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Yes, everyone in Raccoon City seems to be losing their hair and crying blood, and somehow Chris hasn’t noticed. Claire ran away years ago, but now she’s back to reunite with her estranged police-officer brother Chris (Robbie Amell, “Upload”) and to pull the plug on Umbrella, which has been poisoning the city’s water supply for years.
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Kaya Scodelario (“Crawl”) stars as Claire Redfield, an orphan from Raccoon City, a town run by the gigantic Umbrella Corporation, which may have been using Claire’s orphanage for twisted experiments. The pretty-good cast gets buried alive in a rushed and ill-conceived screenplay, and it doesn’t help that the film is murkily photographed and tonally dreary.
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“Welcome to Raccoon City” overstuffs itself with so many characters and plot points that nothing has room to develop. Those are two great tastes, and they taste surprisingly bad together. The second was a hybrid of “Dawn of the Dead” and “Assault on Precinct 13,” with cops in a small town fighting armies of the undead, with a little bit of “The Terminator” thrown in, because everyone loves boss battles. The first was a haunted-house riff, where a group of special agents investigate a mysterious mansion full of zombies and other unspeakable horrors. “Resident Evil: Welcome to Raccoon City” starts all over again, ignoring the events of the previous films and getting back to the basics of the original “Resident Evil” and “Resident Evil 2” games.
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Although Anderson directed only four entries in the series, his maximalist imprimatur is all over that movie franchise, and it’s time, apparently, for a change. The lucrative, outlandish, nonsensical action-horror franchise has made over a billion dollars, entertained audiences all over the world, ticked off film critics, and infuriated die-hard fans of the games, which Anderson didn’t so much adapt as throw in a blender. Anderson’s “Resident Evil” movies, because most people already have.