Shot natively in 3D (not converted in post), Afterlife is a gorgeous film to look at. Director of Photography Glen MacPherson uses the depth of field to create a claustrophobic yet massive world. The opening sequence—a slow-motion rain of Umbrella parachutes over Tokyo—is iconic. The prison setting (Alcatraz) is used brilliantly, turning corridors into kill boxes and the cafeteria into an arena. Combined with tomandandy’s thumping, industrial score, the film feels like a heavy metal album cover come to life.
Unlike Retribution , which followed immediately and felt like filler, Afterlife has a self-contained victory (they escape the prison) and a sequel hook (the world is bigger). It leaves you wanting more, not scratching your head.
The film heavily leaned into Resident Evil 5 (the game), featuring a nearly shot-for-shot recreation of the Wesker fight and introducing the fan-favorite Axeman (Executioner Majini).
🚨 Reminder that Resident Evil: Afterlife (2010) had some of the best live-action boss fights in video game movie history. Peak early 2010s action! 🪓🚿 #ResidentEvilAfterlife #ClaireRedfield #ActionMovies from the movie?
Watch Resident Evil: Afterlife not as a horror movie, but as a comic book film. Turn up the volume, ignore the plot holes, and enjoy watching Milla Jovovich shoot a double-barreled shotgun while sliding in slow motion. Sometimes, "better" just means more fun.