Repeated fight and battle scenes; injuries include bites, decapitation, dismemberment, disembowelment, chests ripped open, bodies thrown against walls/trees, bodies pierced, shredded, and shot; weapons include crossbows, spears, axes, automatic guns, hands with claws for fingernails, and vehicles.
Some drinking in a tavern, some blood-drinking in a wineglass, smoking in the background of a couple of scenes; one scene features explicit vomiting.
Characters curse occasionally ("hell," s-word, and f-word, one rendered in subtitle).
In this sequel, Death Dealer Selene (Kate Beckinsale) is still trussed up in black latex and still icy-eyed mad at her lot in life. Corvinus is looking for Selene and a key and his sons, William the werewolf (Brian Steele) and Marcus the vampire (Tony Curran).
With her vampire/werewolf hybrid boyfriend Michael (Scott Speedman), she seeks information and weapons to use against the vampires who are bound to come after them, since she killed head vampire in charge Viktor (Bill Nighy) at the end of the first film. The brothers were bitten by different creatures and so became the first of each race, instantly deemed enemies forever.
And yet, the vampires are in the same sort of boat.
Their similarity is vaguely instructive, races generally being cultural and political concoctions, their myths and backstories functions of power-grabbing and territorial squabbling.
But their infectiousness provides the possibility for provocation and perception: race here is not inherent or stable or a means of fixed identity. All the generic, frankly tiresome bloody war stuff in Underworld: Evolution doesn't quite obliterate this insight.
The age displayed for each title is the minimum one for which it's developmentally appropriate.
Currently in charge of evilness is Alexander Corvinus (Derek Jacobi), who directs his S. William's imprisonment "for all time" upsets Marcus, who vows to save him when he is himself released from a tomb.