Monster Hunter director Paul W.S. Anderson began his career with the ultra-violent, low-budget film Shopping in 1994. The following year, he directed the Mortal Kombat film (which is receiving a reboot this year). Similar to Uwe Boll, Anderson’s career has largely focused on adapting games into films. In 2002, he wrote and directed the film adaptation of the cult classic Resident Evil, where he met Milla Jovovich, whom he later married. Together, they have produced numerous sequels to Resident Evil with varying degrees of success. He has also directed projects such as Alien vs Predator and The Three Musketeers. While some critics have been harsh, suggesting the “W.S.” in his name stands for “worthless shit,” he is personally praised for directing Event Horizon, considered by some to be a standout horror film.
Artemis (Milla Jovovich) and her squad are in search of Bravo Group, which has vanished in the desert. They encounter a mysterious storm, and upon emerging, they find themselves in an unfamiliar environment. Their GPS fails, the landscape is unrecognizable, and they soon realize they’ve been transported to another world via a portal. They quickly discover they are not alone, observed by a hunter (Tony Jaa). Before they can investigate further, they are attacked by colossal monsters, initiating a battle for survival unlike any they’ve faced before.
One of my initial assignments for senses.se involved attending a preview of Monster Hunter World, and my limited playtime sparked a desire for more. The film Monster Hunter maintains considerable fidelity to Monster Hunter World: weapons, monsters, and characters are recognizable, demonstrating the filmmakers’ commitment to the source material. It is interesting to note the practical implementation of the gigantic weapons for live-action use. The introduction of our world as a plot element is a new addition, seemingly designed to provide context for viewers unfamiliar with the Capcom game series.
Monster Hunter maintains a brisk pace, and the action sequences are well-executed and engaging. Jovovich delivers a strong performance, showcasing both her character’s toughness and vulnerability, as well as moments of humor. Tony Jaa demonstrates his versatility beyond action, and the on-screen chemistry between the leads is enjoyable. The monsters are realized through CGI, while practical sets and minimal green screen usage enhance the visual experience. The film also features a particularly unsettling sequence that leaves a lasting impression.
While Monster Hunter operates outside the realm of realism from the outset, the resilience of the human characters is pushed to extremes. Jovovich’s character experiences a near-death scenario and subsequent resurrection with minimal consequence. This teeters on the edge of becoming distracting, but Anderson manages to maintain a balance that ultimately contributes to the entertainment value.
The UHD edition delivers exceptional picture and sound quality. Featuring HDR10, the image exhibits a near three-dimensional quality. The cave scenes are rendered with remarkable detail in the shadows, while the desert sequences display unparalleled clarity and sharpness thanks to the 4K resolution. The Dolby Atmos sound design provides an immersive audio experience, with certain sequences fully utilizing the capabilities of a high-end sound system. Dialogue and subtle details within the soundscape are reproduced with pristine clarity.
The release includes a selection of bonus materials, however, these consist primarily of brief promotional documentaries that offer limited insight into the film’s production. Some deleted scenes are also included.
Monster Hunter on UHD is recommended. It comes close to being a must-have due to the quality of the edition and the film’s engaging nature. However, the film’s conclusion feels somewhat abrupt and rushed, suggesting potential budgetary constraints impacting the final stages of production. While the ending is a slight disappointment, this remains one of Paul W.S. Anderson’s stronger efforts in recent years.
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