Sometimes a movie is exactly as advertised and exactly what you want. If you love a good John Carpenter movie and are intrigued by a director’s ambitious attempt to create a worthy homage to Carpenter’s most memorable early work, then Resident Evil: Welcome to Raccoon City is for you. With pacing, cinematography, music, and characterizations found in Carpenter’s Halloween, Assault on Precinct 13, The Fog, The Thing, and Escape from New York, writer-director Johannes Roberts (47 Meters Down) delivers more mood than scares, but it’s the perfect beginning to a video game franchise movie series and a fantastic throwback 1980s-style horror romp. Resident Evil: Welcome to Raccoon City is available on physical media here at Amazon and currently has a $9.99 sale price for digital streaming at Vudu.
Milla Jovovich’s badass superheroine Alice in the Resident Evil franchise, from 2002’s first film through five sequels–Resident Evil: Apocalypse (2004), Resident Evil: Extinction (2007), Resident Evil: Afterlife (2010), Resident Evil: Retribution (2012), and Resident Evil: The Final Chapter (2016)–has given us the 21st century version of Ellen Ripley and Sarah Conner. And speaking of Connor, the trailers for the next chapter of Resident Evil, a prequel called Resident Evil: Welcome to Raccoon City, looks a lot like Terminator 3–plus lots of zombies.
Check out the first trailer and a profile on Hannah John-Kamen’s character Jill Valentine, below:
Luc Besson, master of the spy movie and the female assassin, created perhaps his best work in the genre with his 2019 action thriller Anna. Poor distribution and studio problems caused the film to get only a minor theatrical release, but it’s at last widely available, streaming to anyone free on iMDB TV. If you’re like most movie fans and missed it, you’re in for a surprise that rivals many similar action thrillers by one of the greatest writer-directors of our time, including his 1990 film Le Femme Nikita with Anne Parillaud (and its English remake, Point of No Return with Bridget Fonda), and the 1994 movie The Professional (Natalie Portman, Jean Reno). Besson also wrote the screenplays for The Transporter starring Jason Statham (2002), Taken starring Liam Neeson (2008), and Colombiana starring Zoe Saldana (2011). So he knows action, and that’s several assassins, spies, and action sequences in Besson’s personal dossier in additional to his greatest feats, the epic science fiction films The Fifth Element and Valerian and the City of a Thousand Planets. It’s that last film he tapped for the star of Anna, a spy movie that’s not a retread on the director’s past work but a superb achievement, with a badass lead and story even better than another spy favorite, Atomic Blonde.
Possibly the biggest surprise of Resident Evil director Paul W.S. Anderson’s latest action spectacle Monster Hunteris that Milla Jovovich isn’t the title character. That role goes to Furious 7’s Tony Jaa, a Mandalorian-meets-Bone Tomahawk or Predators brand of survivor and monster hunter, who Jovovich and a band of soldiers in our time meet after they get sucked into a portal to a very different place. The plot of this latest adaptation of a video game series is like Planet of the Apes, with a team falling into a world of beasts that are a cross of Jurassic Park and Starship Troopers. It has a Ray Harryhausen look, which is good for those who like vintage monster nostalgia, but perhaps not so good for those after impeccable, cutting-edge visual effects. In the opening scenes we meet Jovovich as Captain Artemis, a believable unit commander leading soldiers in Humvees looking for a missing squad. For the most part this is a showcase of the Resident Evil heroine in action mode with bits of goofy humor, with Jaa’s Hunter showing off his stealth survival. But really it’s about framing the star actress in increasingly cooler action shots. Monster Hunter is now streaming on Starz, Hulu, and other platforms, and you might want to check it out.
Milla Jovovich’s badass superheroine Alice in the Resident Evil franchise, from 2002’s first film through five sequels–Resident Evil: Apocalypse (2004), Resident Evil: Extinction (2007), Resident Evil: Afterlife (2010), Resident Evil: Retribution (2012), and Resident Evil: The Final Chapter (2016)–has given us the 21st century version of Ellen Ripley and Sarah Conner. The tie-in to the Japanese survival/horror-themed video game Biohazard (renamed for the U.S. market) is a staple in the action movie genre–not only one of the world’s bestselling game series since arriving in 1996, it’s the world’s most successful video game tie-in movie franchise ever. But Alice wasn’t a character in the Capcom Resident Evil games, and 14 years is a long run for any franchise, so it’s finally getting a reboot, and that yet-to-be-titled reboot is coming later this year with a great slate of some of our favorite genre actors. This new film (from Sony Pictures) will be in addition to an eight-part Resident Evil live-action television series and an anime series (titled Resident Evil: Infinite Darkness), both coming to Netflix.
If you’re discussing the most compelling and amazing action movie franchise actresses, you’re going to begin with Sigourney Weaver and Linda Hamilton. But quickly you must count Milla Jovovich, whose track record at the box office is hard to match, thanks to her role as Alice in the Resident Evil series. But she’s also revealed her badass prowess in classics like The Fifth Element and Ultraviolet, and she keeps adding to her amped up, tough-as-nails characters. This year that means taking on the role of Lieutenant Artemis in Monster Hunter, an adaptation of the online fantasy-action game. In one word, that overly-used phrase is apt here: Epic. The first trailer for the film (below) is very Starship Troopers meets Jurassic Park.
The master of the assassin sub-genre is back again. You may know him for writing and directing The Fifth Element (starring Bruce Willis and Milla Jovovich), and Valerian and the City of a Thousand Planets (starring Cara Delevingne and Dane DeHaan), but you may also know Luc Besson as the writer and director of the 1990 film Le Femme Nikitawith Anne Parillaud (and its English remake, Point of No Return with Bridget Fonda), and the 1994 movie The Professional(Natalie Portman, Jean Reno). He’s also written the screenplays for The Transporter starring Jason Statham (2002), Taken starring Liam Neeson (2008), and Colombiana starring Zoe Saldana (2011). Then he tied together his science fiction sense with his trademark badass woman leading role in 2014 with Lucy, starring Scarlet Johansson. That’s several assassins, spies, and action sequences in Luc Besson’s personal dossier.
Besson is writing and directing his next film, too. It’s called Anna, and he’s tapped the actress behind the unforgettable alien woman from Valerian and the City of a Thousand Planets,Sasha Luss (who played the ill-fated Princess Lïhio-Minaa) as the title character. From its first trailer (check it out below), Anna seems to be part Red Sparrow and part Atomic Blonde. Or another La Femme Nikita. But it’s going to be very difficult for fans of spy movies to differentiate this latest entry from Atomic Blonde, especially if the film is really structured as revealed in the trailer. It looks like it could be a remake, but it isn’t.
Some credibility and gravitas come from the presence of Academy Award-winning actress Helen Mirren, whose own badass spy and assassin role in REDand RED 2should come to mind. Other actors in the film include Luke Evans(The Fast & Furious series, The Hobbit series) and Cillian Murphy(28 Days Later, Tron: Legacy, The Dark Knight Rises).
Notorious isn’t just the name of an Alfred Hitchcock film, it describes the reputation of the acclaimed director over the course of his 55-year career. Over the course of his films he would become famous for not only the blonde actresses in his films, but his misogynistic, voyeuristic, fetishism themes and content. A precursor in many ways to Quentin Tarantino, Hitchcock nearly 40 years after his death is as popular as ever, with his film Vertigo still on many critics’ lists as the best American film of all time. Those who view his films are left to wonder how much of the content of his films were the man, and how often was he simply selling what moviegoers were looking for–something new, something surprising, something stylish, and something shocking. The flip side of Hitchcock viewed as provocateur is the fact that his films always featured a strong lead woman–sometimes from the opening scene and other times by film’s end–and the actress was often the only name marketed above the title, including some of the most fierce and compelling women characters ever filmed.
Scotland author Caroline Young takes a compelling look at the director and his relationship with the leading women in his films in her new book Hitchcock’s Heroines, a photograph-filled hardcover from Insight Editions. Young, author of Roman Holiday: The Secret Life of Hollywood in Rome, Tartan & Tweed, and Style Tribes, sources interviews with the actors as well as interviews with Hitchcock to gain a better understanding of what motivated his work. He spent the first half of his career–represented by the first half of the book–developing the style he would come to be known for by the time of his 1954 success Rear Window, culminating in his ideal production team: costume designer Edith Head, production designer Robert Burks, assistant director Herbert Coleman, and editor George Tomasini. Hitchcock knew that most of his audience were women and believed that in the 1940s-1960s women usually determined what movie a couple was going to attend. So the appearance of his leading women was as important, if not more important, than any other part of the film. He also had an eye for using color and wardrobe as part of his storytelling tools, perhaps changing a character’s muted-toned costumes to striking and contrasting by film’s end to represent a character’s change in mood, strength, or growth.
Hitchcock’s Heroines is a superb source of costume sketches, costume designs, and production stills spanning Hitchcock’s directorial career. Young includes with her discussions of each actress and corresponding character the costumes and costumers, which amounts to a history of Hollywood costume design artists, including Jean Peron, Dolly Tree, Joe Strassner, Marianne, Irene, Edward Stevenson, Vera West, Gilbert Adrian, René Hubert, Howard Greer, Edith Head, Christian Dior, Milo Anderson, Moss Mabry, Helen Rose, Harry Kress, Rita Riggs, Helen Colvig, and Julie Harris, although it was also not beyond Hitchcock to source his own vision from off-the-rack wardrobe from Western Costume Company or Bergdorf Goodman. Hair style and hair color is also a recurring theme Young pursues in the book.
Young references an interview from 1931 where Hitchcock discussed selecting actresses for roles: “The chief point I keep in mind when selecting my heroine is that she must be fashioned to please women rather than men, for the reason that women form three-quarters of the average cinema audience. Therefore, no actress can be a good commercial proposition as a film heroine unless she pleases her own sex.” It is noteworthy that Hitchcock was not always responsible for who starred in his films–Young cites instances where studio head David O. Selznick directly cast Hitchcock’s leading actors.
