Underworld: Bit Awkward

This article was originally published on Ferretbrain. I’ve backdated it to its original Ferretbrain publication date but it may have been edited and amended since its original appearance.

For this fifth Underworld movie director Anna Foerster and script-wrangler Cory Goodman decide that continuity can go take a hike. It seems like the bits of the previous movies they liked the best were the parts involving high-powered vampire politics, since in this movie they go out of their way to include both an extensive modern vampire coven based out of a high-tech manor house like in the first movie and an ancient castle where the vampires basically dress like elves like in the prequel, with most of the action happening in one or the other of these locations.

Of course, in Awakening we were told that the human authorities had found out about the existence of vampires and werewoofles and had instituted an almighty pogrom against both, and it’s made very clear in that that the vampires have suffered the worst of this – the woofles having entered a deal with the authorities whilst the vampires have been reduced to living in tiny remnants in forgotten places. There’s certainly no scope in that setting for the vampires to be operating out of a huge, fortified mansion in a major city like they do here, so Foerster and Goodman simply seem to have decided to ignore the whole collapse-of-the-Masquerade plot detail, which is not mentioned at all in the movie, not even in the opening narration.

(As well as wanting to revert to the intricate vampire politics of the first film – or, at least, the appearance of intricate vampire politics that the first film tried to create the illusion of – Foerster and Goodman also seem to have followed the lead of the first movie when it comes to the woofles, who once again dress like homeless people and middle class approximations thereof and live in out-of-the-way places. In this case, they are hanging out in a rather cool disused railway yard, and seem a far cry from the elite corporate woofles of Awakening. Then again, the collapse of the corporate conspiracy at the end of Awakening could have believably driven the woofles back to the margins of society, so that feels like less of an overt retcon.)

That opening narration extends into the opening action scene, which is so chopped up and edited that it feels like the edited highlights of a much longer sequence, just as the preceding footage constitutes the edited highlights of the earlier movies. The film’s plot is sufficiently messy and convoluted even in this final form that it feels like it’s gone through a range of different rewrites, never quite reaching the point where it worked the way it was intended to.

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