MISE & Agrave; DAY
Doing justice to the video game saga Resident Evil seems to be impossible. Despite all his good intentions, filmmaker Johannes Roberts only manages to deliver a film adaptation where the zombies have lost all of their bite.
First, the flowers: Johannes Roberts did his homework well. That is obvious. The British filmmaker has thus managed to recreate the world of video games with frankly impressive thoroughness, transporting moviegoers inside the Spencer mansion and the Raccoon City police station, both identical to those players have known. & Nbsp;
But once the pleasure of seeing these mythical places come to life, what is left? Not much. Because by multiplying the winks to early fans, we lose sight here of the main objective of a horror film, which is to arouse thrills and strong emotions. & Nbsp;
In short , no trace of the dread caused by the original games. Worse yet, the zombies in Welcome to Raccoon City turn out to be soft and, let's face it, a bit sloppy in their visual rendering.
A promising approach
Johannes Roberts had a good starting idea, however, that is to stick as much as possible to the intrigues of the first two games of the series, launched respectively in 1996 and 1998. But by condensing all these events in a film of less than two hours, he takes sometimes dubious shortcuts that will leave aficionados dubious. & nbsp;
The same goes for the characters, who are here bent to the whims of the scenario to the point of being distorted. It is difficult, among other things, to recognize the character of Leon S. Kennedy in this intrigue where he appears to us cabotin, awkward and timid. & Nbsp;
Let us hope that Johannes Roberts will be able to correct the situation for a possible sequel. .. if he has the opportunity. Because this Welcome to Raccoon City could very well sign the death warrant of a potential cinematographic saga. & Nbsp; & nbsp;
Resident Evil: Welcome to Raccoon City ★★★ 1⁄2 & nbsp; & nbsp;
- A film by Johannes Roberts & nbsp;
- With Robbie Amell, Kaya Scodelario and Avan Jogia & nbsp;