Alice joins the search for the safe haven of Arcadia and finds herself trapped in a maximum security prison with a collection of survivors in the ruins of Los Angeles.
Resident Evil: Afterlife begins with a squadron of Jovovi attacking Umbrella’s headquarters in a kind of weak tribute act to The Matrix and proves once again that an original idea has never once dared trespass the recesses of Paul Anderson’s cramped imagination. He then goes on to peck at the carcasses of Escape From New York, both Alien 3 and Alien Resurrection as well as Pitch Black to create a kind of patchwork quilt of sci-fi cliches. None of this is news of course, but as is the case with all hack directors given the keys to the 3D toy cupboard, he is far more interested in hurling slow motion flotsam at the camera than attempting any kind of coherent narrative. Milla Jovovich still looks the part but she sleepwalks through the film like a catatonic Lara Croft, while her made for TV supporting cast run around in front of a green screen while cartoon monsters climb out of the wood work to shout Boo! at them until the inevitable end that’s not the end.
There are enough flashing lights and loud noises to distract for 90 minutes but the franchise already had one sequel too many and it’s all so empty and pointless that it’s wearies the soul.