Director: Len Wiseman
Starring: Kate Beckinsale, Scott Speedman, Shane Brolly, Michael Sheen, Bill Nighy, Erwin Leder, Sophia Myles

- Reviewed by Vickie

If The Matrix married An American Werewolf in London, had a baby and hired Alias and Buffy the Vampire Slayer to tag-team as its nannies, that baby would grow up to be Underworld.

Director Len Wiseman's dark and supremely styish vampires vs. werewolves epic is set in a perpetually grey, dank and rainy gothic metropolis, and tracks Death Dealer Selene (Kate Beckinsale), a vampire warrior in the midst of a centuries-old battle to rid the world of her kind's furry, toothy nemeses. The war between the two races of preternatural beings has been going on for eons, with the vamps coming ever closer to bringing about the extinction of the werewolves.

But things come to a head when Selene finds out that the werewolves (called "Lycans," short for "lycanthropes") have set their sights on a human doctor named Michael (Scott Speedman). Despite his shaggy hairdo, Michael becomes Selene's obsession—who is he? Why do the Lycans want him? How does he factor in to this creature war? Where's Felicity?

The story between them doesn't go too much deeper than that, as Selene (and the audience) puts together the pieces of the ancient puzzle tiny bit by tiny bit. Complicating matters are a power-mad vampire named Kraven (Shane Brolly), and the equally vicious head of the werewolf clan (Michael Sheen), both of whom have nefarious ulterior motives bubbling just below the surface.

Stunning art direction and gorgeous set and costume design are Underworld's greatest assets. They more than make up for its fairly basic plot and, at times, cheesy dialogue. Also entertaining is the wickedly wonderful scenery chewing, especially by Bill Nighy as a resurrected vampire elder who's more than a tad pissed that he's been awakened from his slumber.

Kate Beckinsale does a bang-up job as Selene, darting around and kicking butt in her spiffy PVC duds. She's a lean, mean, bloodsucking machine, but lets enough vulnerability shimmer through that she also creates a nicely sympathetic character. Speedman, meanwhile, tackles what would, in most films, be the damsel-in-distress role. He doesn't have much to do beyond running, brooding, looking confused and running some more. It's a nice role switcheroo.

Unfortunately, many of the movie's coolest bits have already been played to death in its trailers and previews, which sort of sucks the life (pun very much intended) out of their impact. The film is also made up largely of chase sequences and fight scenes, which is fun for a while but eventually gets a little tiresome (The Matrix: Reloaded, anyone?).

Overall, though, Underworld has enough to satiate any fan of the genre (or genres), and should still hold the interest of viewers who don't know a stake from a silver bullet.

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