I was roughly fifteen years old when the first Resident Evil game appeared on the Playstation and feeding off the hype of a heavy diet of gaming magazines, I was quick to run out and rent the title to see what the fuss was all about. This wasn’t my introduction to survival horror – that had come in Alone in the Dark on the PC – but it was a giant leap forward and ultimately, not a game that I could really get into. I ignored the first three games but absolutely fell in love with the fourth title, which served as a retooling of the series with the advent of an entirely new gameplay structure and embracing more of the shooter aspect of survival horror. With that being said, I can’t pretend to know anything about the series, including any of the characters or the lore of the world that’s been built up for so long. I approach these films as a bit of an outsider, but my gamer roots and knowledge are not entirely forgotten.
Resident Evil has seen live action films over the course of fourteen years, which I find astounding and I’m embarrassed to admit that I don’t remember which ones I’ve seen. Are they that forgettable? On the other hand, Paul WS Anderson and Mila Jovovich have been involved with each film, which must say something (even if it’s just that the films remain profitable).
Let’s take a dive into the series.
2010 | dir: Christopher Nolan | 148m
As I slowly approached the theatre, I squinted my eyes to avoid both the relentless brightness of the sun and the light dirt blowing across the parking lot from a harsh midday summer breeze. Looking around me, I saw maybe five, six cars in the vast ocean of pavement and curbs that formed the parking lot for this particular movie house. In front of me, was the vast, inoffensive colour scheme of my local multiplex, adorned by tiny empty poster boards and a sense of doom. I looked about me, expecting a local vagrant to warn me of the dangers within, but while there was nobody to be seen I already knew the dangers that lurked before me. While COVID-19 ravished the entire world, the large multiplex stood as stark monolithic houses of contagion and virulent disaster. You would have to be a fool to sally forth, and while the pandemic was at a lull in my local area, and the virus all but absent, I found myself opening the doors of this familiar-yet-unfamiliar establishment to go see an IMAX screening of Christopher Nolan’s Inception.
As I lathered hand sanitizer between my fingers, I took stock of the entrance of the theatre and questioned my own reality: was this a dream? Choosing Inception as the starting point for a journey back into movie theatres seemed disconcertingly appropriate, but it wasn’t an easy decision to make. I feel fortunate that my city has seen (relatively) very few cases of COVID-19, and have our local health teams and vigilant citizens to thank for that. Quarantining has been easier for me, as I have the benefit of continuing to work from home and enjoy many of my hobbies without interruption – that is, I can continue to watch a lot of movies at home. I haven’t missed the theatre experience, but I suspect that’s because there haven’t been any movies coming out to miss – and the ones that do are released digitally with instant at-home access.
Starship Troopers seems to be a somewhat divisive film, equally hated and loved with people falling onto one side or the other on their acceptance that the film is satirical in nature, and yes, it’s supposed to be a bit cheesy. I went to see this film with a group of friends in high school and fell in love immediately. The over-the-top and fascist imagery was not lost on me at the time, but I certainly appreciated the b-movie aspects of the film on a literal level as I watched the mobile infantry battle larger than life bugs in true sci-fi fashion. Backed with a large budget and competent directing from Paul Verhoeven, Starship Troopers wowed me with its depictions of a supposed perfect society that features gender equality but is also knee deep in military rule.
Seven years after Starship Troopers hit the theatres, it received two live-action, direct to home video sequel. Hero of the Federation was directed by Phil Tippett (famous for his groundbreaking special effects in film) and Marauder was directed by Ed Neumeier (who wrote the all the movies to date). As it goes, I probably dismissed the films when they came out and didn’t think much of them, although I was always intrigued and fascinated when I saw box sets of a CGI television series in my routine DVD and bluray hunts and my curiosity was further piqued with not just one, but two CGI animated movies hitting in 2012 and most recently in 2017.
With five movies out in the wild, I revisited the 1997 original film and undertook the goal of watching all the sequels on a one-per-week basis.