Paul WS Anderson (“Death Race”, “Monster Hunter”) has always attracted a lot of malice and ridicule. Even his sci-fi horror “Event Horizon”, who had become a cult film, was initially mostly ripped off. The works of the “Resident Evil” Masterminds are often believed to be hopelessly lost in their digitally formed worlds and as too a certain computer play, instead of following a conclusive narrative. These arguments will also be “In the Lost Lands“Cannot invalidate.
On the contrary, the film drives a lot radically to the extreme, which its fans love on Anderson's films and its critics brings to despair: As a first film, “in the Lost Lands” uses a new technology that synchronizes the image with virtually created environments-and Anderson uses them for an artificial CGI-Wahnwitz, which has so far been. haven't even seen from him.
Paul WS Anderson does not make a film without his life partner and Muse Milla Jovovich.
Based on a short story of “Game of Thrones” creator George RR Martin from the early 1980s, “in the Lost Lands” plays in a post-apocalyptic world, in which the miserable remains of mankind shake together in a single, rigidly ruled city. This metropolis is surrounded by the so -called “Lost Lands”, nightmarish landscapes, the deformed undead and other monstrous.
Gray Alys, a woman played by Anderson's partner and Muse Milla Jovovich with magical skills, promises the Queen (Amara Okereke), who pregnant from a lover, sole rule to provide a supernatural means of power: In the lost countries, she wants to look for a werewolf that she stolen his ability to change the form at full moon …
An amalgam from all conceivable fantasy worlds
You don't really have to know anything about the sometimes quite crude history of the film. If the digital spatial worlds of Anderson's “Resident Evil” films were still loose, but quite conclusive combined from sets of the underlying video game templates, there is now the most lusty robbery-frequent cross-knights across the most varied of fantasy areas: Gray Alys on behalf of the church, a court-intreated crawl.
At the same time, a coal operated with coal and a bus that is pulled on a cable over an abyss could be a remnant from the storyboard for a cyberpunk anime. George Miller's epochal “Mad Max: Fury Road” (2015), who must have left such a deep impression at Anderson that “Resident Evil: The Final Chapter” has so far been visibly influenced by the six-time Oscar winner, has emerged this time as particularly explicit inspiration.
Dave Bautista on the footsteps of Henry Fonda and Clint Eastwood.
Anderson also undertakes even more clearly than it was anyway the motives and visual worlds of the American Western, a genre that has shaped him more than any other since childhood. A hunter played by Dave Bautista (“Guardians of the Galaxy”), who accompanies Alys on her journey with the background intentions of Alys, is a classic western figure, despite all the details close to the fantasy (around his shotguns). The film constantly stages its frightened eyes in close -ups, as if they were mythically charged actors such as Henry Fonda or Clint Eastwood. The horse ride to the Skull River, which is no longer baptized, develops along stages that are reminiscent of the outposts of supposed civilization in the Wild West: dusty ranches in nowhere, train stations at which rail strands end.
Despite a literary template, other person seems to do without narrative elements even more decisively, to simply omit the necessary explanations and transitions and instead to drive the story directly from a well -designed stylized setpiece to the next. His attention and visual imagination apply entirely to the varied scenarios in the lost countries, which are immersed in different, often strictly monochrome colors.
Uninhibited digital decadence
As a rule, the post-apocalyptically based films deal with different decorative stages of human societies, “in the Lost Lands” focuses entirely on the future rubble dumps of our presence: disused nuclear reactors, wind turbines or burning oil fields. In his devotion to uninhibited digital compositions, Paul WS Anderson created such a film, whose immersive worlds of image work, as if it had never been seen in this form, even if they sit down in detail from a wide variety of corners of the film history. In the spirit of the Western, these lost countries are a promising new territory for the cinema.
Conclusion: narrative reduced, visually intoxicating! After a short story of “Game of Thrones” creator George RR Martin, Paul WS Anderson has consistently developed the look and the narrative worlds of his “Resident Evil” series with “In The Lost Lands”. With a lot of pleasure and feel for CGI-Wahnwitz, he designs post-apocalyptic backdrops between Western settings and the rubble dumps of our present. A radical, immersive fantasy new draft for fans of the director and his drama muse Milla Jovovich.