“They both have strengths and weaknesses you can take and combine,” he says.
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"We’re trying to meld the aesthetic of the video game and of cinema." Sonyįew action directors can craft movies that move quite like Anderson’s, whose gift for cleanly and inventively mapping out visual spaces, from booby-trapped corridors to underground pyramids, is complemented by the devil-may-care dynamism with which he then sends his characters running, jumping, and tumbling through them – often pursued by monstrous adversaries or unseen puppeteers.ĭiscussing the divide between video games and film across which his body of work is acrobatically perched, Anderson says that “at their heart, they’re very different experiences,” drawing a distinction between “investing 100 hours into a video-game, maybe playing by yourself” and “the communal experience of watching a movie over two hours.”
Guided by his keen compositional eye, Anderson’s films – including those not based on video games, like space horror Event Horizon (1997) and disaster melodrama Pompeii (2014) – are filled with careful geometric framings and knock-out action sequences that feed into one another to create a sense of game-level progression. What’s the secret to his success? In a field dominated by scathingly reviewed box-office bombs, Anderson’s video-game adaptations stand apart as consistent commercial hits that, though largely dismissed upon their initial release, have been enjoying a recent critical reappraisal.
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And with Resident Evil unlikely to be dethroned anytime soon as the highest-grossing film series based on a video game, Anderson has cemented his status as the master of this typically disreputable subgenre. It’s been 25 years since Anderson’s first such film, 1995’s Mortal Kombat, hit theaters and claimed the top spot at the summer box office, staying there for three weeks.
Rolf Konow/Sygma/Getty ImagesĪn adaptation of Capcom’s other massively popular video-game series - the one that’s not Resident Evil, which Anderson previously architected into a six-film franchise, also starring Jovovich, to the tune of $1.2 billion - Monster Hunter finds Anderson again paired with his wife of 11 years for the kind of relentlessly maximalist yet economically directed spectacle that has led many to hail them as reigning sovereigns of the video-game adaptation. Anderson on the set of Resident Evil Extinction. He’s describing Monster Hunter, but he might as well be talking about any of the movies that have made Anderson and Jovovich one of the most successful and most misunderstood duos in modern Hollywood. “This film has an express-train feeling to it,” Anderson tells Inverse, speaking via Zoom alongside his wife and star actor Jovovich. Sedated and ensnared by spider-like “Nerscylla” and trapped in an underground labyrinth.Chased by two-horned “Diablos” that burrow under the sand.Set down in an unfamiliar desert filled with lumbering, ten-story monsters.Swallowed up by an otherworldly sandstorm streaked with bolts of blue lightning.In just the first 20 minutes of the filmmaker’s latest video-game-to-movie adaptation, we watch an elite military regiment led by Captain Natalie Artemis (Milla Jovovich) get. Like practically all the previous feature efforts by the noted action-pulp stylist, Monster Hunter (now in theaters) delivers upfront on the lean, unpretentious pleasures promised by its premise.
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