Underworld franchise returns

The Underworld franchise is something of a curiosity. Whilst they have millions of fans around the world, there are very few critics who would agree with them, and some actually have avoided them for as long as possible. It would be a funny world if we all liked or disliked the same things, and many reviewers have been of the kind where they simply dismiss them as not being their cup of tea.

With all the hype surrounding the latest film in the series; Underworld Awakening, some have now, in order to create a review that was both plausible and relevant, they have been forced to view the previous instalments to get to grips with what it’s all about. Those who  watched and couldn’t honestly say that they actually liked them, nevertheless had to admit that they could see the appeal.

The mythology behind them, which, in comparison to the likes of the Lord of the Rings, has to be considered as rather half baked, is still pretty intricate. The concept of werewolves vs vampires is also universally intriguing, although it has to be said that the way they are represented in these films is not particularly exciting. What has to be said, however, is that this series has notably improved over time.

It has, albeit slowly, disentangled itself from the turgid neo-gothic trappings that were strangling it. Whereas it was originally a fetishist love with a regally insufferable and absinthe tinged affection, it is leaning evermore towards an action packed get in and out and job done mentality. Although ‘Rise of the Lycans’ still occasionally self indulged in in quirky olde worlde English aesthetics, it has the sense to get on with business with efficacy.

It has come, however, as a pleasurable surprise that Underwold:Awakening has almost totally dispense with the mythos shenanigans and settled into a fairly relentless scenario of total action, and pretty good action to boot. Stein and Marlind, the directors, have their finger on the pulse as far as knowing exactly what type of film they are creating, and their approach brings us a hefty dose of meat and potatoes.

That said, this is still a dumb film, and has the kind of appeal that a parent has for child that doesn’t live up to their expectations; unconditional rather than trying to change it into something it clearly isn’t. Without the burden of unrealistic expectations, and having rid itself of the boring and portentous bits from the first 2 films, it unexpectedly flourishes.

Another surprise is the way that Kate Beckinsale seems to return to the role with a whole new vitality. While the role doesn’t exactly demand much range, it does require her to be a proper action star, something that is a distinct thing to do well on the big screen. On this showing, Selene far outweighs the strength of her on screen peers such as Lara Croft and Resident Evil’s Alice.

There is , unfortunately, still the standard issue characters in support, many of which have too much going on. Theo James, playing David, somehow lives up to the requirements of the role whilst also remaining anonymous despite his vast amount of screen time.

Michael Ely tries to imbue some pathos into his role as Det. Sebastian, but the film really doesn’t let him succeed and he has to relay the story of his hugely tragic past as a quick aside during a conversation. More successful is India Eisley’s portrayal of Eve, and while the girl who was raised in a lab doesn’t have much to convey in terms of an interesting past, she comes across as more a compelling creature than a compelling character.

The directors certainly knew what they were doing too when they effectively paid Stephen Rea to sleepwalk through the film, as that it not the insult it sounds like. There is a remarkable spark accompanying the synergy of these people, cutting out the bull from the past films and embracing the kind of humble simplicity that goes into making a film aiming to be the best film of this kind.