Meanwhile, Iain Glen (in evil mode) and Matthew Marsden (in apparatchik mode) are plotting away in an Umbrella bunker to extend the evil corporation’s influence once more (over what? Does capitalism survive the end of the world?) and of course end up creating something even worse than the common-or-garden zombie we’re used to. Fehr and Larter do their best to bring weight to the proceedings, but between a homage to/rip-off of The Birds (except now they’re zombie crows!), the revelation that Alice is suddenly pyro - and psycho - kinetic, and the dumb-ass decisions their fellow travellers make in every possible situation, they have their work cut out. Soon after, we’re introduced to Claire (Ali Larter) and her convoy of survivors, including returning hero Carlos Oliviera (Oded Fehr). That, of course, makes no sense, and somewhat detracts from the Nevada desert setting, but the vast spaces do create an odd sense of agoraphobic terror. The opening escape-from-yet-another-Umbrella-facility is both action-packed and creepy, but soon we’re listening to a stilted voiceover from our heroine, Alice (Milla Jovovich), who explains that the T-virus has not only turned humanity into a zombified horde but killed plantlife and dried up rivers and lakes as well. And while Evil’s no closer to being a great horror franchise, it at least recovers from the step back that was Apocalypse. As hard as I try to get invested in this post. These walking undead don’t go bump in the night: this is a wide-awake, no-doubt-about-it, end-of-the-world scenario. Resident Evil Extinction manages to dumb down the plot, action, and characters since the last film, which is an impressive 'accomplishment'. The USP of the third instalment in the most successful game-to-film franchise to date - in terms of longevity, if not artistic merit - is that it’s a zombie movie set almost entirely in the blaze of full daylight and in the desert, no less.