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| Underworld: Evolution |
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  (6/10)
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Runtime: 105 |
| Public Rating: 9.29 (45 votes) |
Director: Len Wiseman |
MPAA Rating:  |
| Genre: Action/Horror |
Year: 2006 |
| Writer(s): Danny McBride, Len Wiseman (story), Danny McBride (story) |
| Distributor: Screen Gems/Sony Pictures |
| Reviewed by: Mel Valentin |
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Kate Beckinsale (Van Helsing, Pearl Harbor) slips back into fetish gear for Underworld: Evolution, the sequel to 2003's Matrix-inspired horror/action hit, Underworld. Filmed in Eastern Europe for a modest $22 million (U.S.), Underworld grossed $52 million domestically (but doubled that amount in DVD sales). In Underworld, Selene (Beckinsale), a vampire warrior or "death dealer, hunted and exterminated werewolves as part of a centuries-old feud between vampires and werewolves ('lycans' in the parlance of the film). The leader of the vampires, Kraven (Shane Brolly), proved to be duplicitous (in case his name wasn't a clue as to his intentions). Both Kraven and Lucian (Michael Sheen), the leader of the werewolves, pursued Michael Corvin (Scott Speedman), a human who held the key to reuniting the vampire and lycan bloodlines. Concerned about Kraven's plans, Selene reawakened Victor (Bill Nighy), an ancient vampire and leader, from hibernation.
Underworld: Evolution opens with an action-oriented prologue set in 1202 A.D., as Victor and Markus (Tony Curran) hunt Markus' brother, William, the first (and most powerful) werewolf, incapable of reverting back to human form. Markus, it turns out, was the first vampire and, therefore, the most powerful, even more powerful than Victor, whom he made a vampire. Markus and William, twin sons to an immortal, Alexander Corvinus, were bit by a bat and a wolf, respectively. Prologue completed, Underworld: Evolution begins more or less where Underworld left off, with Selene and Michael on the run from Kraven and his men, Victor dead by Selene's hand, and Marcus reawakened from his sleep.
Marcus, however, is far from a benevolent ruler. Freed from Victor's rule, Markus (the closest any vampire gets to a winged bat), hunts down Selene and Michael, eager to uncover information about his missing brother, William. In Terminator mode, Markus proves to be more than Selene and Michael can handle. In the first of several set pieces, Markus confronts Selene and Michael in a forest, then on a moving truck. Markus, it seems, is after both information and a key. Meanwhile, a well-financed, well-armed group of commandos unassociated with either the vampires or the werewolves (and led by a mysterious figure played by Derek Jacobi) are also in pursuit of Selene, Michael, and Markus.
Selene and Michael's quest leads them to a vampire-in-exile, Tanis (Steven Mackintosh). Tanis lives comfortably in an abandoned monastery. Tanis, of course, fills in the historical details, including what Markus wants and how he plans on obtaining it. It's one among several interludes heavy on exposition and light on action (something Underworld: Evolution shares with its predecessor). Of course, the dialogue-heavy exposition gives way to multiple action scenes, on set on a dock and merchant ship, and, finally, in and under the ruins of a medieval castle (that closely, perhaps too closely, tracks Underworld's final action scene in a sewer system).
As an action/horror flick, Underworld: Evolution delivers what horror fans and casual fans of the first film have come to expect, gratuitous gore, violence, and the occasional dollop of nudity (alas, the equally gratuitous nudity is left for secondary characters of minimal importance). The gore and violence is a mix of makeup and digital effects, ranging from dismemberment to (partial) decapitation. There are two other memorable death scenes, but they're best left for viewers to discover for themselves. Markus, in particular, uses his wings and talons to bone-crunching effect. It says something, though, about the current state of the horror genre that fans will applaud any modestly budgeted, "R"-rated flick. Of course, viewers who prefer "PG-13"-rated horror flicks will find much to object to here. They, of course, have plenty of other horror films to choose from at their local video chain.
The actions scenes, while competently directed (with the exception of the prologue, which emphasizes quick cuts over coherence, plus an overuse of CGI werewolves that are nothing short of laughable), still feature Selene using her hands, fists, feet, swords, and most importantly, guns to dispatch her foes. Well, actually, she doesn't quite dispatch her foes as much as temporarily injure them, causing blood to splatter everywhere. It's not exactly an effective method for eliminating her opponents, and it quickly becomes tiresome. Michael Corvin transforms into a blue-skinned half-vampire/half-lycan hybrid. Michael's transformation also seems to involve him going shirtless. It's unnecessary, since his physical size never changes (as it does for the lycans or Markus). Presumably, Michael's shirtlessness has more to do with the target demographic than the demands of the storyline. Post-fight scene, Michael is generally forced to scrounge around for a shirt or jacket (it makes for a humorous running joke, all in all).
Moving on, Underworld: Evolution certainly has its shares of storytelling problems, primarily in the continuing use of undigested, dialogue-heavy exposition (for viewers unfamiliar with the first film or those who have simply forgottenUnderworld's convoluted storyline), the director, Len Wiseman and his screenwriter, Danny McBride, insert multiple, sepia-toned flashbacks to get the audience up to speed. In general, the flashbacks cause more confusion than understanding. Wiseman and McBride take a kitchen-sink approach to storytelling: regardless of how relevant information might be to the unfolding storyline, they'll throw it in anyway. A great deal of exposition proves to be of minimal or no value (and viewers caught in trying to follow it all will find themselves increasingly frustrated or bored with the proceedings).
Ultimately, Underworld: Evolution will appeal mostly to horror fans interested in the rare “R”-rated horror flick produced and released by a major studio (as opposed to low-budget, direct-to-video fodder), fans of the first film or of Kate Beckinsale in black latex and leather (you know who you are), and casual, less discriminating action fans. Other viewers are more likely to be disappointed by the barely comprehensible storyline (assuming they don't object to the admittedly thin premise), and, of course, the gratuitous gore and violence.
© Mel Valentin, 21st January, 2006
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