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Holy Shit, That ‘Resident Evil: The Final Chapter’ Twist Was Huge!

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Lots and lots of spoilers follow…

The talk of the town is M. Night Shyalaman’s Split, which carries an interesting post-credit button that ties it directly to Unbreakable. I thought it was a pretty cool fan moment, but one that was lost by general audiences. Since its release, every single site (including ours) has boasted the “twist”, which I put in parentheses because it’s not. Split is a fantastic thriller that’s carried by James McAvoy’s astoundingly overlooked Oscar-worthy performance…not some random twist that makes or breaks the film (like with Shyamalan’s The Sixth Sense).

I bring up Split because I’m pretty sick of seeing the word “twist” associated with it, which brings me to a film that nobody is talking about: Paul W.S. Anderson’s Resident Evil: The Final Chapter.

Sony Screen Gems’ Resident Evil: The Final Chapter, which opened this weekend and got its ass kicked by Split, ends the franchise that began with Anderson’s 2002 video game adaptation. After six films, and two trilogies, the franchise concluded Alice’s (Milla Jovovich) battle against Umbrella. Unlike many others, this saga ended with a titanic bombshell that’s bizarrely being overlooked.

Even though the Resident Evil franchise is not even close to being on par with Star Wars, it now has its own “I am your father” moment.

The basic structure of a movie carries three acts and a climax, the latter of which is more of a payoff staged by earlier moments in the story. A little known fact about Anderson is that he writes the sequel title on the last page of every single screenplay he turns in; he’s always thinking about what’s next, which makes me wonder if he’s been planning this grand finale since 2002? The biggest climax of all…

In the 2002 film, Alice must fight her way out of the Hive after the T-virus is “accidentally” released by Umbrella. Through several sequels, Alice battles the evil corporation and its leaders, Dr. Isaacs and Albert Wesker, not to mention hordes of the infected. Umbrella is powered by an A.I. known as the Red Queen, who appears to be one of the franchise’s big bads. The films are honestly not all that interesting…until The Final Chapter‘s big reveal.

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What we learn is two-fold: Umbrella’s founder created the T-virus to save his daughter, who has a disease that causes her to age rapidly (a reverse Benjamin Button). He recorded every moment of her young life in order to preserve her young spirit as an A.I., which becomes the Red Queen. In the meantime, Dr. Isaacs goes mad with power, killing his partner, and taking control of Umbrella and his dying daughter. The plan? To wipe Earth’s slate clean by creating their own “Great Flood”. Yes, Umbrella purposely released the T-virus, and has been hibernating deep within the Hive for all of these years. But that’s not all… we’re introduced to an old woman who is also behind the apocalypse. Anderson drops the first bomb as the old woman awakes from hibernation…she cloned herself…and Alice is said clone! But that’s not the “holy shit” moment. Anderson’s second huge reveal is that this old woman is the diseased daughter, which makes her both the Red Queen and Alice!

On the surface The Final Chapter (and the entire Resident Evil franchise) is all popcorn, but deep down it’s a heartfelt conclusion that’s the soul of the entire franchise. Seeing the three Alices lined up as “the holy trinity of badasses” was the icing on the cake, but the tearjerker moment is when Alice gets the childhood she never had and the doctor got the daughter he always wanted.

While this may have been obvious to some, I found this twist to be “Rosebud” nuclear, and one that gives credence to the entire saga. Forgetting that every single Resident Evil is barely passable (Anderson is a terrible director), this has got to be one of the single biggest twists in the history of cinema. How we’re talking about a button at the end of Split over this is beyond me, although it’s hard to gain the attention and acclaim deserved when talking about a sixth film in a tired and worn out franchise.

With that said, Anderson still leaves Alice’s story open to yet another sequel, you know, just in case

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Horror movie fanatic who co-founded Bloody Disgusting in 2001. Producer on Southbound, V/H/S/2/3/94, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily. Franchise favs: Hellraiser, Child's Play, A Nightmare on Elm Street, Halloween, Scream and Friday the 13th. Horror 365 days a year.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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