was the thought that Wesker, Alice, Leon, Jill, and Ada would join forces to save humanity in ‘The Final Chapter’ after an awesome fight at the White House.
It doesn’t happen, and the battle we want to see is already over when the film starts. Like ‘Alien 3’ and ‘Terminator: Dark Fate,’ which both killed off some of their most important characters in the opening minutes, ‘The Final Chapter’ kills Leon, Jill, and Ada (and presumably, Becky) before ‘The Final Chapter’ even starts. They’re never seen, never mentioned, and Alice doesn’t even mourn Becky, who she fought so hard to save in ‘Retribution.’
Now, while killing off beloved side characters can and often is a bad idea, it can work: Focusing a story entirely on the main character and their attempts to overcome grief and loss while trying to save others is a powerful story idea and give us even more reasons for us to care for them. That could have worked with ‘The Final Chapter,’ had it focused mainly on Alice. Problem is, the film introduces a horde of new characters to work with Alice, and none of them are memorable. We have:
1. Doc, the group’s medic, Claire’s boyfriend, and a traitor who works for Umbrella
2. Post Apocalyptic Leather Guy Who Hates Everyone And Has A Goofy Skull Sword
3. Blue-Shirt Girl
4. Bearded Guy Who Never Talks
5. Guy From Issac’s Tank
6. That Other Guy
The climax of a story is not the place to introduce hordes of new characters: You don’t have time to do it well enough to get the audience to care about them, and the purpose of a climax is to see the characters who have gone on a journey reach its end. We’ve invested time following them and want to see how their story ends. Introducing one or two new characters can be pulled off (Denethor from The Return of the King, for example), but writers need to focus on resolving the journey of those who have come this far.
It could have made Wesker the main villain
As if things couldn’t be more disappointing, Wesker, the suave, smug, and oh so fun to watch villain from ‘Afterlife’ and ‘Retribution,’ is butchered in ‘The Final Chapter.’ Instead of being the ultimate bad guy who everyone has to work together to even stand a chance of defeating, he’s an incompetent adversary who spends the movie giving the Red Queen orders, preparing alcoholic drinks like a James Bond villain, and eventually resorts to waking Issacs up to stop Alice, all because Wesker failed to close a door hours before Alice got even close to Raccoon City.
It’s hard to imagine Wesker dying any more pathetically, short of choking to death on a pretzel; as a refresher, Wesker survived getting his brains blown out in ‘Afterlife,’ and then survived an explosion powerful enough to destroy a city-sized subterranean complex. Having him die in such a laughable manner is insulting to the character. To be fair, killing off such a powerful villain is always a hard task, doubly so if writers have had them survive impossible odds in the past. But while a memorable death scene can be the most satisfying moment of a story, a laughable death scene is memorable, too, but for all the wrong reasons.
It could have had a more memorable final boss fight
The finale of ‘The Final Chapter’ has Alice fighting Issacs to get the antivirus, then running to the surface to release it. While it works fine as it is, it would have been more gripping if Issacs had been replaced by Wesker, and their final fight wasn’t in the laser hallway, but something similar to how Wesker is fought and killed in Resident Evil 5. While putting a volcano underneath Raccoon City wouldn’t make sense, having it take place in an area similar to one of the final boss fights of Resident Evil 6 would work equally as well.
Plus, if the film had brought back Chris, it would have been an opportunity for him to punch a boulder into lava. Goofy, yes, but it would have been a guaranteed crowd-pleaser. But most likely for budget reasons, the final fight is a simple fistfight in the laser hallway from the first film. It works, but feels like a missed opportunity.
Conclusion
Even now, all these years later, it’s still shocking to see how the final chapter of Anderson’s saga fell flat on its face. While it does have some good ideas, and manages to have a good final few minutes, it’s not enough to save the film as a whole. But what about the series as a whole? Join us next time when we examine all six films at once and see what conclusions can be made about the series and the lessons it offers to writers about writing video game movies.
After 12 long years, Indiana Jones is coming back to theaters for his final adventure in ‘Indiana Jones and the Dial of Destiny,’ the trailer for which was released a few days ago:
Jokes about Indy whipping kids off his lawn aside, part of the fun after seeing the trailer and reading Empire’s exclusive coverage of the upcoming film is theorizing about what’s going to happen. So far, this is what we know for sure:
*The film takes place in 1969
*The opening features Indy fighting Nazis in the 1940’s.
*Indy’s main adversary is a former Nazi
*Sallah is back
*Indy has a goddaughter
Beyond that though, everything is up for grabs. But after a few days of thinking and brainstorming, I think I might have an idea about what will happen in the film… and if it turns out to be true, then Indy will face his single greatest challenge of his life, and find the fate of Earth in his hands.
To begin with, let’s start with a very interesting quote from Empire Magazine regarding Indy’s nemesis, Jürgen Voller:
Considering how the film has long been rumored to feature time travel, this quote seemingly all but confirms that it will be present in some form: After all, what would an ex-Nazi love more than the chance to go back in time and use more modern technology and advancements to give the Nazis what they need to win World War 2?
There’s another hint that this might happen: Empire’s magazine features a special subscribers-only cover featuring artwork inspired by the film. Looking at the picture and Indy’s body language makes me think of a man who is baffled at seeing something beyond his comprehension, like someone who has been transported from his own time to another (notice how Indy’s hair is dark, not white). Perhaps Indy’s watching New York City be morphed into something different; maybe that light is some sort of cosmic wave washing over New York and morphing it into an alternate version of itself due to messing with time?
There is, however, a far more sinister interpretation: What if the light doesn’t represent some sort of time-warping wave, but the Sun Gun? For those who don’t know, the Sun Gun is a hypothetical superweapon that the Nazis were researching as early as the 1920’s. To quote Wikipedia:
“The scientists calculated that a huge reflector, made of metallic sodium and with an area of 9 square kilometres (900 ha; 3.5 sq mi), could produce enough focused heat to make an ocean boil or burn a city. After being questioned by officers of the United States, the Germans claimed that the sun gun could be completed within 50 or 100 years.”
If Voller really wanted to help the Nazis turn the tide of the war, what better way to do it than by spending 24 years researching rocketry, technology, and weapons, and then using time travel to go back and give that research to Nazi scientists, who could then use rocket technology of the 1960’s to leap ahead of the Allies, construct the sun gun, and use it to incinerate Allied cities, armies, and fleets? Nowhere on Earth would be safe, and there would be nothing the Allies could do to stop the Nazis. It’s conceivable that what we’re seeing on Empire’s cover is the power of the sun being used to incinerate Manhattan with Indy watching on, helpless to stop it… unless he uses time travel to make sure the gun is never made.
Of course, this is all speculation, and we’ll have to wait until June 30th of next year to find out if the theory is true or not. In the meantime, here are a few other thoughts:
*What if the train that Indy rides in the 1940’s is the fabled Nazi gold train? He might find something of great importance on it, including research into time travel, or the dial itself. The train appears to be very well-guarded, suggesting that there’s something very valuable on it.
*If Indy does time-travel to a version of a world ruled by Nazis, it’s conceivable that he’ll run into Hitler again, giving him a second chance to either punch him or shoot him. After all, if he restores the timeline, then Hitler will die as he does historically, giving us two Hitler deaths for the price of one!
*Speaking of time travel, if it is involved, we’re likely to see Del Glocke, another Nazi superweapon that will likely be used as a power source, or as a way to find and retrieve the Dial of Destiny.
*Time travel may seem like a cheesy gimmick, but since this is Indy’s last adventure, I think it can be used well if handled carefully: As he nears his 80’s, Indy is seen as an old relic from a different time, someone who has no real place in the modern world. But thanks to his efforts, he manages to save everyone, and can walk off into the sunset knowing that he literally saved the world from being taken over by the Nazis. If you’re looking for a perfect ending for one of the most famous cinematic heroes of all time, it’s hard to top that.
Once in a while, you come across a moment in a story that is so perfect that it stays in with you for years, or even a lifetime. These are moments that, in my opinion, are flawless; perfect gems of storytelling that cannot be improved in any way, and are a joy to treasure and revisit again and again.
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The Video:
NOTE: This video has language that is not safe for work.
Why it’s Perfect
Another Thanksgiving has come and gone, and as we all settle down into our post-dinner comas, we dream of finally being able to put up all the Christmas decorations once again.
But with Christmas comes something else: something malevolent, malicious, and that infects the soul. No matter where you go, no matter what you do, you cannot escape it. But no one who works in our stores can escape it, and they will spend the next month fighting off the madness that will attempt to destroy us all. Please spare a moment to thank them for their sacrifice so that we can continue to get the consume goods we need while they struggle not to go insane.
What is this evil? Well, just watch the video and find out. And if you have scars from having to wrestle with this madness then you’ll hopefully get a laugh out of it like I did.
With the onslaught of legacy sequels we’ve gotten over the past several years that seek to keep telling stories in franchises that should have arguably stayed finished, I was thinking about which ones had a successful passing of the torch: that is, having a new set of characters take over from older, more famous ones, and was drawing a blank.
Then I realized that we have gotten one story that perfectly passes the torch, and it came out over 30 years ago: ‘Star Trek VI: The Undiscovered Country.’
But wait a moment, you might say, none of the characters from ‘Star Trek: The Next Generation’ or ‘Voyager’ or ‘Deep Space Nine’ show up! I would say that you’re correct, and that’s why ‘Country’ works so well: the classic crew get one last story that is focused entirely on them, they get to save the galaxy, the Federation, and democracy without any help from those who will come after them. And when their task is done, they triumphantly sail off into the sunrise (metaphorically speaking) and a journey that began 25 years prior finally comes to a heartwarming end.
Why does this work so well when so many other passing-the-torch stories fail? Because the classic characters have one last adventure all to themselves. They’re not teamed with younger characters the audience isn’t interested in, nor do these newcomers upstage them. The newcomers – in this case, The Next Generation crew – pick up the torch in their first story, and prove to the audience then that they are worthy of carrying it without having to tear down or upstage those who came before.
To contrast ‘Country,’ consider the fourth Indiana Jones movie, ‘The Kingdom of the Crystal Skull’: Indy is accompanied by Mutt, who upstages Indy a few times, helps rescue him, insults him, and infamously almost puts on the famous fedora at the end. Now imagine the same movie, but without Mutt: Indy gets more opportunities to save the day, foil the villains, and do awesome stuff with Marion (and in a perfect world, Henry Jones Sr., Sallah and a grown-up Short Round). At the end, he marries Marion with all his friends present and sets off to a happy and well-deserved retirement. Afterwords, Mutt is introduced in his own movie and given the chance to prove himself worthy of being an adventurer without upstaging Indy or stealing his spotlight.
The lesson here? Let your classic heroes get one last adventure all to themselves before bringing in someone else to keep a franchise going. Let them have their grand finale, their satisfying end, and give their fans closure and the satisfaction of knowing that they saw a great story from its beginning to its end.
‘Resident Evil: Afterlife,’ could have – with a few minor changes – worked as a satisfying end to the Resident Evil film series. But with the cliffhanger ending of Alice, Chris, Claire, K-Mart, and other survivors facing a fleet of Umbrella VTOL’s while armed with nothing more than handguns, shotguns, and the power of positive thinking, it was inevitable that we’d get another followup (that, and earning 300 million at the box office). Sure enough, we got ‘Resident Evil: Retribution’ two years later.
Let’s take a look and see what the fifth entry in the series does well and what could use some improvement.
What does the story do well?
It has a memorable title sequence
It has no ultimate impact on the film’s story, but ‘Retribution’ features the most unique opening of the series, depicting Umbrella’s assault upon the Arcadia, but played in reverse.
It’s a great way to get the viewer’s attention by showing Alice’s defeat and the end of the battle first, and then depicting how it got to that point. Having a great soundtrack helps, too!
It has a great cold open to grip the viewer
After the Umbrella attack and Alice’s defeat, ‘Retribution’ cuts to Alice waking up in a suburban home where she’s married to Carlos (who blew himself up two movies ago) and has a deaf daughter. Unfortunately, her suburban bliss is interrupted by a zombie attack that ends with Carlos becoming a zombie and then killing Alice.
Much like the opening to ‘Extinction,’ this is a great sequence because the audience is trying to figure out just what’s going on because it flies in the face of everything we know about Alice: is it a dream? A hallucination? Something from a parallel universe? As a bonus, it also lets us see different versions of Alice, Carlos, and Rain, all three of whom have no combat skills or fighting experience, making their fight to survive all the more gripping. It’s a great way to get our attention while setting up the reveal about the cloning facility later on
It has a great setting
Although the film’s tagline is ‘Evil goes Global,’ ‘Retribution’ actually takes place almost entirely within Umbrella Prime, an underwater Umbrella facility off the frozen coasts of Russia, which houses recreations of famous global cities that are used to test the T-virus. Now trapped inside, Alice and her allies have to fight their way back to the surface before everything is blown to pieces. It’s a great setting for an adventure story that allows the characters to visit a large variety of locations instead of a single environment like the previous films (an underground lab, a city, a desert, etc.).
It has the best ticking clock yet
‘Retribution’ continues the series’ tradition of having a great ticking clock to keep the plot moving, and this is arguably the best one: Alice and her friends have just an hour and a half to escape from Umbrella Prime before it’s destroyed, taking them with it. That countdown gives every action they take and every delay extra weight.
It has more characters from the games
‘Afterlife’ was one of the most entertaining films in the series due to having more elements from the games (Wesker, Claire, Manjini zombies, the executioner, triple-barreled shotguns, and Chris Redfield). ‘Retribution’ continues that trend by having series regulars Leon Kennedy, Ada Wong, Barry Burton, and everyone’s favorite, Sergei Vladimir (you remember him, right?) joining returning faces like Wesker and Jill, the latter of whom gets a much bigger role here as the main antagonist. While these newcomers may not have great characterizations or much to do besides mowing down zombies, it’s still fun to see them on the big screen,
It shatters the status quo
One of ‘Retribution’s best scenes takes place at the end of the first act, where, in a little over five minutes, the narrative of the series is expanded and changed in interesting ways that shatters the status quo.
Among those changes are:
1. The Red Queen has taken over Umbrella and seeks to destroy all life on Earth.
2. Because of this, Wesker has defected from Umbrella and now fights against the corporation.
3. Wesker, Alice, and everyone else must unite to stop the Red Queen, or humanity is doomed.
These changes mark a turning point for the story of the Resident Evil film series, and smartly lays the groundwork for the series finale. We’re not there yet, but we now know what’s at stake and this helps wet the audience’s appetite for said finale.
The main antagonist is now an ally
I’m a sucker for enemy mine stories, and having Albert Wesker now working with Alice and the others against Umbrella has incredible storytelling potential: There’s nothing quite like having an antagonist deciding to join the victims, and seeing their different outlooks, personalities, and histories clashing against each other, which has endless opportunities for not only drama, but the possibility of the antagonist achieving redemption. And one little touch about Wesker’s turn is that he’s now effectively the leader of the United States. In other words, the series’ most awesome villain is now the president of the United States! Awesome!
It brings back the coolest enemy
It’s always a risk to bring back fan-favorite characters, especially if there’s not a good narrative reason to do so, but thanks to Umbrella’s cloning powers we get to see the Executioner return from ‘Afterlife,’ and watch not one, but two of them battle Alice and Ada in the streets of (fake) New York.
While the scene ultimately doesn’t contribute to the story, it’s still great fun to see a great monster come back for an encore performance.
The final battle is different from all the others that came before it
In all the previous films, the climaxes involved defeating a single, overpowering monster or escaping an explosion, often with a hefty dose of CGI. ‘Retribution,’ however, features a massive melee battle between Alice, Jill, Rain, Leon, and Luthor in a snowy field where they have to rely on their fists and hand-to-hand combat abilities and find a way to stop an almost unkillable Rain without relying on guns.
Unlike previous battles where Alice had the upper hand or won fairly easily, she is resoundingly beaten by Jill and would have died if not for freeing Jill from Umbrella’s mind-control at the last second. And as a bonus, it’s satisfying to see Jill – who has always had her thunder stolen by Alice in previous films – get her revenge. Or, rather, her retribution, if you will.
It has the best ending and the best cliffhanger of the series
Cliffhangers are an inherently risky storytelling trope, but when pulled off well they leave the audience excited and eager to see what comes next. ‘Retribution’ does so with flying colors, ending with Alice, Jill, Ada, Leon, and Wesker joining forces in the ruins of Washington DC and preparing for their last stand against an army of undead sent by the Red Queen. Freaking. Awesome.
What could the story have done better?
It could have removed the opening flashback
Though it’s a tradition for each Resident Evil film after the first to recap what happened in the previous movies, it is starting to wear a little thin. And after four movies, it’s safe to assume that people who are coming to watch ‘Retribution’ are fans who know what happened already, making the flashback summary unnecessary.
It could have removed Alice’s bleeding
At two times in the film, Alice looks down to find herself bleeding from a wound in her side… but nothing ever comes of it. Cutting these shots out would have freed up thirty seconds that could have been invested in character moments.
It could have eliminated the cloning aspect
‘Retribution’s biggest draw was the return of several deceased characters from the past films, including Carlos, Rain, and One, via the magic of cloning. However, the film doesn’t do anything with them: the characters show up, shoot bullets, and then get killed. While it’s a stretch to imagine that a zombie action movie would explore the moral delimas of cloning, it doesn’t use the cloning idea in any meaningful way: Pacifist, anti-gun Rain never meets her cold, heartless self, for example, and at one point Ada talks about how Umbrella uses clones and how they’re all disposable; you’d think it’s setting up some interesting moral ideas that will be explored later on (such as Alice seeing clones as people instead of disposable test subjects), but nothing comes of it. In hindsight it might have been better to remove the cloning aspect entirely and perhaps have all the test subjects at Umbrella Prime be prisoners that Umbrella has captured, which would force Alice and the others to decide if they could risk spending the time to save them or continue on and leave them to die to ensure Alice’s survival.
It could have removed the Las Plagas parasite and the enhanced zombies
Another selling point for ‘Retribution’ was that the Las Plagas parasite would make an appearance from the fourth Resident Evil game, which allows zombified people to keep their intelligence and the ability to use weapons and tools. As such, we’re given scenes of Russian zombies using assault rifles, machine guns, rocket launchers, chainsaws, and even driving cars and motorcycles.
The problem is, zombies are supposed to be mindless killing and eating machines who are dangerous because of their resistance to physical injury, immunity to pain, and sheer numbers. By giving them guns and vehicles, they’re essentially normal human enemies with bad teeth and rotting skin. A good solution would have been to have the T-virus continue to mutate, giving zombies more abilities and intelligence, which could have been followed up on in the next movie. But the Las Plagas parasite doesn’t return in the final chapter, and aside from making Rain impossible to kill with bullets, it ulitmitly has no impact on the story.
It could have given characters time to breathe
‘Retribution’ is the most action-packed film in the Resident Evil series, with a breakneck pace that never lets up. While this – in conjunction with the ticking clock – is great for keeping the film moving, it would have been nice if the story took a few moments to breathe between action scenes and invest in letting us get to care for the characters, or develop their relationships between one another. It would have been nice to have Luthor and Alice have a longer reunion, given their shared experiences from ‘Afterlife,’ but they only get a few seconds to speak before we’re off to the next action sequence. While well-done action scenes are fun, caring about the people in those sequences is more important.
While ‘Retribution’ exists to set up the final chapter of the series instead of being a standalone story, it at least offers some good action, has a story that is never slow or dull, and while it doesn’t do anything meaningful with the cloning aspect, or giving characters much to do beyond shooting guns, it’s still an enjoyable entry in the saga. More importantly, it sets the stage for the final film; come back next time, where we’ll take a look at how the series ends. With all the elements in place for a truly epic grand finale, there’s no way the series could mess it up!
Imperfect Glass 