underworld evolution

THE FLICK: Bigger, louder and dumber is the de facto formula for most movie sequels. The exceptions are almost too few to mention. But director Len Wiseman goes for bigger, louder and more complicated with Underworld: Evolution (part two in a planned trilogy, if you’re counting, although now that Wiseman has been signed for Die Hard 4.0 those odds are pretty low). Rather than add more vampire vs. werewolf action, this plot-heavy sequel slows things down with a genealogical history so complex it would take a few years of research to sort out who “begot” who. It’s a risky idea that doesn’t quite pay off. Wiseman still proves himself quite adept at staging interesting action scenes, maneuvering his star/wife Kate Beckinsale through a variety of leather-clad shoot-outs between rabid “lychens” and a new winged vampire king beautifully brought to life by the effects team. But, while the dense backstory is suitably epic, the gaps between the violence can be deathly dull. Part of the problem lies in the setting, which traps Selene (Beckinsale) and her hybrid-werewolf lover (Scott Speedman) in the provincial mountains of Europe, recycling the same ruined castles and abandoned warehouses. Evolution lacks the forward momentum of the original film, which managed to carry the burden of vampire politics with less visible effort. Still, the film is marked by two or three truly memorable sequences, including a pair of mass werewolf transformations which bookend Selene’s discovery of her illegitatite vampire heritage. And, as with the first film, the combination of old-school practical and CG techniques is to be applauded. The character of Marcus, the original vampire resurrected with bat-like wings and a bad temper, is one of the most vividly rendered monsters to hit the screen in a decade. THE FEATURES: Sony released the first Underworld in something like four incarnations on DVD, so one can only expect this is the first of many Evolution editions. But as far as single-disc special editions go, you could do much worse. There’s the requisite commentary and six different featurettes specializing on different areas of the film (visual effects, stunts, creatures, production design, music & sound design, and your generic “making of”). For your average fan of the film, this is all you’ll ever need. Wiseman provides a good technical conversation and stays on topic, while the featurettes are solidly produced. Heck, there’s even a music video. But don’t blame me when that double dip surfaces in a year or two.