After a six-film franchise that spanned fifteen years, loosely based on Capcom’s popular Resident Evil video game series, you know what to expect from filmmaker Paul W.S. Anderson. Audiences likely have a strong understanding of where the filmmaker’s strengths lie, and that’s why they kept showing up at the theater for each new entry. Anderson favors style and action spectacle over everything else, the perfect fit for a video game adaptation. Monster Hunter is precisely the type of big blockbuster spectacle you’d expect, but with a slick, shiny new polish.

Based on Capcom’s popular video game series, Monster Hunter opens with a text crawl that explains that behind our world is another, one ruled by lethal creatures. It’s followed by a high-octane fantasy scene that sees a pirate ship sailing across a desert while fighting off large sand-dwelling monsters. Cut to our world, where Lt. Artemis (Milla Jovovich) guides her unit to search for a Bravo team that disappeared without a trace. A freak sandstorm appears, whisking them away to a strange and hostile land filled with deadly monsters. Worse, the soldiers discover that their firepower has little effect on the powerful beasts. In their harrowing battle for survival, Artemis finds that the mysterious Hunter (Tony Jaa) may hold the key to making it home alive.

The opening might be intended as a sneak peek into the fantasy world of Monster Hunter, but it establishes the film’s breakneck pace. Anderson, who also wrote and produced, zips along from action set piece to action set piece, very rarely slowing down to give room to digest. That’s for the better, here. This is a feature designed around its thrilling monster attack sequences, running the gamut from Alien and Pitch Black inspired cave scenes to bright sunny sand monsters in the vein of Tremors. With a title like Monster Hunter, you want a ton of monster mayhem, and Anderson more than gives you your money’s worth. The VFX, creature designs, and cinematography by Glen Macpherson are excellent, making it Anderson’s most stunning and polished effort yet. The score perfectly captures the video game tone, matching the visuals.

Another vehicle for Jovovich to show off her physical prowess, Artemis is the resilient heroine that takes beating after beating from the harsh terrain and even more hellish monsters. Her unit may be filled with recognizable actors, but their names barely register before they’re picked off one by one by monsters. Once Jaa’s Hunter enters the story fully, the narrative shifts to present a humorous, odd couple scenario between the co-leads.

The language barrier and initial mistrust between the unlikely pairing presents a lot of tension that gives way to staunch allies as they realize they’ll need each other. It sets up plenty of combat sequences and comedic moments carried by Jaa. The renowned martial artist gets plenty of moments to show off his action chops but gets playful, too. It helps tremendously when the written jokes fall flat. Whereas grand spectacle might be Anderson’s wheelhouse, writing is most certainly not. Dialogue is often clunky at best and cringeworthy in its worst moments. Character arcs or depth are nonexistent, save for a few fleeting nonverbal moments. You can also expect Anderson’s trademark hyper cut editing to make its reappearance during some of the most frenzied action sequences.

Anderson’s latest is exactly what you expect it to be, without any pretense. High on energy and fun, but with a pared-back simplicity in every other way. The mythology is as uncomplicated and straightforward as its characters, all the more room to let the exciting set pieces and creatures take center stage. It’s escapism entertainment built for the big screen, which makes its release timing unfortunate (be safe, please). There’s inherent silliness to it all, highlighted by some cheesy writing. Yet you’re likely to have a blast anyway.

Monster Hunter will open in theaters and IMAX on December 18, 2020.