Resident Evil Marathon, Hour 7.1: Anderson skulks sheepishly up to the Wachowskis: "Hey, um, can I be your friend?" They scowl and go hang out with Netflix. Jilted and ashamed, Paul forces Roberts to play Agent Smith. "I'll do a slow-motion Tokyo scene in the rain," Paul mutters under his breath. "I'll add umbrellas. Get it, Wachowskis? I can do subtext, too!" He retreats into an ennui of explosions and angry music.
On release in '10 Anderson's return as director for the fourth entry in the franchise boasted impressive use of 3-D and a series highpoint in visual effects. What it lacked was any particular expansion of the core story thus resulting in a still born effort despite its visual candy. Some memorable sequences but often the film calls to mind other influences such as 'The Matrix' and 'Silent Hill'.
While highly tasteless and unpleasant, ironically, it's in Afterlife that this franchise stretches to explore a tiny parcel of its potential (that, from the start, is very low). Somewhat tolerable, perhaps. / And (irony follows:) let's talk about that Alice's one-piece clothing (seen in the initial sequence) allowing her to have both flats and high-heels during battle - such futuristic design.
Even more than Anderson's attention to the play of bodies in space, what really shines through is his devotion to his leading lady. Of course Anderson is married to Jovovich, so there should be little surprise at this, but no director working today films an actress with as much obvious care and affection. In their own perverse way, Anderson's Resident Evil films are a series of visceral love letters to his wife.