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Resident Evil

With BARBARBIAN and WEAPONS, writer/director Zach Cregger solidified himself as an A-list talent. His unique blend of horror and humor resonated with audiences and critics, and his work instantly became must-see viewing for any casual movie-goers and cinephiles alike. From an entertainment standpoint, the films were thrilling, edge-of-your-seat tales that kept audiences glued to the screen. From a movie-nerd standpoint, the unique structure and dazzling cinematography resulted in uniquely unforgettable experiences.

As a result of meteoric rise, Cregger was free to tackle any project he saw fit. Given the originality of these two productions, it was startling to hear that he was developing a RESIDENT EVIL film. The auteur behind BARBARIAN and WEAPONS taking on an IP that already had several films and a television series in the books was jarring. But, word came out that this wouldn’t be a continuation of any established storyline, and would not feature characters from the franchise that its fans had grown to love. Cregger, who loves the gaming series, set out to create his own story and characters that would be unrelated to anything seen before.

Diehard fans of the games have voiced their displeasure with some of the creative choices Cregger has made in this regard, but for those with no preconceived notions and looking for a gruesome, intense, hilarious, and fast-paced survival horror flick, RESIDENT EVIL is a knockout.

Bryan (Austin Abrams) is a medical courier who has just found out his girlfriend, Michelle (voice of Sara Paxton) is pregnant. We hear his side of the conversation, which doesn’t exactly go well. He promises to be home soon, but before he can leave, he is offered the opportunity to make a highly important delivery to Raccoon City, which will pay double his normal rate. Unable to refuse this type of cash, the underprepared driver makes his way up a snowy mountainside.

Things go poorly for Bryan from the jump. As he is on the phone with Michelle, the signal goes in and out, and while he is distracted, he strikes a woman who suddenly appears in the road. From that moment on, his night descends into a never-ending spiral of gore and terror.

I have read that some fans didn’t appreciate the level of humor that was utilized throughout the duration of RESIDENT EVIL, and yet, I found it to be one of its more endearing traits. Bryan makes terrible decisions, more often than not, but who wouldn’t in those situations? These, along with his wholly believable reactions to the terror unfolding around him, resulted in a litany of laughs that served as the perfect foil for the horror he was facing. Abrams was perfect in this regard. His mannerisms, whether it be constantly muttering expletives or screaming in fright, was shockingly realistic despite the absurdity of the carnage unfolding around him. The typical Hollywood bravery is completely absent. Whether he faces unknown beasts lurking in the shadows or absurd monsters that look as if they jumped out of a 90’s fright-fest, he captures the essence of a regular person tossed into an impossible and unimaginable nightmare with an authenticity that has rarely been seen.

Cregger has managed to do what has seemed impossible for decades. He has captured the essence of the video game experience without making it feel as if you are watching someone play a game. For those versed in the RESIDENT EVIL franchise, or really any survival series, you’ll likely delight in how the story incorporates staples of the genre. For those who aren’t, these moments just feel like a natural evolution. There has always been a stigma (and rightfully so, up until the release of THE LAST OF US) that video game adaptations lack finesse and craftsmanship, but Cregger obliterates these notions. He utilizes light and sound in a way that will likely illicit fear in even the most unflappable of viewer. These moments make you forget that you are watching a video game adaptation, and leave you in awe of the craftsmanship of one of the most talented horror filmmakers in movies today.