Resident Evil: Retribution. More video game and less film. All action, little dialogue, pure visual spectacle without argument.
The fifth installment of Resident Evil has decided to permanently remove the mask and does not walk by the branches. Those who come to see it will find less film and more video game. Whole saga is that, by way of visually expressing both his plot formula and the convening of new and familiar characters, is closest to the approaches of the game that inspired the film saga. That is an option in the proposal that the managers of the franchise have decided to ask the public at this time. It runs on our own accept the proposal or not. I did not like that, although you’ve enjoyed the visual display, that boast of constant action and 3D, especially in the scenes that link directly to the end of the previous film and especially in its first half, with that confrontation with the giant types. Also I liked to see Milla. I always like. It is a pleasure for my eyes. And above all, is consistent with its own internal proposal.
Aware of its limitations has brazenly decided to embrace nature as a variant of the video game, without complexes or deception. A definitive streptease franchise.
However it is the weakest of the series, which to my taste is a perfect example of what is happening to commercial cinema in recent years. So Resident Evil ever leaves me less satisfied as a film and every time I’m more interested as movie phenomenon and thermometer of mutation and impaired action film hybrid benefit of evasion and other forms of entertainment, such as the comic , the video game, television or video clip.
The funny thing is that Resident Evil: Retribution is fully consistent with itself and voluntarily defined by their limitations, and fully accepting his true nature. Their faults are a choice of their creators, not unintentional errors. For example there is no intention to raise a solid script. Quite the contrary: blatantly copied the narrative structure of a video game, minimizing the argument to make it a transition from one level to another, or what is the same, of a replicas of Moscow, New York, Tokyo … to the next.
Nor try to create characters or conflict between them. Instead, recruit clones engaged indiscriminately attack each other and may even switch sides constantly freaking profane viewers in the series, even including a prologue explaining everything that happened in the previous installments. In this sense, the sequence in which Alice and girl enter the assembly of the clones is a declaration of principles, and a wink, do not know if voluntary or otherwise, on the phenomenon of exploitation film become in franchise hits screens today.
This poses a risk to the film making much of an army of characters hyperactive clones whose only motivation seems to be pulling the trigger, they automatically lose dramatic interest for the audience. No dramatic tension throughout the film, devoid of plot and dialogue under very goofy in which Alice repeats again and again the girl the same question: are you hurt? … Another risk that brings with this formula of denial of all construction for hyperbolize dramatic action is the saturation. The action sequences strung with no plot conflict leading to a depletion of public attention, it is difficult to engage with the story and characters and thus becomes completely passive subject barely participates in what is shown on the screen. The action needs to breathe with moments stronger narrative structure, need a conflict to build the argument, even as minor as it exhibited the Resident Evil saga in its four previous installments. The action by action, no plot or dialogue, leading to the fatigue that is felt especially in the final fight on the ice.
I understand that the aim was to give the fans to the franchise and the game a succession of anecdotal moments in which Resident Evil: Retribution behaves like a kind of cinematic echo of the game, incorporating characters such as Leon or Ada, recovering to Rain and putting Jill Valentine again Alice… but so the pace and tone of the film just having the same problems as Underworld: the Awakening or Ultraviolet, another film starring Milla Jovovich: the action and visual spectacle filled him and devour everything without giving rest to the viewer or let a story breathe is reduced to mere anecdote argument in its most basic and close to the game: the characters have to go from point A to point B . That’s all.
Hopefully in next installments recovered something of the tone disturbing the first film and leave of side the hypertrophy of the fast-paced it is leaving the series quite naked of attractions, but it’s an entertaining spectacle of action and violence harmless, without terror as a companion, or at least become one motif in this explosive cake where reigns the easy trigger that makes me wonder if that picture of the outcome of the end of the world, which has the epic lacks the rest of the story, not is a snapshot of one’s death or commercial film final mutation in a complement of videogame or any other form of entertainment.
Disturbingme, isn’t it?
Miguel Juan Payán
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