バイオハザードIV アフターライフ
"新たな物語は「東京」から始まる。"
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Overview
T-ウイルスは世界中に蔓延し、遂に東京でも感染者が出た。そして、世界滅亡のカウントダウンが始まった。それから4年後。アンブレラ社は東京、渋谷の地下に巨大要塞を築き、アルバート･ウェスカー議長の指示の下で実験を繰り返していた。その地下要塞を、アリスが自身のクローンたちと共に襲撃。地下要塞は壊滅的なダメージを受ける。 ウェスカーは地下要塞をあっさり見限り飛行機で一人逃亡、予め仕掛けていた特殊爆弾[4]を爆破する。クローンアリスもろとも東京は地下要塞ごと壊滅した。 ウェスカーは勝利を確信するが、オリジナルのアリスは生き延びてウェスカーと同じ飛行機の中にいた。アリスはウェスカーを追い詰めるが、不意打ちを受けて取り逃がしてしまう。
製作費: $60,000,000 (90億円)
興行収入: $300,228,084 (450億円)
純利益: $240,228,084 (360億円)
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TMDB ユーザーの口コミ
As bad as the rest of the saga. Tons of action and FX with brainless script and plenty of bad actors.
Second time seeing this one, basically feel the same way, not terribly impressive effort, some spotty visual effects, a few silly fun moments however the finale looked like a poor Matrix copycat. But found some parts entertaining enough, just nothing all that memorable. **2.5/5**
Still in the process of bringing the umbrella company down. Alice finds out about a safe haven from her rescuers.
Resident Evil: Afterlife (2010) is a movie built entirely around its 3D experience, and that is both its strength and its downfall. The story takes a slightly better direction than the previous sequels, benefiting from W.S. Anderson’s return as director, but it still lacks depth. The movie leans fully into action and spectacle, with a focus on flashy sequences rather than strong storytelling. Watching it in 3D, the visuals and effects shine, giving a level of immersion that helps mask the flaws, but in 2D, it loses much of its impact and starts to feel more like a video game cutscene than a cinematic experience. The cinematography and editing are more controlled than in the last two films, making the action at least watchable without feeling overly chaotic. Slow motion is used heavily, almost excessively, but in the 3D format, it works as intended. The film’s standout moment is the chained hammer attack, which delivers one of the most memorable uses of 3D, making it a rare scene that actually evokes a reaction. While the direction is better, the script remains simplistic, offering just enough to move the story along without any real depth. Milla Jovovich once again carries the film, keeping it entertaining with her presence and well-executed action sequences. The supporting cast is there, but nothing particularly stands out. The soundtrack keeps the industrial rock vibe going, fitting well with the movie’s style. Overall, Afterlife is all about the 3D spectacle. If watched in its intended format, it is an enjoyable action-packed ride. In 2D, however, the flaws are much harder to ignore, making it a much weaker film when stripped of its biggest selling point.
