Resident Evil Review: Welcome to Raccoon City – The Movie We Needed

How scary it was, literally, to hear that Resident Evil returned with a new film to the big screen. Scared because it’s not that Paul W.S. Anderson He hit the nail on the head precisely by creating a saga with the name of Capcom’s video games with his wife, Milla Jovovich, at the head of a pure 90s action show without absolutely respecting the essence of the work from which it was based. giving birth to your audiovisual project. The saga, let’s say classic, of Resident Evil it hasn’t been anywhere near what video game fans deserve. Taking advantage of part of the pull of the horror genre that Resident Evil has, Anderson created a most peculiar hybrid that revolved more around explosions, gunfire, and ghoulish script twists, than horror itself. and the rawness of the plot of that Biohazard.

Fortunately, Johannes Roberts has picked up Anderson’s witness in a very different way. Roberts is an expert in genre cinema and has shown it throughout the years, providing feature films such as ‘A 47 Meters’ or ‘The Strangers: Night Hunt’. He knows how to move through various sub-regions and in each one he manages to leave part of his stamp, leaving space for jumpscares and delving, as far as possible, in the arcs of each character that he introduces within the main cast so that the blow of effect is then greater on the viewer. Resident Evil: Welcome to Raccoon City It could not have come out better within what there is, because it is necessary to make it clear first of all that it is extremely complicated, if not directly impossible, to convert a video game to cinematographic format.

Although both paths are part of the audiovisual, one seeks an experience that connects much more with its users (making it a part of the story forcing them to explore, make decisions, advance the plot or even make them build their own characters) and, the other, simply aims to show a guided and marked show, even with sensations to be transmitted fixed to fire, to a specific audience. Now, what can be done without problems is to extract that DNA that makes up the video game to mold it a bit and build a product for celluloid (you have as a last example to Arcane, the series of League of Legends who has hit it on Netflix). Nor without going to the extremes of Paul WS Anderson, who only paid attention to certain monsters, a few characters and from there he made his own independent story without having ties are the bases.

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Welcome, finally, to a Resident Evil movie

The signer of At 47 Meters 2 extracts the highlights of the first three video games from Resident Evil and puts them in a cocktail shaker to offer as a result a product of pure terror. Resident Evil: Welcome to Raccoon City has very light and smooth action elements that are barely present on the screen, while horror is what prevails constantly in each of the sequences that the scriptwriter signs. It is true that the film takes some giant steps in the arches of the characters and eliminates a lot of straw that could make the viewer get lost, thus focusing only on the main thing, on the most outstanding and enhancing the staging to points that seem that we are going to take control of ourselves to start playing.

This new reboot is exactly what Resident Evil needed, because it does away with all the Michael Bay spectacularity that the previous installments distilled and goes to look for the basics, the B series, the pure face of evil. You do not need armies of zombies, horrible monsters with hoofs (beware, there are some) or bullets left. Roberts is clear that where he succeeds Resident EvilIt is precisely in closed environments and in limited resources. The director has done an excellent exercise in searching the representation of survival horror through a set of small moments and small situations leading to a much larger path to climax. On Resident Evil: Welcome to Raccoon City, we will see how the terrible Umbrella virus affects the population and how the urban area itself is gradually transforming into a real nightmare.

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Resident Evil: Welcome to Raccoon City

Although the Resident Evil from Johannes Roberts welcomed us to the city of Raccoon, the project feels like a minimalist thing that focuses only on the most important parts and those that are really going to have an impact on the viewer. And the film is still a puzzle with the best of various games from the house of Monster Hunter to function, both as a product fan service, as a source of references and easter eggs for older veterans.

A balanced distribution, although with some imbalances

Representing characters who already have faces and eyes in audiovisual format with a facelift, say, by live-action, is always a problem. Resident Evil: Raccoon City was no exception to this, and various complaints began to arise among the fan community about the actors who were to play Chris and Claire Redfield, Albert Wesker or Leon S. Kennedy in Roberts’s feature film. But you will love to know that roughly the cast has more than complied and has adapted wonderfully to what each character asked for. Except for one: Avan Jogia, who gives life to the aforementioned Leon.

Roberts wastes the character by simply being the rookie of the operation, leaving it as a simple pen that is trailing the rest of the protagonists, without having practically any feature that we saw in video games. The lion that we see here, despite being also locked up in a police station, is far from the same as the one we saw in Resident Evil 2 Remake, for instance. However, and luckily, only he is left hanging and the rest adapts without problems to the characteristics that we already know.

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Resident Evil: Welcome to Raccon City

Yes, Welcome to Raccoon City is a pure horror movie

No more half measures and unnecessary moments of action. As we said before, Resident Evil: Welcome to Raccoon City It is a product for lovers of horror and the genre, full of references and sequences copied from video games but, at the same time, with a lot of inspiration in cinematic horror. Roberts is absolutely right by not strictly following the structure that James Wan established with mainstream terror with his Indisious and his first installment of Expendiente Warren. Roberts maintains the shot constantly to generate tension, without playing with the sound hit until the last second and even, at times, fooling the viewer. It is a terror with a simple formula, but one of the most effective.

Welcome to Raccoon City owns a cinematographer to take off his hat. The games of lights with flashlights give a spectacular show and offer a scene at the Mansin Spencer that will certainly delight fans. Roberts throws it all into a letter here and is clearly committed to giving a twist to what has been presented to date in regard to films of Resident Evil to take other letters for a walk. Others that, of course, come to him like a glove.

Conclusions

Resident Evil: Welcome to Raccoon City It’s just what fans are screaming for and, independently, a good horror product that it would have been a real show in a session of the Sitges festival. It is true that it has a somewhat hasty third act that is difficult to close, compared to how the introduction to the city and the outbreak of certain parts of the action takes place. But the overall result is that of a satisfactory series B located at the head of any of Paul WS Anderson’s films.

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