Director Zach Cregger has quickly proven himself as a master of unlocking great horror entertainment from the projects he has chosen. Moving away from broad comedy and into gory social thrillers, Barbarian was a fun surprise, Weapons was a breakout summer hit, and Resident Evil has now come along as a twisted victory lap. Working as a tight thriller that’s constantly on the move, leave it to a director with clear fandom for the Capcom video game series as well as a strong vision of how to adapt this series to show that it’s not about how accurately one can replicate what fans have already seen on their consoles but how much mileage one can get from simply working within the universe of these games. As a result, here’s an original take on the famed horror IP that gets in and out quick, but packs that time with frights, a heavy dose of dark humor, and a lot of goopy gore.
Set in modern times, as if we’re watching a side story play out parallel to the games, this film follows Bryan (Austin Abrams), a medical courier tasked with delivering a special item to Raccoon City General Hospital. Traversing the winter weather as he drives down some snowy mountain roads is only the start of his problems, however, as what starts as a potential accidental manslaughter turns into an undead woman trying to slaughter Bryan. Narrowly avoiding an initial attack, our young courier soon finds himself scavenging homes and other areas for weapons and supplies while continuing toward the hospital. These items will be essential if Bryan’s hoping to avoid the undead and bizarre monsters constantly chasing after him.
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For a film set in one night, especially one that aims to feel like an unholy blend of After Hours and Lovecraftian nightmares, you need an actor who can sell the terror of an average guy in over his head. Abrams has been a stable presence in TV and movies for over a decade, often as a supporting teen character. Cregger previously gave him a lot of time to shine in Weapons as the twitchy drug addict and opportunistic burglar. In Resident Evil, we get a similar energy, letting us see someone inherently interesting through the manic energy he gives off as a way of handling his nervousness, let alone his fears about what could be going on. Other actors could go too over the top or miss the comic timing that gives breathing room between horror set pieces. This is not an issue for Abrams, who truly shines in a film that features him in nearly every scene.
Abrams is really almost all you have to go on, as the film features less than a handful of other non-monster performers. That’s to the film’s credit as a minimalist take on what can be done in this universe (while knowing full well the stakes only increase over time). Still, I did find it impressive to watch what could be done with choices to either subvert what one may expect with the few others we do see or just have a way of knocking out some key exposition before Bryan is once again on his own, terrified, and enabling the audience to laugh thanks to his naivety when it comes to guns or inability to learn about how thorough he needs to be at times if he wants to get anywhere.
When the horror kicks into gear, it’s a real treat to see what Cregger has come up with, both in the variety of monstrous creations and in the set rigging and choreography used to maximize violent chaos while still tracking Bryan’s ridiculous circumstances. An ongoing gag early on involves Bryan’s reaction to a half-dead woman (in his eyes) who continues to slowly paw after him, only to go completely gonzo, which then leads to additional layers of madness that speak to the danger that these horror creatures present. Another terrific sequence finds Bryan running for his life as bodies suddenly start falling from the sky all around him (and according to a story from Cregger, filming this sequence was almost just as dangerous). Its steady tone and consistent stream of ideas like these let the film revel in a space somewhere between Carpenter’s The Thing and Raimi’s Evil Dead movies.
On top of that, the film looks great. Winter-set horror is always intriguing to watch, and a nighttime journey with lots of snow makes for some great-looking shots. Thanks to headlights, iPhone flashlights, and a variety of sets representing different levels (farmhouse, sewers, city streets, etc.), Resident Evil has plenty of opportunity to deliver a creepy atmosphere. Great setups and payoffs come from empty spaces, darkness, and other simple elements that Cregger’s team uses well. The score by Ryan and Hays Holladay only adds to the pleasures of this approach.
Also, the film’s standalone nature doesn’t hurt. I don’t need to reflect on the previous iterations of this series cinematically (and being a $1 billion franchise, it clearly doesn’t need to worry about whether or not I was a fan), but following 6 connected efforts and one reboot, the 8th try truly feels like the charm when it comes to delivering a quality cinematic effort that is hardly looking at whether or not an entire series of films really needs to be considered. Granted, given how strong Cregger’s take is here, I certainly wouldn’t be against seeing more of these kinds of ideas and thinking applied again in potential sequels.
But I shouldn’t get too far ahead of myself. As it stands, Resident Evil is the best version of how to adapt his property that I have seen thus far. While it’s a lot of fun and full of ludicrous-looking zombie monsters (including a rolling ball of arms, legs, and faces), it still functions as a movie. We get an underdog protagonist to root for, clear stakes, and enough visceral set pieces to keep anyone unnerved throughout, while still relishing the movie’s twisted sense of humor. So, for anyone asking what this newest Resident Evil is selling, it’s more than generic power-ups. This entry is something special.
Resident Evil opens in theaters and IMAX on September 18, 2026.
