RESIDENT EVIL (2026)
Like their video game namesake the Resident Evil movie series has been through a lot of rough patches. But unlike the original Capcom franchise, which went downhill after entering an action heavy phase, the films derived from it started bad and only got worse. Some viewers were sated by what was essentially a jumble of post-The Matrix action, 3D effects, and key jangling references, which meant that plenty of money was made despite the lack of internal logic and quality control. Subsequent attempts to revive the name for streaming didn't fare any better despite the games themselves making a course correction. Is this new iteration more of the same?
The approach of the film makers this time around, with Weapons director Zach Cregger at the helm, is to reboot the whole thing and start from scratch. In some ways it's yet another adaptation; there's a virus outbreak and things go awry for the locals, many of whom become zombies. But it's also taking things in a different direction akin to gaming behemoth Resident Evil 4. Which, to cut a long story short, revamped the series by writing a new situation instead of sticking to the existing rules. The same can be said of later iterations that moved from viruses and parasites to fungal infestations; changing tact has been an ongoing process for the developers despite some lip service being paid to continuity.
So while some vocal audience members (before and after the film's release) were very precious about the idea of lore, existing characters, and fixed timelines, this hasn't been important for a long time now. The final product is simply yet another iteration, or perhaps remix, of existing material. The successes and failings of the film as a whole are not a result of the writers changing the nature of the central virus and the mutants it spawns. Here the blockbuster and horror experience is being put first; it might veer into comedy on a regular basis but it's a visceral thrill ride rather than just another action schlock-fest.
Our protagonist Bryan (Austin Abrams) doesn't do any backflips or flying kicks on his journey to deliver medical supplies to a hospital in Racoon City. In fact he's laughably bad at problem solving, ammunition management, and basic path finding. A lot of which makes it a fun time, though occasional frustrating moments exist, as well as a relatable situation. The idea of going through the experience of someone that misses basic cues and hints as they fumble through an evolving nightmare is in some ways the essence of video games, whether they're being played or watched by back-seat gamers, so the resulting adventure feels pretty refreshing.
The spirit of the source material is also present in the construction of the story which follows the hapless courier from a rural area to the city... and the inevitable science-fiction themed locations beyond. Various weapons, items, and keys, are obtained along the way as different roadblocks (sometimes literal) slow his progress. But the film is sure to be a hit with general audiences because it never gets mired by exposition or detail. In its most effective moments it's a gloopy madcap race against time to avoid different monsters and death traps, that perhaps has more in common with the second (or third) of Sam Raimi's Evil Dead films.
This blend of action, grotesque scenarios, and slapstick, is a compelling mixture. The results often display some very overt nods to John Carpenter's The Thing, rather then recalling the 'living dead' films of George Romero. There are even moments that recall the likes of Slither and the 1988 remake of The Blob. If the game series was rebooted again tomorrow it would be easy to imagine all of the tendrils and body horror elements present here making an appearance. It's often grim but moves swiftly from claustrophobic motorhomes and sewers to city blocks and elevator shafts.
At just ninety-minutes the variety of situations and creatures is constantly shifting. At times it risks being a farce as each scenario becomes more outlandish than the last and the comedic beats come thick and fast. The main issue here is that Bryan himself is a thinly written central character who spends most of the film cursing and talking to himself in exasperated tones. Some of the dialogue is, frankly, poor. It's repetitive and his main motivation (earning overtime and pondering whether to become a father) feels tacked on and hollow. Despite its faults the other 2026 gaming adaptation Exit 8 did this much more effectively.
Ultimately the end product is an entertaining ride that has some fun effects, effective music, and a tight running time. Those looking for a slippery, bloody, often silly, horror experience will be in for a treat. Those looking for a specific detail heavy take on the source material might be let down. Anyone with Stockholm Syndrome for the days of Milla Jovovich doing a big kick need not apply. It's not perfect, and in some ways the director's earlier effort Barbarian felt more in tune with recent elements of the franchise that are missing here. But despite being a step down from his earlier films it's a gross, highly enjoyable, dark comedy, that retains the essence of the games in some important ways.
3/5
