Once the booming home of pharmaceutical giant Umbrella Corporation, Raccoon City is now a dying Midwestern town. The company’s exodus left the city a wasteland…with great evil brewing below the surface. When that evil is unleashed, the townspeople are forever…changed…and a small group of survivors must work together to uncover the truth behind Umbrella and make it through the night.
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Credits: TheMovieDb.

Film Cast:

• Claire Redfield: Kaya Scodelario
• Jill Valentine: Hannah John-Kamen
• Chris Redfield: Robbie Amell
• Albert Wesker: Tom Hopper
• Leon Kennedy: Avan Jogia
• Chief Irons: Donal Logue
• William Birkin: Neal McDonough
• Ada Wong: Lily Gao
• Richard Aiken: Chad Rook
• Lisa Trevor: Marina Mazepa
• Vickers: Nathan Dales
• Ben Bertolucci: Josh Cruddas
• Truck Driver: Pat Thornton
• Sherry Birkin: Holly de Barros
• Annette Birkin: Janet Porter
• Young Claire: Lily Gail Reid
• Young Chris: Daxton Gujral
• Kevin Dooley: Dylan Taylor
• Enrico Marini: Sammy Azero
• Waitress / Louise: Jenny Young
• Sickly Mother: Stephannie Hawkins
• Sickly Boy: Nathaniel McParland
• Nurse: Pamela MacDonald
• Ashford Twin #1: Heloise Catherine Pead Galvin
• Ashford Twin #2: Sophia Ann Pead Galvin
• Chernobyl Zombie #1: Kalie Hunter
• Chernobyl Zombie #2: Andrea Ciacci
• Female in Crowd (RCPD): Kelly Reich
• Man in Crowd (RCPD): Robert Chaumont
• Labcoat Zombie / Dining Hall Chernobyl Zombie #1: Matthew MacCallum
• Dining Hall Chernobyl Zombie #2: Jason Lee Bell

Film Crew:

• Executive Producer: Paul W. S. Anderson
• Executive Producer: Jeremy Bolt
• Producer: Robert Kulzer
• Stunts: Vincent Rother
• Original Music Composer: Mark Korven
• Executive Producer: Martin Moszkowicz
• Director of Photography: Maxime Alexandre
• Executive Producer: Victor Hadida
• Executive In Charge Of Production: Scott Strauss
• Stunt Driver: Mike Chute
• Stunts: Geoff Scovell
• Stunts: Sean Skene
• Stunt Coordinator: Dan Skene
• Unit Production Manager: Hartley Gorenstein
• Stunts: Andrew Butcher
• Writer: Johannes Roberts
• Stunts: Sharon Canovas
• ADR Supervisor: Brian Power
• Production Design: Jennifer Spence
• Casting: Colin Jones
• Producer: James Harris
• Art Direction: Anthony Ianni
• Casting: Sara Kay
• Associate Producer: Hiroyuki Kobayashi
• Post Producer: Andre Coutu
• Editor: Dev Singh
• Key Hair Stylist: Ashley Nay
• Sound Re-Recording Mixer: Andrew Tay
• Special Effects Supervisor: Jeff Skochko
• Additional Colorist: Dave Muscat
• Special Effects Makeup Artist: Neil Morrill
• Set Designer: Shelley Silverman
• Utility Sound: David Ottier
• Supervising Sound Editor: Nelson Ferreira
• Stunt Double: Alex Armbruster
• Modeling: Jubinville Steve
• Graphic Designer: Bruno Rocca
• Set Designer: Mark Kowalsky
• Production Manager: Christine Sola
• Local Casting: Jenny Lewis
• Stunts: Randy Butcher
• Visual Effects Supervisor: Jo Hughes
• Special Effects Makeup Artist: Paul Jones
• Clearances Consultant: Cassandra Barbour
• Dialogue Editor: Ève Corrêa-Guedes
• Production Coordinator: Donald Colafranceschi
• Stunts: Avaah Blackwell
• Contact Lens Painter: Kevin Carter
• Creature Design: Daniel Carrasco
• Sound Re-Recording Mixer: Bret Killoran
• Sound Designer: Dashen Naidoo
• Prosthetic Designer: Steve Newburn
• Online Editor: Adrian Saywell
• Dolly Grip: Axel Green
• Stunt Double: Aj Risi
• Stunt Driver: Bas Reitsma
• Costume Supervisor: Alisha Robinson
• Music Supervisor: Phil Canning
• Stunts: Dan MacDonald
• Second Assistant Director: Adam Bocknek
• Assistant Makeup Artist: Joseph Hinds
• Colorist: Bill Ferwerda
• Stunts: Nick Stead
• Stunt Double: Geoff Meech
• Casting Associate: Kalene Osborne
• Unit Publicist: Laura Pettitt
• Key Grip: Tyler Emms
• Stunt Double: Ana Shepherd
• Stunts: Neven Pajkic
• Special Effects Makeup Artist: Allan Cooke
• Prosthetics: Shaun Hunter
• Boom Operator: Craig Baker
• Best Boy Grip: Shawn Kazda
• Set Production Assistant: Adam Singer
• Prosthetics: Anthony Veilleux
• Production Assistant: Alexander Hamilton Westmore
• Visual Effects Compositor: Matthew Beightol
• Sound Mixer: Thomas Hayek
• Animal Wrangler: Bj Prince
• Stand In: Olivia Gudaniec
• Costume Design: Jennifer Lantz
• Assistant Director of Photography: Matt Irwin
• Assistant Art Director: Randi Lee Butcher
• Stunts: Stephannie Hawkins
• Stunt Double: E. Nova Zatzman
• Special Effects Makeup Artist: Kayla Dobilas
• Stunt Double: Don Stockford
• Utility Stunts: Jason Lee Bell
• Costume Coordinator: Mara Zigler
• Mix Technician: Renan Deodato
• Costume Assistant: Sara Sahr
• Production Coordinator: Alina Ducharme Dockery
• Special Effects Makeup Artist: Mark Wotton
• Travel Coordinator: Brandon Mayer
• ADR Mixer: Benjamin Darier
• Finance: Antje Bankmann
• Special Effects Assistant: Bruce Stanfield
• Co-Executive Producer: Alex Zhang
• Makeup Artist: Vanessa Smith
• Stunt Double: Amy Szoke
• Key Makeup Artist: Steph Pringle
• Foley Recordist: Daniel Moctezuma
• Costume Supervisor: Minda Johnson
• ADR Recordist: Jesse Fellows
• Assistant Sound Editor: Jack Madigan
• Assistant Camera: Ryan Prouse
• Set Dresser: Margaret Shain
• Script Supervisor: Samantha McMeekin
• Prosthetic Makeup Artist: Emma-Lee Hilton
• Online Editor: Patrick Perron
• Art Department Trainee: Frankie Ovis
• Makeup Artist: Daniella Pluchino
• Transportation Coordinator: Dalton Haskin
• Additional Photography: Hugh Goodden
• Costume Assistant: Faith Campbell
• Costume Set Supervisor: Cayley Jensen
• Assistant Hairstylist: Dann Campbell
• Post Production Supervisor: Jerrett Zaroski
• Makeup Artist: Hailey Roseland-Barnes
• Makeup Department Head: Erin Sweeney
• Dresser: Luke Ellis
• Set Designer: Mira Apci
• Coordinating Producer: Ruby Gibson
• Props: Paul Grimard
• Digital Compositor: Gerry Kingsley
• Painter: Jesse Lagace
• Concept Artist: Christian Urdapilleta
• On Set Dresser: Daniel Lacroix
• Key Scenic Artist: Lori Paradis
• ADR Engineer: Jordan Bell
• Utility Sound: Ryan Cox
• Data Wrangler: Brittany Hurrell
• Cyber Scanning Supervisor: Troy Robinson
• Stunts: Sebastian Buitrago
• Gaffer: John Gallagher
• Camera Trainee: Darian Loohuizen
• Lighting Supervisor: Adam Stewart
• Second Assistant “A” Camera: Kierstin Zoratto
• Assistant Camera: Michael Fisher
• Assistant Editor: Paul T. Brooks
• Post Production Coordinator: Danielle Dmytraszko
• Production Assistant: Lawrence Van Beek
• Assistant Production Coordinator: Tessa Sawchuk
• Finance: Norbert Hermannstädter
• Stand In: Stephanie Aubertin
• Actor’s Assistant: Cora Gillespie
• Production Assistant: Melissa Covey
• Production Assistant: Christina Cameron
• Production Assistant: Richard Barlow
• Assistant Accountant: Tanner Brazier
• Production Assistant: Lidia Castellano
• Cast Driver: Luke Auger
• Cast Driver: Nick Haskin
• Assistant Director: Chris Feltis
• Assistant Director: Abel Erazo-Ibarra
• Assistant Director: Alessia Spalvieri

Movie Reviews:

• Per Gunnar Jonsson: Well I cannot say that I I had high hopes for this movie but I have watched the other movies in the franchise and I am a bit of a sucker for horror/fantasy/science fiction movies. Especially if one can expect a decent amount of special effects and gore so…

  It is not a great movie. Not even a good movie really but it is a half decent B-movie horror flick. It sure as hell is better than that woke piece of trash that Netflix has produced with their TV-show adaptation of the franchise but then that does not really say very much.

  The story is rather non-existent and things just happen for no good reason. It is like the writer just took a bunch of zombie and monster encounters and threw them in a mixer to see what came out. Sure there is a resemblance of a background story there but it is not much.

  We never get to know why the zombies escaped into Raccoon City, why the experiments where abandoned or anything else that might enlighten us as to why zombies pop up here and there all the time (apart from the fact that it is a Resident Evil movie and it is Raccoon City of course). There also seems to be a number of characters in the movie that knows a lot about what is actually going on but again, we never really get much of an explanation. I have understood that the movie is based on the story in the first three of the games so I guess those that have played them might understand the why’s better.

  The main reason to watch this movie is the special effects, the gore and the action and this is best done with your brain in the off position. There are indeed some decent gory special effects and I have to say that the monsters in the later half of the movie was pretty okay.

  I do miss Milla Jovovich though. There is not really any good kick-ass replacement for her although some of the characters tried. Also, for f… sake, will the dumbass Hollywood script writers ever going to stop putting stupid shit in the movies, like firing off bazookas and rocket launcher in confined spaces, say a train car. It doesn’t work unless the goal is to also kill the person firing it you morons!

  One thing that annoyed me throughout the entire movie though is the fact that it is really dark. Sure it is a horror movie so some dark scenes is to be expected but the entire movie is really really dark. To the extent that it really is difficult to see what is going on for a lot of the movie. It might have worked in a cinema but on a TV-screen, even with the pretty good OLED that I have, it is really too dark.

  So it was pretty much what I expected, a basic B-movie of the gore feast variety. Didn’t feel like I wasted my time but that is a positive as it gets.

• The Movie Mob: **The director’s love for the games is apparent, but too many poor decisions ruined what could have been the best and most faithful Resident Evil yet.**

  Welcome to Raccoon City marks the first live-action Resident Evil adaptation to stick close to the original games in story and feel. Character costumes looked like they were plucked right from the games. Sets and locations were identical to levels I spent hours playing. Easter eggs and nods throughout the film celebrated hardcore fans. Unfortunately, its flaws overshadow its victories. An overcrowded story with too many characters prevented developing the characters or making the story have any real impact. Forcing two full game stories into an hour and 47-minute run time had consequences. I enjoyed the movie’s attention to the slow descent from human to zombie, which showed the dread and hopelessness as the victims felt their humanity drain away. There is also a fantastic action scene in complete darkness where the muzzle flash provides the only light for the survivors to see. There were some wonderful moments that Resident Evil fans will enjoy, but nostalgia is really the only thing Welcome to Raccoon City has going for it.