Underworld: Awakening 2012 is a hollow echo of its once-vibrant franchise, now a forgettable slog even die-hard fans may struggle to enjoy, writes DAVID SAUNDERSON
TITLE: Underworld Awakening
YEAR RELEASED: 2012
DIRECTOR: Måns Mårlind, Björn Stein
CAST: Kate Beckinsale, Sandrine Holt, Theo James, Michael Ealy, India Eisley, Stephen Rea, Charles Dance
Review of Underworld Awakening 2012
What started as a stylish, noir-inspired tale of ancient blood feuds has now devolved into a disappointing shadow of its former self. Underworld: Awakening 2012 is the fourth entry in a franchise that, back in 2003, seemed to promise so much.
The original Underworld introduced us to a hidden world of vampires and Lycans, rich with backstory and intrigue.
The sequel, Underworld Evolution 2006, deepened that mythos with forbidden romances and hidden histories, while Underworld Rise of the Lycans in 2009 took us further back to explore the origins of the bitter feud.
By the time we reach “Awakening”, it feels like the wheels have truly come off. Selene (Kate Beckinsale) is back, but not much else remains from the franchise’s glory days.
Awakening from a 12-year cryogenic sleep, Selene finds herself in a dystopian future where humans have discovered the existence of vampires and Lycans and have declared war on both.
It’s a fresh premise that could have breathed new life into the series. Instead, it serves as a flimsy excuse for a barrage of mindless action scenes with no real story or emotional core.
The problem with Underworld Awakening is that it forgets what made Underworld compelling in the first place.
The complex politics, the dark romance, the moral ambiguity – all of it has been sacrificed for a paper-thin plot. Selene’s search for her missing daughter, Eve, a powerful hybrid, could have been a dramatic anchor, but it’s treated like an afterthought.
Instead, the film rushes from one generic set-piece to another, with none of the gothic atmosphere or compelling character development that defined the earlier movies.
Even the new elements feel like wasted potential. The introduction of Eve, Selene’s daughter, should be a major turning point, but the film does nothing interesting with her character. The supposedly dire human threat is barely fleshed out, and there’s no memorable antagonist to speak of.
Everything feels like it’s there to fill time, and not much else. The film’s pacing is relentless but empty—frantic without any real purpose or weight. I’ve yet to watch the next instalment, “Underworld: Blood Wars”, but if Awakening is any indicator, my hopes aren’t high.
Blood Wars reportedly tries to get back to the series’ roots with more vampire infighting and intrigue, but after this misfire, I’m sceptical about whether the franchise can find its way back. I’m hopeful that it might surprise me, but with Awakening as the starting point, it feels like a tall order.
Ultimately, Underworld Awakening comes across as a lazy cash grab, a sequel that neither respects its own mythology nor offers anything fresh. It’s a hollow entry that strips away everything that made the series unique, leaving an empty shell in its place.
For a franchise that once thrived on its rich storytelling and atmospheric tension, this film feels like the moment the lights truly start to flicker out.
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