Trademarks

Visual: Strong production design, hallways/corridors

Directional: Slow motion, pull out shots, rotating shots, quick cut editing, practical action

Context: Tough female characters, no love stories, films end with cliffhangers

Habits: Adapting videogames

Actors: Diverse casts

Musical: Hybrid genre scores

Frequent collaborators: Milla Jovovich (6 films), cinematographer Glen MacPherson (6 films)

Genres

Total gross worldwide

Paul WS Anderson is a tremendously underrated genre director (check his best moments here). His films seek to please primarily fans of action, sci-fi and horror without burdening the audience with tedious romances, social commentary and heavy metaphors. Anderson displays a steady momentum for violent and expensive B-movies that although can be brainless, they leave modern day politics at the door to offer unapologetic fun.

Surprisingly, if we examine retrospectively his career, Anderson was “woke” before “woke” was a thing. A champion of diverse casts populated by strong and capable female characters who sometimes lead his motion pictures. His humble yet successful Hollywood debut “Mortal Kombat” (1995) has two Asians fighting in the finale, Laurence Fishburne is the protagonist in “Event Horizon” (1997) against a white villain, Milla Jovovich became the face of a billion dollar franchise in “Resident Evil” (2002-2016), Sanaa Lathan grabbed the main hero role in “Alien Vs Predator” (2004) and Tony Jaa was given a proper platform for US audiences in Monster Hunter” (2020) (as opposed to his underwhelming part in “Furious 7” (2015)). Avoiding to bend the knee in studio pressure (e.g., executives were uncomfortable with Milla Jovovich or Robin Shou as the leads in “Resident Evil” (2002) and “Mortal Kombat” respectively), you can definitely say that dear old Paul makes movies for himself just like Tarantino but in a different arena altogether.

Having built most of his career by adapting popular and thematically rich videogames (“Mortal Kombat“, ”Alien Vs Predator”, ”Resident Evil”, ”Monster Hunter”) as well as R-rated action flicks, each of his films bear a distinct visual identity that separates it from the others, a direct expression of its creator’s vision; whether it is the steampunk aesthetic of “The Three Musketeers” (2011), the space gothic architecture of “Event Horizon” or the reconstruction of the infamous “Pompei” (2014). With a focus on pulling off mesmerizing shots under moderate budgets and time constraints, few directors today are capable to match his skills and if so, they have twice the budget (and studio support).

Involved in almost every aspect of filmmaking, Anderson displays a keen ear for intricate and pumping soundtracks too. He married Buckethead and George S. Clinton to produce one of the most atmospheric and original scores in “Mortal Kombat”. “Event Horizon” had the British electronic duo Orbital complementing the outstanding orchestrations of Michael Kamen while “Resident Evil” brought together horror composing genius Marco Beltrami and Marilyn Manson to craft a truly unnerving metallic industrial score.

As a director of style over substance, he can chuck out visually arresting ideas which by today’s standards are hard to come by. A look at the reverse opening credits of “Resident Evil: Retribution” (2012), the beautiful execution of 3D in “Resident Evil: Afterlife” (2010), the appropriately otherworldly deserts of Namibia in “Monster Hunter”, the stunning production and costume design in his “The Three Musketeers” or the combination of South American pyramids with foreign technology underneath the frozen layers of Antarctica for “Alien Vs Predator” are compelling cases for his talent and ambition. What separates him from his fellow peers such as let’s say Zack Snyder is his humility. Coming across as a very insightful person, he invites a discussion about movies (and games too).

It seems critics have begun showing some love for his curriculum too after significant re-evaluation. Just like Kurt Russell informed him during the shooting of “Soldier” (1998) about how the poor reception of “Event Horizon” will lead to something better 20 years later, it is no accident that he has started to receive a newly found appreciation earning the titles of “king of violent and bonkers entertainment” and “vulgar auteur”. His films have aged gracefully over time and while they lack intriguing or complex characters, they make up for it with their love for the on-screen material, exotic locations, wild stunts, practical effects enthusiasm and stunning scenery.

“Mortal Kombat” is now a cult gem and credited as the first movie that brought wire-fu in the US cinema with its aggressive stuntwork and nifty production design. There has not been a film looking and feeling like “Event Horizon” since its original release and finally, it is considered one of the scariest and most unique horror entries ever made (and Anderson’s best). The laser sequence in “Resident Evil” has attained a fame of its own for subverting cleverly expectations gaining admiration from James Cameron. “Alien Vs Predator” limited the use of CGI and placed strong emphasis on incredible environments. “Death Race” boasted spectacular car stunts that would make the big budget behemoth that “The Fast and the Furious” (2001-2023) is now to weep while “The Three Musketeers” showcased swordfights throughout several authentic European locations with panache. Even his much maligned attempt at disaster epics, “Pompeii” had something to offer in its explosive climax while “Monster Hunter” highlighted a visually diverse and believable imaginary world, an achievement in its own right since we are at a saturation point in world building and presentation.

Let us rank then his films (excluding “Shopping” (1994) as we have not seen it) from worst to best to remind ourselves about the cinematic and frequently misunderstood outputs of the low key British director.

12. Pompeii (2014)

After the enormous success of the fourth and fifth “Resident Evil” entries, Anderson was free to do whatever he wanted. “Pompeii” marks his first attempt towards the sword and sandals genre under a generous budget of $100 million dollars. Starring the hot property that Kit Harrington was, “Pompeii” attempts to be taken seriously even if its antagonist is a painfully miscast Kiefer Sutherland. With a (doomed) love story at its core, the only reason “Pompeii” exists is for Anderson to stage gracefully the impending disaster. The problem though is that until we reach the explosive climax where the majority of the budget has been spent, we are left to witness a poor cousin of “Gladiator” which lacks conviction and compelling performances. A talented cast is wasted in telegraphic roles and while Harrington does have some charisma, it’s not utilized at maximum capacity. This leaves us in sight with an empty spectacle; pleasing the eyes but carries the dramatic and engaging depth of a cucumber.

11. Resident Evil: The Final Chapter (2016)

“The Final Chapter” is by far the worst entry in the “Resident Evil” franchise and the only reason why it is not sitting at the bottom of this list is Anderson’s ability to craft intriguing action sequences around Alice, an established action hero in her own right. However, the employment of a horrific hyper-editor (Dooby White) makes it difficult to embrace the action rendering all the skill and craftmanship behind some interesting set pieces - a fight on top of a tank surrounded by zombies is particularly inspiring - well, pointless. There is a sense of closure though since Anderson ties everything back to the original source of the outbreak, the colour palette keeps things visually stimulating and Jovovich still has enough conviction to propel the film forward showing a remarkable commitment to her now iconic role. It is a shame that Anderson succumbed to an ADHD style of filmmaking, a stylistically bizarre choice for a film that tended to establish tone and atmosphere in a world filled with flesh eating zombies and other monstrosities.

10. The Three Musketeers (2011)

Considered the first true misfire in the Brit director’s genre-tic filmography, his maligned adaptation of the classic novel does have its merits. While the steampunk aesthetic might seem out of place and bother the purists, at least the film attempts to reimagine a well-known tale with a different visual style. Although the script presents an alternative perspective on the Anglo-Franco skirmishes with flying war ships, limited characterization and lack of dramatic consequences for the protagonists, there is still plenty to admire. The cast is phenomenal, particularly Waltz and Mikkelsen who wipe out anyone unlucky enough to share the screen with them while Orlando Bloom is clearly having a blast in an OTT villainous role. Costume and production design are also top notch with emphasis on realistic practicality while the few swordfights are shot with a rigorous energy, employing excellent choreography and stunt work that most blockbusters in the same era were daydreaming about. It might be a mess of ideas from different directions, and Logan Lerman is not the ideal d’Artagnan but at least it looks spectacular.

9. Soldier (1998)

“Soldier” is one of these films that people have forgotten over time. With a whooping budget of 60 million dollars back in 1998, and the screenwriter of “Blade Runner” (1982), Anderson managed to craft a technically efficient film with a solid cast but it generally does not have much to go for it. Following the story of trained soldiers conditioned only for fighting and executing orders to the letter, “Soldier” saw Kurt Russell getting more than ten million dollars to say a total of … 104 words in a mediocre conflict between the now discarded fighting machine and his stereotypically portrayed makers. It does not have much to be proud off besides some limited action sequences and an adequate production design which is fascinating from a making off point of view. Anderson had previously demonstrated great directing skills with “Mortal Kombat” and “Event Horizon” and his collaboration with the screenwriter of one of the most influentially (both visually and thematically) films of all time under an expansive budget should have returned cinematic fireworks. While the final result is not bad, it is problematic because it is so average. Russell deserved better!

8. Resident Evil: Afterlife (2010)

With the 3D craze getting momentum in the late 2000’s due to the unexpected success of James Cameron’s “Avatar” (2009), Anderson was the only filmmaker who sought to utilize successfully the same technology by avoiding the pitfalls of easy post 3D conversion. Putting a strong emphasis on glorious and gorgeous slow motion infused visuals, Anderson thinks he is creating high art and you could not blame him for not having ambition. The opening credits under Tomadandy’s eerie industrial score in a packed with umbrellas Shibuya (do you get the symbolism?) are pretty cool, Jovovich carries the entire film on her shoulders and there are some inventive zombie skirmishes scattered around the globe. Yet despite the eye candy, one dimensional characters hop in and out the (illogical) and hanging by a thread plot, Albert Wesker is totally wasted in an over-extended cameo and the film favors now slick action over traditional zombie horror.

7. Resident Evil: Retribution (2012)

The most videogame-y entry in his billion dollar franchise, “Retribution” increases slo-mo style up to 11 and expands the zombie canvas with bonkers set-pieces. Two axe-men in the price of one destroy Times Square, a car chase through Moscow is fun enough while a zombie infested corridor is John Wick before John Wick was a thing with Alice shooting in various poses zombies in the head. Credit has to be given to Anderson for his persistence to create fascinating visuals - the shot in reverse opening credits are a stroke of genius - and although the plot is literally non existent, it is hard not to admire a film that serves zombie mayhem in novel ways without reducing female characters to pointless damsels in distress, love struck buffoons or objects for desire. Incorporating some nifty sci-fi ideas gives it an edge over the other entries, yet these unfortunately are not explored and the “Aliens” (1986) homage at the end is perhaps too obvious, but maybe the point here is to shut up and enjoy competently made creative action.

6. Death Race (2008)

Along with “Pompeii”, “Death Race” is Anderson’s most straight forward film. “Death Race” does what it exactly sets out to do: giving us fast pace car chases with guns, babes and explosions, lots of explosions. Practically made, R-rated when it is required and without an ounce of CGI enhancement in its car sequences, “Death Race” has aged like a fine wine. There is a lot of craftmanship to be admired here in the rather small stakes story which contradict the state of so many modern “superhero” films that rely excessively on well, computer effects. The limited social commentary, especially in the ear we live in is spot on with Anderson clearly demonstrating that when he wants, he can write something that bears some form of gravitas. Statham is a great choice as the protagonist, Ian McShane and Joan Allen are having a ball with their roles and the David Carradine cameo a nice nod to the old film. Now that’s entertainment.

5. Monster Hunter (2020)

A most pleasant surprise in his filmography, “Monster Hunter” is better than it has any right to be. With amazing locations in Namibia, it is a visually fascinating film that is being elevated by surprisingly very good monster effects. Jovovich is convincing as a ranger captain and shares great chemistry with Tony Jaa, their interactions being the heart of the movie. Despite a frantic editing from Dooby White (of the “Resident Evil: The Final Chapter” fame), “Monster Hunter” at least demonstrates geographical awareness in its skirmishes and even manages to activate our adrenaline glens at some point. The monster design is great too and a sequence involving arachnoid like creatures is thematically dark and tense. Assisted by great production and creature design and a pulse pounding score from Paul Haslinger, “Monster Hunter” might tire those who prefer slow burn action films but will win action and well, monster junkies if they can get past the manic edit. There are several cool shots that highlight Anderson’s ability of presenting nifty visuals such as his trademark pull out shots to embrace the otherworldly scenery around his protagonists. While the cast serves are nothing more than some behemoth’s lunch, all eyes are on Jovovich and Jaa.

4. Alien vs Predator (2004)

Like “Death Race” (2008), time has been kind to “Alien Vs Predator”. Initially scolded by critics and audiences alike due to 20th Century Fox’s insistence of a PG-13 rating, “AVP” was a commercial success and has started developing a cult following. Anderson who wrote the script still displays his luck of creating interesting characters besides glorified archetypes. But if you can get past this weakness, his way of bringing the two monsters together is ingenious and frankly intriguing. Expanding nicely the mythology of cinema’s most famous monsters, his direction is patient and old school, embracing a fascinating production design which has scale, character, ambition and a sense of claustrophobia. Cinematography is top notch and while the over hyped face off might disappoint some, there are plenty of memorable moments. Visually “AVP” is probably a masterpiece with the combination of snow, archaic architecture and alien technology all coming together to provide an unconventional yet easily digestible thrill ride.

3. Resident Evil (2002)

A small flick at its heart with claustrophobia being the main sentiment that echoes throughout its running time, “Resident Evil” is a well crafted techno thriller which many credited as the reason for popularizing zombies again. While not full out horror, and certainly not as gory as you would expect, there are plenty of slow build jump scares to please genre aficionados as well as an infamous laser sequence that subverts expectations. Jovovich is an intriguing and ultimately convincing choice to play the lead, a bona fine beauty who kicks ass. Playing as a prequel to the original “Resident Evil” game and with subtle inspirations from “Alice in Wonderland”, there are few clever twists here elevated by a Hitchcockian direction that takes its time to reveal its monsters. With a believable setting and a metallic, low-frequency industrial leaning score by the (ingenious) marriage of Marilyn Manson and Marco Beltrami, “Resident Evil” won’t win any awards but it will certainly please fans of the genre. Its strong anti-corporate message though is the one that has aged nicely in a time period where mega corporations almost rule the world like Philip K. Dick (and others) predicted.

2. Mortal Kombat (1995)

Marking Anderson’s transition in Hollywood, “Mortal Kombat” is a film that needs no introduction. Paying direct homage to Bruce Lee’s classic “Enter the Dragon” (1973), the script takes its time to build up the tournament with an appropriate otherworldly atmosphere and a pitch perfect tone translating faithfully the colorful world of ninjas, sorcerers and monsters for the big screen. The film is helped by Anderson’s energetic direction which embraces practicality with an innovative and ambitious production design that does the source material justice, vivid and saturated cinematography, exotic locations, excellent sound design, and a soundtrack/score to die for. Lacking illusions of grandeur, “Mortal Kombat” boasts a diverse and spot on cast too: Robin Shou is a fine specimen of athletism getting the lion’s share in fighting, Linden Ashby and Christopher Lambert are now iconic in the respective roles of Johnny Cage and Raiden but this is Cary Hiroyuki Tagawa’s show as the villainous Shang Tsung. Elevating every scene he is in, Tagawa’s line delivery and distinct facial expressions made Shung Tsung a larger than life character and established his performance as canon for the videogames to come. And who can forget the Oscar worthy opening credits sequence and the infamous techno theme?

1. Event Horizon (1997)

Are we really surprised at this point that “Event Horizon” (1997) is Anderson’s best film? Declining a number of big time opportunities to direct (e.g., “X-Men” (2000), “Mortal Kombat: Annihilation” (1997)), Anderson sought to bring to life the polished script of Philip Eisner through a meticulous and hyper-stylized direction that features incredibly difficult shots to pull off. Its first 2/3s rely heavily on an unparalleled ominous atmosphere of tension giving “Event Horizon” an edge over other traditional and banal horror flicks. Yet, it is the likeable cast that sells this space horror material to the audiences. Laurence Fishburne, Sam Neil and co play act with a straight face around the hell-ish set-pieces and walk away with their integrity intact. Benefitted by the special effects supervisor of “Blade Runner” (1982) and a spectacularly unnerving production design, “Event Horizon” has already caused a visual uneasiness with its space gothic architecture before the story kicks in. A shame then that we will never see the director’s cut and restore the glory of the original version. Similarly to how John Carpenter’s (“The Thing” (1982) was received, the doomed spaceship followed the same fate only to found new appreciation and an all-time-classic status 20 years later.