Welcome to Raccoon City is pretty decent, but it feels like a collection of "I recognize the thing" moments, and it lacks the sense of driving auteur vision of the Paul W.S. Anderson films. It's worth watching to make up your own mind, though, because a lot of the hate for it comes from seething game-cucks.
You can tell whether a film was directed by Paul Anderson by how obsessive the film is about symmetry and/or slicing the frame in half with a line down the middle. Once you see it, you can't unsee it. RE: Apocalypse has a lot of striking shots (and fricking weird editing), but it was by Alexander Witt, not Anderson, so it doesn't have that obsession with symmetry and splitting the frame down the middle. It's kinda interesting how there is so much written about Wes Anderson and Paul Anderson and how they frame shots, but Paul W.S. Anderson is almost pointedly ignored despite being a legit auteur with a very recognizeable style.
Paul W.S. Anderson was officially directing Alien vs Predator while Apocalypse was being made. But the film's ending is stylistically different to the rest of the film, suddenly reverting to things like God's eye shots and framing something as banal as a car going through a checkpoint as symmetrical. Two guards. Two boom gates. Car placed in the middle. That screams "Anderson ghost directed this scene." Apocalypse has a lot of dutch angles and things like that, which are not Anderson's style. Extinction is similarly very different because the Highlander guy directed it.
Welcome to Raccoon City IMO lacks a clear visual style. Feeling like a weird mashup of RE2 remake with random Carpenter references.
The new Resident Evil TV show has its own style and aesthetic, but it also has a noticeable inclination to symmetry and numerous shots in the trailers feel like callbacks to previous films.
This might look like just a rat in a cage, but you'll notice that the cage has been placed to be in perfectly symmetry against the vertical line on the wall. This is some basic Center Framing shit, but it's something PWSA is fixated on, and it's interesting to see it show up in the TV show.
You’ll only get mystery meat mutts from here on out
is that movie any good?
What do you think judging by their choice of Jill?
well I dont know, that's why I'm asking :/
God she was fricking hot and perfect as Jill.
Frick no.
The only thing good was the set design. That’s it
The part where they shoot zombies in the
dark was kino. Also this was kino.
But most of movie is shit.
Welcome to Raccoon City is pretty decent, but it feels like a collection of "I recognize the thing" moments, and it lacks the sense of driving auteur vision of the Paul W.S. Anderson films. It's worth watching to make up your own mind, though, because a lot of the hate for it comes from seething game-cucks.
>mystery meat mutt
why are incels so obsessed with these terms??
because it's unironically hot. but keep that on the down low
That's not Sienna Miller, Dumbass. Sienta Miller is the one who played Baroness in that pile of shit that was the first GI Joe movie.
Except by Ada Wong.
Angelina Jolie as Lara Croft was pretty good too
funky town flay urself
>No Liam Neeson as Barry in 2000s
>No David Harbour as Barry in 2010s
Love me some sienna miller
Rape me
I'll top her if you get what I'm saying
>Sienna Miller
>Miller
It was Sienna Guillory you frickint moron.
Do not post my wife, pls.
That's not Sienna Miller, you frickwit.
Post the webm if her walking in the heels
I want to lick her armpits and bite her heel.
You can tell whether a film was directed by Paul Anderson by how obsessive the film is about symmetry and/or slicing the frame in half with a line down the middle. Once you see it, you can't unsee it. RE: Apocalypse has a lot of striking shots (and fricking weird editing), but it was by Alexander Witt, not Anderson, so it doesn't have that obsession with symmetry and splitting the frame down the middle. It's kinda interesting how there is so much written about Wes Anderson and Paul Anderson and how they frame shots, but Paul W.S. Anderson is almost pointedly ignored despite being a legit auteur with a very recognizeable style.
If only I was born 10 years later, I could be enjoying all the Sienna Jill deepfakes I could want right now. AAAARRAGGHGHGH
Paul W.S. Anderson was officially directing Alien vs Predator while Apocalypse was being made. But the film's ending is stylistically different to the rest of the film, suddenly reverting to things like God's eye shots and framing something as banal as a car going through a checkpoint as symmetrical. Two guards. Two boom gates. Car placed in the middle. That screams "Anderson ghost directed this scene." Apocalypse has a lot of dutch angles and things like that, which are not Anderson's style. Extinction is similarly very different because the Highlander guy directed it.
Welcome to Raccoon City IMO lacks a clear visual style. Feeling like a weird mashup of RE2 remake with random Carpenter references.
The new Resident Evil TV show has its own style and aesthetic, but it also has a noticeable inclination to symmetry and numerous shots in the trailers feel like callbacks to previous films.
This might look like just a rat in a cage, but you'll notice that the cage has been placed to be in perfectly symmetry against the vertical line on the wall. This is some basic Center Framing shit, but it's something PWSA is fixated on, and it's interesting to see it show up in the TV show.
If only he hadn't been a jobber to make the Mary Sue OC look better
That's not Enji!
>mogs herself in every other look she tried before or since
There's only one Jill Valentine