RESIDENT EVIL

Director
Zach Cregger

Starring
Austin Abrams

Finishing one job late at night, medical courier Bryan [Abrams] agrees to transport a package to the fairly remote mountain settlement of Raccoon City. The journey will be a treacherous one due to the winter elements, but Bryan needs the money, so he takes the job. En route, Bryan accidentally hits a woman in the road and a patrolling officer arrives to help escort them both to the city. However, the woman acts erratically and soon Bryan finds himself in a nightmare survival situation as he makes his way to Raccoon General Hospital.

From the outset it’s important to note that the Resident Evil franchise has not only 30 years of gaming lore, but several movies (live-action and animated), comics and TV series to draw from. And subsequently, vocal parts of the fanbase will always call out for honouring storylines and characters that they’ve become familiar with and accustomed to. The problem is, thus far, this has led to failure after failure, with 6 schlocky action-heavy features, leading into a much maligned 2021 reboot in Resident Evil: Welcome To Racoon City, and a forgettable Netflix TV series the year after, almost all of which gave fans what they wanted on paper but were unbearably insipid. So, personally, I was more than happy when Cregger said he was opting to step away from canon events; instead choosing to evoke the feeling of the tension and nuances of the games, rather than serving up overt yet hollow callouts.

What we’re treated to is a true survival horror, where Bryan has to forage for any form of weapon while desperately running from encounter-to-encounter, with a hint of puzzle solving and far too many locked doors. A prime example comes fairly early on as our lead is chased into a barn by a furious dog. Clambering up to the second floor, he then pulls up the ladder and throws it at the dog – only to realise he should have used said ladder to get down on the other side. Similarly, Bryan thinks he can simply crash through a heavily padlocked gate, when in actuality he needed to look for a diamond key, and all ramming the gate gets him is a ruined truck. It may not sound like much, but these are the kind of thematic Easter eggs that will delight and amuse fans of the franchise, without alienating or confusing newcomers.

Whereas Cregger’s previous horror works (Barbarian and Weapons) are fantastic, unsettling experiences, Resident Evil affords him the opportunity to dial up the action and comedy elements. There’s more gore, some well-executed mid-tier budget CGI, novel shots like the fact every time Bryan acquires a new weapon, we get a first-person shot down the gun barrel, and a John Carpenter-esque nature to the score that pairs perfectly with The Thing levels of body horror. There’s even a wonderful grounding for where Bryan has been and where he’s heading – tying into that corridored video game level progression. His whole escapade at the farm is framed by the flashing lights of the overturned cop car, while his time in the city is oriented around the 30 storey hospital tower at the centre of town. Essentially pending objective vs completed markers. What’s more, the script is incredibly tight and straightforward, completely filling the 95 min runtime – neither outstaying its welcome, nor feeling rushed, dialling up and down tension in a way that makes for a fun rollercoaster experience, as much as a horrific one.

There are a handful of supporting roles but they’re exclusively and intentionally undeveloped. As a result, this film rests on Austin Abrams’ shoulders. Thankfully, his nervous, erratic energy is magnificent. He exists as a relatable central character, gig-hopping on autopilot and unable to confront the potential reality of being a new parent, forced into a horrific situation which he can only deal with by wailing, screaming, swearing – and yet he still moves forward. One of the individuals Bryan encounters is a trained Umbrella Corporation operative named Maxine [Kali Reis]. Maxine is essentially the character the game would have you play. She is proficient with weapons, no nonsense, and distinctly badass. Bryan is the character you’d likely be. More than that, Bryan’s story feels like that of a side character you learn about through the scavenged artefacts of lore and diaries in a Resident Evil title. He’s uninformed yet tangentially connected, haphazardly struggling through, and even records a voice note to be found by someone else. Sure, we could have got a faithful recreation of the original 1996 video game, but Bryan’s story is prime Resident Evil fodder that fans should appreciate.

What surprised me most, was the delightful unseriousness to everything; injecting a healthy dose of refreshing humour throughout. It almost works like an internal monologue or Twitch streamed string of consciousness: “What? A room full of bloody pustulated tentacles and viscera? Of course I have to go this way.” In fact, with the chaotic confrontations, Bryan’s muttering to himself, the harsh weather elements, and almost slapstick elements, the entire film could be described as Dennis Nedry trying to get off Isla Nublar in Jurassic Park. Actually there may be a better equivalent. With the film moving at breakneck speed, the physical abuse of the lead, and the genuinely funny instances, the best comparison I could give is the playfulness and gory excess of the Evil Dead movies. The only major difference is that Bryan isn’t afforded iconic quips or action hero gravitas, instead searching for appropriate words only to find: “Stupid…. fuckin’… monsters.”

And yet that tonal choice is possibly Resident Evil’s only drawback. For some, that inherent silliness is going to feel a step too far. Not only for fans of the games looking for pure horror foundations, but also for genre enthusiasts who were hoping for something more grounded like Cregger’s previous outings. To counter that, I would say that considering the previous attempts to get this franchise to the big screen have been lamentable at best (albeit financially successful at times) we can afford a bit of camp irreverence and heightened indulgent cheese, for the sake of an entertaining time.

This version of Resident Evil sits in parallel to the games, existing in the world without intruding on the established story, and subsequently delivers an unadulterated thrill ride that deserves to be a glorious success.

Release Date:
18 September 2026

The Scene To Look Out For:
Throughout the movie, Bryan’s parental skills are subtly tested. Unsure if he’s ready or willing to be a father yet, the movie quietly nudges him into scenarios that play into those fears. One prime example is discovering a young girl [Isla McRae] cowering in an RV. In other releases, this would be the turning point, where our hero must protect this kid at all costs. However, the outcome is so hilariously shocking, it signals to the audience that the remainder of the film will be increasingly ridiculous.

Notable Characters:
As stated above, Resident Evil is essentially a one man show. Abrams’ kinetic energy is equal parts tense and amusing. Meaning the supports are either jumpscare-inducing adversaries, or comedic relief chance meetings. While several are noteworthy, the inclusion of Paul Walter Hauser is standout. Not only for delivering some welcome exposition, but also to soften the tone of the panic and dread.

Highlighted Quote:
“I’ve only used guns in video games, I have no idea how to use them in real life!”

In A Few Words:
“Far from the Resident Evil audiences might expect, but one that merits attention.”

Total Score: 4/5

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