Kate Beck­insale, fully armed and leather-clad, returns for her third major con­tri­bution to the “Under­world” saga, “Under­world: Awak­ening.” She takes up the char­acter Selene’s death-dealer mantle once again after a gap of six years from the release of “Under­world: Evo­lution.” Both the writer and director of the series have been replaced during the interim. Perhaps this explains why this newest installment feels less like a con­tin­u­ation and more akin to an alternate timeline.

The newest film occurs over a decade after the event of “Evo­lution.” Humanity has dis­covered that ravening wolf-men and gun-slinging blood-suckers are in fact more than indulgent fan­tasies (finally?). The response is pre­dictable. Those of a more advanced species are sys­tem­at­i­cally hunted down and destroyed. Selene, after being cap­tured, has not been destroyed and instead been kept in hiber­nation within a thinly-reg­u­lated gov­ernment-inde­pendent sci­en­tific cor­po­ration. Needless to say, she finds herself escaping and spends the rest of the movie fran­ti­cally searching for her more advanced hybrid lover (who iron­i­cally always seems to be the one in need of rescue). The twist is that the one respon­sible for breaking her out is her own daughter, known only as “Subject 2.”

The intro­duction of a daughter could have been an oppor­tunity to deepen Selene’s char­acter as she wrestles with learning how to nurture someone weaker than herself. And though there is at least one touching scene of vul­ner­a­bility between them, the almost non-stop blitz of carnage restricted both char­acter and nar­rative devel­opment. The vio­lence in the film, taken as its own element, is superbly chore­o­graphed and seems like some­thing out of a Tarantino film at times. However, one does yearn for the res­ur­rection of a vampire char­acter with the cruel aris­to­cratic hauteur of Viktor (played by Bill Nighy). The pseudo-replacement for a male vampire pro­tag­onist lacks both the presence or the sig­nif­i­cance for an audience to care. But don’t get me wrong, ladies, I’m sure you’ll still find Theo James quite a looker.

The film lacks the most thoughtful and human ques­tions of its pre­de­cessors. Once again, the “Vam­pires-Good, Lycans-Evil” dichotomy is thought­lessly accepted. Even more dis­turbing is that at the end of the movie you get the sense that it would be better for Kate Beck­insale to kill all the humans and allow vam­pires to sub­jugate the earth. The tragic sense of losing one’s humanity which was char­ac­ter­istic of “Evo­lution” is here com­pletely for­gotten and/or dis­carded. So, ulti­mately my advice is, if you are already a fan, or would just like to see some vam­pires who are not tainted by the sen­ti­men­tality of the “Twi­light” fran­chise you cannot afford to miss out on “Under­world: Awak­ening.”

Mowry defines sacred music as any music written for the church, with scrip­tural text.

Holy Trinity’s Choir, com­munity members, college stu­dents and Hillsdale Academy stu­dents all take part in the choir. The choir has held prac­tices on Thursday nights for the past month.

Amanda Gehrke, a senior at Hillsdale Academy, sings both alto and tenor parts in the concert.

“It’s helped me learn about music because it is more dif­ficult than the Academy choir. It is a more mature sound,” Gehrke said.

The chapel, though older and smaller, was built with acoustics in mind, Mowry said.

“The music sounds so good because of the acoustics,” Mowry said. “It is music for the soul.”

The chapel seats 70 people, and for the past five years the chapel has been full.

“We will be done before the CCA!” Mowry said, encour­aging college stu­dents to attend the concert.