3 a m do or die Shockingly

3 a m do or die

Shockingly enough, RE: Afterlife movie was able to do 3-D correctly, and it looked just as good as Avatar. It was the little, tiny details in the 3-D that added to the whole movie experience. For example, the rain in the opening scene also splashed against the opening credits as they were presented to the audience. Another example was the use of widescreen computer monitors on long tables, which transitioned amazingly through the 3-D. More movies need to take a lesson and lead by example. Paul Anderson isnt the best of directors and Im not one of his biggest fans either. Most of us will never forgive him for what he did to the Alien vs. Predator series along with some of the other adaptations of video games that he has helmed. But he occasionally makes an entertaining movie; Event Horizon for one, along with Resident Evil. Paul has managed to salvage the mess that Resident Evil: Extinction created and give us the most entertaining film of the series. Honestly, theres not much more to gauge this movie on other than the entertainment value. If youve never followed Resident Evil, thats exactly what RE: Afterlife is, pure, awesome, and visually striking entertainment. The entire feel of the Afterlife is such a unique style that Anderson has been able to attach to his Resident Evil vision. The technological modernism and futuristic feel ooze from the bleak apocalyptic environment. That is part of what made Afterlife so good; the look, feel, and sound added so much more to the film as a whole. I also want to personally commend Anderson on the awesome use of new ideas for scene transitions. It kept the film flowing in a original way. Script still seems to be the weak spot for the Resident Evil series though. It is impossible to count on both hands the number of times that lines were badly delivered and emotionless. It is also impossible to count on both hands the number of mind blowingly retarded things that just seemed to randomly take place, which was something the audience was supposed to just take in stride, no problems or questions asked. Characters came and went without even an effort to build them up, bosses from the games randomly appeared with giant axe-scythe-meat-hammer weapons to break down fences, and zombies who can burrow through concrete. But the movie does move along at a pretty rapid pace and it was awesome how much they managed to bombard you with in just 90 minutes. Massive props to finding someone who looks just like Albert Wesker by the way. Resident Evil: Afterlife made its intentions known when the trailer looked like a glorified music video of zombies and ass-kicking. It didnt stray from those core values that make the Resident Evil films so entertaining. Keep the plot simple, fast paced and give the audience the ridiculous zombie killings that they paid to see. The screenwriting is only a portion albeit extremely important portion of a movie which can be made up for in all other aspects; such as fight scenes, effects, 3-D, music, etc Resident Evil: Afterlife realizes this very early on and sticks to its zombie head-popping guns to offer a cinematic experience that is well 3 a m do or die it. Hopefully this movie ends up doing well enough that we can actually bear witness to the creation of what is dangled in front of us at the end of the film. In the scope of the entire series, Afterlife is definitely the best out of the four, and I look forward to purchasing this for the home movie 3-D experience. Article written by Frankie Ramos on Reposted with permission. Get the latest 3 a m do or die on movies currently playing. A rich industrialist is brutally kidnapped. While he physically and mentally degenerates in imprisonment, the kidnappers, police and the board of the company of which he is director negotiate about the ransom of 50 million euro. More conventional than his ambitious Trilogy and less heart-on-the-sleeve than his caper/drama The Right of the Weakest, the versatile Belgian director Lucas Belvaux s latest is, nevertheless, a tense hostage-thriller with a difference. It kicks off in central Paris with its quarry, rich company chairman Stan Graff Yvan Attal in full flight: dropping arrogant asides to his colleagues as he prepares to accompany the President of the Republic overseas, then dropping in briefly on his mistress in their secret flat before dropping a small fortune on a lengthier visit to the poker tables. When a Marseille-based gang kidnaps him the following morning, his company looks good for coming up with the 50 million ransom. But as the media, police and interior ministry interfere, his firm gets cold feet, the unions balk and his family s sense of shock increases, his neck gets closer and closer to the chopping block. Belvaux, aided by elegant work from cinematographer Pierre Milon, orchestrates an extensive and dove-tailing cast, the relay of information, dramatic police chases and swift changes of pace and negotiating stance with old-fashioned Melvillian sang froid and teasing emotional restraint. As we constantly intercut to a disintegrating Graff, the ironies of the unfortunate man s menacing predicament are allowed to quietly compound if not settle in a pleasing counterpoint to the frenzied action outside. It s obvious Belvaux is having fun in his impassive portrait of a poor little rich man undone by not only fortune and fate but his own misdeeds and blind arrogance; but the director is never so indulgent as to spoil what is a finely mounted thriller. Lucas Belvaux is the Belgian actor-turned-director best known for his Trilogy of 2002: an ambitious, tricksy set of three separate but interlocking movies that formed a kind of Venn diagram of stories and characters. He also directed the unwieldy 2006 crime drama The Law of the Weakest, a Full-Montyish story of unemployed guys having a crack at robbery. Rapt is his best film so far an intriguing, elegant movie that is a knight s-move away from being a conventional thriller.