The original Resident Evil, released in 2002, was a solid if unspectacular action-horror film that caught the early edge of the zombiegeist, debuting the same year as 28 Days Later and a couple years before the remake of The Dawn of the Dead.
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I'll admit to being a bit lost in the early going of The Final Chapter, having only half-watched the series' last two entries late at night on cable after some immoderate number of adult beverages. Speaking of dirty franchises, the Resident Evil saga drew to a close last month with the release of Resident Evil: The Final Chapter. That this lisping huckster triumphs over the brothers McDonald-played affably by Offerman and Lynch, a duo who prove that American charm and American ingenuity will lose out to American drive and American dirtiness every time-feels both cruel and, in some ineffable way, inevitable. Keaton's Kroc is compulsively watchable without being charming in the slightest, the sort of over-caffeinated underachiever for whom one feels comfortable having equal measures pity and contempt. The Founder is no hagiography indeed, it's a bit of a demonization. Getting McDonald's in front of as many people as possible in as many locations as possible, selling the same burgers at the same price in the same spotless stands under the same Golden Arches: That took skill and effort and forward-thinking. We are, perhaps, meant to look askance at Kroc's crowing that he is "the founder" of McDonald's, but in a sense he is: Without Kroc, McDonald's is just a roadside burger joint in San Bernardino, one that probably goes extinct after the brothers pass.
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The Founder is perhaps properly understood as a movie about an idea more than a man, an idea whose impact would change the face of America in ways greater than any single man or marketplace ever could. Rather, Kroc's fortune comes from an idea: franchising. It's not the restaurant itself: McDonalds' shtick was good, undoubtedly, but limited in scope. Impressed by the brothers' own hustle-the inside of their store is spotless, burger boys and fry guys spinning and twirling and exchanging consumables as if set to Tchaikovsky-Kroc hits upon the thing that will make him one of the wealthiest men in the world.
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Finally his hustling pays off in the form of McDonald's, a fast food restaurant run by brothers Dick (Nick Offerman) and Mac (John Carroll Lynch) that has mastered the art of efficiency and speed, dispensing cheeseburgers, fries, and shakes with alacrity and accuracy. Multi-Mixers are a misfire, just as the Fold-a-Nooks ("Like a Murphy Bed, for your kitchen!") before them. No, Kroc is a hustler in that he's always looking for the next big thing, the best and brightest but not necessarily easiest way to make his fortune. "Increase supply, demand will follow," Kroc says, first to himself and then to a litany of uninterested managers. He's not a crook, exactly, but you get the feeling from his pitch for a multi-mixing milkshake machine that he knows he's selling useless junk to small businessmen who don't really need it. Not in the criminal, con-man sense-though there is always a whiff of snake oil emanating from Keaton, whose arch-eyebrowed eyes dart hither and yon, looking for every angle. Milkshake machine salesman Ray Kroc (Michael Keaton) is a hustler.
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