> "I heal INSTANTLY"

_Bahahaha_

==Takeaway== The dialogue and action is sometimes unintentionally funny or outright hilarious, and the film should absolutely not be watched straight, but as a B-movie with great visuals. The first time I watched it, on Netflix way back, I was disappointed but not terribly surprised, otherwise I would have watched it in the theater at leat once, but this watch was a lot of fun.

It's really clear what you're getting into as soon as you watch the setup for this one, directly following a series recap. This is a big budget version of a straight-to-video sequel that got a theater release.

==The Good==

It really does feel like a bunch of video game cinematics, but that also works as praise for just how pleasing the general aesthetic of the film is, as all the Underworld films do take after the original at least in production design, costuming, and general set design elements. This one actually has what I think is the coolest looking "evil laboratory" setting, and the CGI and matte paintings are really nice, with great texture work where most people probably didn't notice it was composite work. (I only noticed because I know what to expect from production design, and the fact that digital composite set dressing, when done well, can look _too_ good, like some of Guy Ruchie's stuff, which I actually like the look of compared to real life).

The crypto chamber shots with Kate are especially noteworthy, and the surreal, hyperrealistic sheen and tone of the shot—the way her skin just kind of subtly glows—surrounded by digital effects, just looks super cool. The camerawork shines during these kind of shots, and during the action, which, while often ridiculous, is easy to follow, and the film doesn't cheat with lots of fast closeups.

I won't put on airs—Kate Beckinsale is still absolutely stunning in that catsuit, even with a wig and a bad makeup artist. And the number of shots of her lying on the ground with one leg pulled up, or where she's crawling on all fours in that shiny latex suit are glorious.

I still maintain that Kate is the master of natural-looking stuntwork, both in how she clearly is an expert (I did not notice a single shot where it even hinted at a stunt double, so also credit to the action director et al.), and how she takes the expected pose and expression for the manoever she just executed, down to the subtlest detail. It's not like she's a Shonen anime protagonist, trying to look cool and completely unperturbed no matter what happens. When she twirls for cover, she looks wary. When she lands, you feel the impact. When it's an easy jump, she lands in a prissy, ladylike stance and smoothly transitions into a strut. It's marvelous.

The rest of the stuntwork was also pretty great.

Um. Bear-Gorilla Lycan? Is that a good thing. I mean, it's not a spoiler, because that's not actually what it was, but it sure did look like it. Lycan hand was also really stupid, and thus really funny.

The practical effects (gore, mutilation, blood) and CGI transitions are excellent, and the Lycans were actually quite good. The street chase with the ferals had impressive motion and connection to the objects interacted with. It wasn't perfect, but getting from 90% to 100% is magnitudinally more difficult, especially with that amount of action and interaction.

==The Bad==

Unlike _Rise of the Lycans_, which was surprisingly great, and dramatically satisfying, this one—while being remarkably coherent, free from plot holes AFAI can tell, and easy to follow—is awkwardly directed, with most of the dramatic moments coming off like a first take amateur production, despite the raw acting chops of the actors involved, and the editing during these scenes doesn't help.

The wirework is often pretty hinkey and really obvious. There are some CGI objects that the animators don't seem to realize that objects being thrown through the air don't accelerate, amusingly, like the wire work. There are some gratuitous use of effects mostly CGI) that don't really work, and come off as cheap.