The Definitive Guide to Living in the Capital , Cairo , Egypt

Of all the ridiculed filmmakers out there, British director Paul W.S
Anderson seems to be the least deserving. In fact, a quick glance at his
filmography will reveal that he has constantly delivered tight action vehicles.
Sure, these films may lack any nutritious value; but they are smothered in video game turbo-fat, making them the perfect time-wasters for fast-paced action
connoisseurs. 

The fourth Resident Evil instalment
has Anderson back
in the director’s chair, along with his wife Milla Jovovich reprising her most recognised
role. Afterlife works both as another instalment in the video game saga
and as a stand-alone film. Alice (Jovovich) is now a mutated super zombie
fighter, infected by the very same virus that wiped out the human race and
replaced it with zombie armies crawling through the remains of metropolitan
cities. After a Matrix-like opening scene, Alice is stripped of her superpowers with a
serum injection, whereupon she returns to her old-fashion human abilities.

Alice picks up radio signals from Arcadia, a proclaimed haven
that zombies cannot reach. She tries to find the place without any luck, and in
the process; she encounters a group of human survivors stranded in a heavily
guarded prison. She joins forces with them just as the mighty walls of the
prison collapse and starving zombies make their way into the facility. Time for
zombie killing!

Jovovich’s unique brand of charisma fits the bill perfectly for Alice’s badass heroism.
She adds magnitude to a character ostensibly motivated by achieving a high Play
Station score and finding new ways to decapitate zombies. In Afterlife, she faces a new breed of
zombie giants that looks like something out of Zack Snyder’s 300.

The case for mindless action romps is pretty simple; you either like
them or you don’t. Anderson’s
nihilistic approach to storytelling sorely lacks any form of substance; but his
predictable clockwork plotting is perfectly executed through slick and visually
enthralling action scenes. The film’s 3D element is equally exciting, taking the Matrix’s bullet-time gimmicks and adding
three-dimensional depth. It’s symptomatic of Anderson’s
lack of imagination; but it also shows an energetic understanding of action
dynamics.