Capcom management has a lot to answer for, leaves practically too much to be desired, and yet their development teams consistently manage to come up with absorbing gameplay.
RE Revelations is no different - the characters here are branded like familiar lab rat subjects as usual, no doubt the result of cop pricks/morons fantasizing in private. Several voice actors I gather are generally non-union have grown familiar to Capcom management's underhanded ploys, and all opted to leave their names off the list of credits to make this gaming experience as immersive as possible. How sound were each of them in doing so? It widely depends (though that's more on account of the VA in question as opposed to their specific character or character's name), and I'll leave it at that.
This is a rather well-honed experience, not unlike a big-budget action movie of a game, with the benefit of far more creativity and innovation when it comes to the setpieces than an actual movie. The burgeoning undead threat is confined to what appears to be a northwestern coastal area to me and the sea past that......still, the scripting and gameplay ensured I stayed hooked, with a decent variety of locales/undead adversaries to confront the campaign through to its end. The voiceovers gave me the impression this was grownup business as it should be, and not juvenile (accentuated by the fact the VAs don't acknowledge character labels at all).
Several standout sequences occur, and they are all edge of your seat tension. Some of them are even rather difficult, thorny to overcome. One of them involves a female undead horror gone feral, yet while you track her down aboard one floor of an infested ship, it somehow amounts to this particular foe turning the tables on you and headlocking you into the position of prey more than anything. It's quite harrowing to clear, I'm honestly quite surprised I did so in one attempt.
As this is Capcom, the catch almost goes without saying. While I was thoroughly entertained and I was thankful to decimate my fill of undead, Capcom brass and I are still not on good terms......because fuck them and their terms. You could say the same for their supervisors in turn.
One last observation: the game looks and plays far more accomplished, even lifelike on a smart (is that the actual term? cause the machine isn't actually sentient as opposed to what it can transmit/display) TV than any of the trailers would suggest. All of them make the finished result out to look like some work in progress with graphics reminiscent of Fatal Frame when it was active as a property in the 2000s, which is most certainly not the case.
8/10
Droniest doomed space vessel voyage ever? An entirely unremarkable bore from start to finish, anyone who thinks it even somewhat sound is most definitely a fucking idiot. Boyle's direction is crude, simplistic, way below par for a new century feature like this. The cast is all around dopey orc/rat shits for the most part, with the odd exception here and there (such as Michelle Yeoh), so as the screenplay is more or less dead, thoughtless on arrival and can't figure out how to juggle this impotent, misfit crew of characters - definitely not enough thespian wattage on hand to elevate anything either - it flops. Did Sanada use to not be so repulsive in general before he went Californian Sony? Hopefully, though at any rate he's out of his mind now.
Unpopular opinion, which is moot to say since most any established critic online is mentally ill: next to this piece of flaming garbage, The Cloverfield Paradox is actually kind of decent, if hardly great (and in its own right).
2/10
Francis Lawrence has some undeniable craftsmanship to dispense here, which should be a given for his line of work. It's wasted on what is otherwise this tedious, clothes hanger thin whimsy, which is thoroughly pointless for its own sake and still adopts the relentlessly wrong attitude to be acknowledging and sending up its own distinct lack of importance/quality from the onset, alongside a self-defeating plot that goes and leads nowhere like a thud.
Momoa, Chandler, and O'Dowd are clearly having fun as opposed to putting in irreverent showings worth a damn. None of what they were doing, lampooning about, translated into anything close to entertainment for me.
As for this particular child: wouldn't mind seeing her fade swiftly into obscurity unless she learns to dial down the self-satisfied behavior in the future.
4.5/10
Lesser, if relatively harmless, Chili Peppers listening. Peaks in the first 5 minutes or so, they decide to cling to strictly okay for the most part afterwards. I'm not that demanding when it comes to their music, so it all works out in a sense.
6.5/10
Nobody watches fare like this for realism or expecting even a close to decent travelogue of Europe, but Bezucha is the sort of goony helmer who is very punchable: every painstaking move he makes here you can see here practically outlined with crayons, falling over himself to appease wealthy chauvinist pigs (some real dense Euros among them, that goes without saying) who don't give a fraction of a shit about my generation or the next.......he takes extra care to make sure this bad movie falls in line with what is not just a leering Luke Bracey foul tourist's beliefs, but a child abuser's dogma, 'infallible religion' of sorts rather than a European getaway that can be enjoyable fluff and still sport good ideas.
It could have mustered the feat of giving the viewer appreciable eye candy at the least, and doesn't......never thought I'd see a movie like this where the girl in the trio I wanted to see take center stage was the dirty blonde-haired one. The other two frumpier options are way preferred, there to be shameless to their hearts' content and my thorough boredom with this overlong MTV fashion commercial. In the case of Gomez, even put on a British accent for an extended amount of time and flaunt a literal double.......for shame.
5/10
