Resident Evil: Afterlife

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In a world ravaged by a virus infection, turning its victims into the Undead, Alice continues on her journey to find survivors and lead them to safety. Her deadly battle with the Umbrella Corporation reaches new heights, but Alice gets some unexpected help from an old friend. A new lead that promises a safe haven from the Undead takes them to Los Angeles, but when they arrive the city is overrun by thousands of Undead – and Alice and her comrades are about to step into a deadly trap.

Release Date: September 1, 2010 (Theaters)

|

September 2, 2010 (Digital)

Phase:

Classification:

Runtime: 1h 37m

Production:

Constantin Film

Budget: $60,000,000

Box Office: $300,228,084

Classification

Runtime
1h 37m

Production

Budget
$60,000,000

Box Office
$300,228,084

Ali Larter
Claire Redfield
Kim Coates
Bennett
Shawn Roberts
Albert Wesker
Wentworth Miller
Chris Redfield
Sienna Guillory
Jill Valentine
Kacey Barnfield
Crystal Waters
Norman Yeung
Kim Yong
Tatsuya Goke
Sniper #2
Nobuya Shimamoto
Technician #1
Peter Kosaka
Duty Officer
Denis Akiyama
Captain Hotaka
Shin Kawai
Umbrella Sergeant
Mika Nakashima
J Pop Girl
Takato Yamashita
Business Man
Hiromi Okuyama
Kogel Girl Undead
Bill Blair
Featured Zombie (uncredited)
Emmanuel Buriez
Zombie (uncredited)
Jamie Ferenczi
Survivor (uncredited)
Brian Jansen
Zombie (uncredited)
Azmyth Kaminski
Zombie (uncredited)
Devon Richards
Zombie (uncredited)
Jay Yoo
Japanese Soldier (uncredited)
Paul W. S. Anderson
Director / Producer / Writer
Martin Moszkowicz
Executive Producer
Victor Hadida
Executive Producer
Don Carmody
Producer
Jeremy Bolt
Producer
Adam Horley
ADR Recordist
Al Vrkljan
Armorer
Alan Zielonko
Boom Operator
Alex Bullick
Sound Effects Editor
Allan Henderson
Lighting Artist
Amanda Wojtaszek
Second Assistant Camera
Andrew Stirk
Sound Re-Recording Mixer
Andrew Tay
Sound Re-Recording Mixer
Andy Schlegel
ADR Recordist
Arthur Rowsell
Assistant Costume Designer
Arvinder Greywal
Production Design
Azalia Snail
Costume Design
Becca Donohoe
Visual Effects Coordinator
Ben Howdeshell
First Assistant Editor
Benjamin Mossman
Visual Effects Coordinator
Benjamin Smith
Second Assistant Camera
Brandt Gordon
Art Direction
Brent Robinson
Underwater Camera
Brian Cassar
Second Assistant Camera
Brian Dignadice
Lighting Artist
Brian Kobo
Production Coordinator
Brian White
First Assistant Camera
Burton J. LeBlanc
Assistant Makeup Artist
Carly Brenner
Camera Trainee
Carol Hartwick
Key Hair Stylist
Carolyn A. Loucks
Set Decoration
Chris Devitt
Prosthetic Makeup Artist
Chris Ryan
Compositor
Chris Wallace
Digital Intermediate Colorist
Christina Smith
Makeup Artist
Cliona Furey
Hairstylist
Colin Akoon
First Assistant Camera
Coll Anderson
Sound Designer
Collingwood Brown
Art Department Coordinator
Craig Calvert
CG Supervisor
Dan Grease White
Camera Trainee
Dana Howes
Transportation Coordinator
Daniel Rhein
CG Artist
David Franco
Second Unit Director of Photography
Dawn M. Stoliar
First Assistant Editor
Denise Cronenberg
Costume Design
Dennis Berardi
Visual Effects Supervisor
Dominic Remane
CG Supervisor
Dug Rotstein
Script Supervisor
Engin Arslan
Lighting Artist
Eric J. Robertson
Visual Effects Producer
Eric Robinson
Visual Effects Production Manager
Florian Vera
Visual Effects Editor
Frederic St-Arnaud
Matte Painter
Gabriel Roy
Visual Effects Production Assistant
Gavin Soares
Animation
Geneviève Morin
Visual Effects Production Assistant
Glen MacPherson
Director of Photography
Graham Chivers
Prosthetic Makeup Artist
Gregor Hutchison
Post Production Supervisor
Hanung Lee
Animation
Harry Muller
Color Timer
Ian Hunter
Visual Effects Supervisor
Iantha Goldberg
Prosthetic Makeup Artist
Igor Meglic
Second Unit Director of Photography
James Blacker
Location Scout
Jason Detheridge
Prosthetic Makeup Artist
Jeff Hicks
Camera Trainee
Jill Purdy
Dialogue Editor
Jim Holmes
Best Boy Grip
Jim Krauter
Rigging Grip
Jo-Ann MacNeil
Key Makeup Artist / Makeup Effects
Joell Xin Zhow
Matte Painter
John Colavecchia
First Assistant Camera
Jonathan Matthews
Location Manager
Josiane O'Rourke
Visual Effects Coordinator
Julia Seidman
Camera Trainee
Julien Tremblay
Visual Effects Coordinator
Justin Smith
Visual Effects Production Assistant
Kaitlyn Lovatt
Compositor
Keith Murphy
Camera Operator
Kelly Kavanagh
Makeup Effects
Kelly O'Leary
Makeup Effects
Ken McCuen
Matte Painter
Kevin Banks
Music Editor
Kevin Labanowich
Senior Animator
Kyle Glencross
Prosthetic Makeup Artist
Lara Johnston
Assistant Editor
Leann Harvey
Visual Effects Coordinator
Lee Ann Simard
Visual Effects Production Assistant
Lee Hughes
Digital Intermediate
Leslie Sebert
Makeup Department Head
Louis Katz
CG Supervisor
Ludovic Iochem
Matte Painter
Mahapatro Kalpana
Concept Artist
Marcel Janisse
First Assistant Camera
Marilyne Fleury
Matte Painter
Mark Cyre
First Assistant Camera
Mark Fordham
Concept Artist
Mark Zsifkovits
Sound Re-Recording Mixer
Mathew Borrett
Matte Painter
Mathieu Raynault
Visual Effects Art Director
Mehta Apul
Animation
Melissa Girotti
Production Coordinator
Michael Carella
Camera Operator
Michael Carr
Second Assistant Camera
Mike Barber
Visual Effects Editor
Mike Borrett
Visual Effects Production Manager
Milan Schere
Matte Painter
Moika Sabourin
Matte Painter
Motassem Younes
Digital Intermediate Editor
Nadia Guglieri
Script Supervisor
Neil Morrill
Makeup Effects
Ovidiu Cinazan
Compositor
Patrick Baxter
Makeup Effects
Patrick King
Dolly Grip
Paul Jones
Makeup Effects Designer
Perry Hoffman
Camera Operator
Peter Armstrong
Digital Intermediate Producer
Peter Dydo
Animation
Peter Persaud
Foley Recordist
Peter Toufidis
Matte Painter
Rafy
Still Photographer
Ravindra Tamhankar
Matte Painter
Renee Fontana
Assistant Costume Designer
Richard Redlefsen
Makeup Effects
Rick Forsayeth
Stunt Coordinator
Robert Greb
Compositing Supervisor
Robin Tremblay
Matte Painter
Rocky Faulkner
Makeup Effects
Roger Finlay
Camera Operator
Ron Renzetti
Dolly Grip
Ronald Gilbert
Production Manager
Rose Gregoris
First Assistant Sound Editor
Sandra Wheatle
Makeup Artist
Sarah Barber
Visual Effects Coordinator
Sean Paul Armstrong
Boom Operator
Shane Zander
Prosthetic Makeup Artist
Sondra Treilhard
Assistant Hairstylist
Sorin Popescu
Set Designer
Stephen Barden
Supervising Sound Editor
Steve Baine
Foley Artist
Steve F.B. Smith
Dolby Consultant
Stéphan Brisson
Matte Painter
Sébastien Moreau
Digital Effects Supervisor
Taryn Ash
Stunts
Tavia Charlton
Visual Effects Producer
Thomas Hayek
Sound Recordist
Tom Starnes
Rigging Gaffer
Tom Turnbull
Visual Effects Supervisor
Tracey McLean
Matte Painter
Tracey Savein
Location Scout
Travis MacKay
ADR Mixer
Tucker Doherty
Set Designer
Vern Nobles
Aerial Director of Photography
Vincent Sullivan
Hair Department Head
Vladislav Fedorov
Set Designer
Wade Barnett
ADR Recordist
William Cheng
Set Designer
Wojciech Zielinski
Visual Effects Supervisor
tomandandy
Original Music Composer
Éric Hamel
Matte Painter

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Reviewer:
RalphRahal
Date:
February 3, 2025
Resident Evil: Afterlife (2010) is a movie built entirely around its 3D experience, and that is both its strength and its downfall. The story takes a slightly better direction than the previous sequels, benefiting from W.S. Anderson’s return as director, but it still lacks depth. The movie leans fully into action and spectacle, with a focus on flashy sequences rather than strong storytelling. Watching it in 3D, the visuals and effects shine, giving a level of immersion that helps mask the flaws, but in 2D, it loses much of its impact and starts to feel more like a video game cutscene than a cinematic experience. The cinematography and editing are more controlled than in the last two films, making the action at least watchable without feeling overly chaotic. Slow motion is used heavily, almost excessively, but in the 3D format, it works as intended. The film’s standout moment is the chained hammer attack, which delivers one of the most memorable uses of 3D, making it a rare scene that actually evokes a reaction. While the direction is better, the script remains simplistic, offering just enough to move the story along without any real depth. Milla Jovovich once again carries the film, keeping it entertaining with her presence and well-executed action sequences. The supporting cast is there, but nothing particularly stands out. The soundtrack keeps the industrial rock vibe going, fitting well with the movie’s style. Overall, Afterlife is all about the 3D spectacle. If watched in its intended format, it is an enjoyable action-packed ride. In 2D, however, the flaws are much harder to ignore, making it a much weaker film when stripped of its biggest selling point.
Rating:
5.0
Reviewer:
Andre Gonzales
Date:
August 8, 2023
Still in the process of bringing the umbrella company down. Alice finds out about a safe haven from her rescuers.
Rating:
6.0
Reviewer:
JPV852
Date:
November 20, 2020
Second time seeing this one, basically feel the same way, not terribly impressive effort, some spotty visual effects, a few silly fun moments however the finale looked like a poor Matrix copycat. But found some parts entertaining enough, just nothing all that memorable. **2.5/5**
Rating:
5.0
Reviewer:
Andres Gomez
Date:
March 6, 2014
As bad as the rest of the saga. Tons of action and FX with brainless script and plenty of bad actors.
Rating:
4.0