It is very doubtful that Chuck Darwin ever intended the term 'evolution' to be a buzz-word attached to a film such as 'Underworld: Evolution.' Still, it is possible that Darwin is not rolling over in his grave but instead smirking proudly at what an astute exploration of evolution this film truly was. The latter seems highly unlikely.
This sequel picks up immediately after the first film with the werewolf-hunting, blood-sucking Selene (Kate Beckinsale) and her half-werewolf, half-vampire life partner Michael Corvin (Scott Speedman) on the run. Michael is at the top of everyone's hit list since he represents a blending of the warring vampires and werewolves'referred to in the film as Lycans'while Selene is in the crosshairs after killing Viktor (Bill Nighy), the leader and supposedly eldest of all vampires. Simple, right?
Most of the narrative is spent exploring the finer points of Selene and Michael's friendship turned forbidden romance while attempting to uncoil the history of Selene and the entire vampire-Lycan war. Unfortunately, neither this film nor its predecessor gave any true motivation or explanation for the budding romance between Selene and Michael. The viewer is left to assume that it is Michael's uncanny resemblance to Scott Stapp that has won the fair Selene's cold, vampiric heart. With arms wide open, Michael greets her affections.
'Underworld: Evolution' also fails in building any sort of suspense or anticipation. Where they could have hidden the interesting new appearance of Marcus'brother of the slain Viktor and hunter of the heroes'from the viewer, the film reveals his winged form very anti-climactically within the first 15 minutes. It also seems the obligatory love-making scene between Selene and the Creed frontman look-a-like is blandly tossed into the mix; there is no chance for anticipation. They may as well have been at a Motel 6: the feeling would be comparable.
The most unfortunate part about this lack of suspense is that it leads the viewer to absolute apathy. Filmgoers will quickly find themselves uninterested in the exploits of the characters because director Len Wiseman fails to build true suspense or develop any depth in his characters. Instead, everyone is waiting for the next gunfight, explosion or flying man-bat-vampire to appear.
That being said, gunfights, explosions and flying man-bat-vampires are still pretty sweet. The action sequences in the film are above average, though hardly mind-blowing. In an improvement from the first film, far more hand-to-hand combat scenes were included. Its predecessor seemed content to see its leather-clad heroine deal death via automatic pistols.
Speaking of leather-clad heroines, Beckinsale is still absolutely perfect for this role. Her calculated movements and reserved demeanor perfectly offset her girl-next-door look to create the vampire vixen that pre-pubescent boys everywhere lust after. Scott Speedman, on the other hand, should probably seek employment as a Scott Stapp impersonator'something he seems far more equipped for.
If you are looking for a film to fill the void left in your heart by 'The Matrix,' this is not for you. On the other hand, if your thirst for blood splattering and sucking simply cannot be quenched, then get over to the theatre to see the most important vampire film since 'Vampire in Brooklyn.'
