Looking back, the OG Resident Evil game had a lot of firsts for me when I was at the tender age of 9 or 10.
The first true horror video game I played. The first time I was introduced to what a zombie is. The first time I realized dogs could be terrifying (the real ones remember that part when you are going down the hallway and a dog comes through the window). The first time I learned that there is no such thing as unlimited ammo. The first time I learned of cringy cut scenes. The first time I learned a video game-to-filmadaptation may not be a good idea (I only saw the first Milla Jovovich film and parts of the second. I did not need to continue after that). So, yes, the game was formative to my younger years.
As a reported fan of the games, director Zach Creggar follows up last year’s sensational Weapons (which won an Oscar for Amy Madigan) with his version of Resident Evil, a clear love letter to the franchise as a whole. It’s as if a part of Creggar’s mind said: “Look, you can’t make a new video game, but you can at least make a movie.” The result? Easily as good a movie as a fan could want (unless you are on Twitter/X too often).
The story is as straightforward as a snowy mountain road, as medical courier Bryan (Austen Abrams) is on his way to the snow-covered Raccoon City to deliver a mysterious package, only to discover new types of horrors on the way. Aside from hearing Bryan’s girlfriend Michelle (Sara Paxton) on the phone and a few minor characters (most notably Paul Walter Hauser), the film rests on the shoulders of Abrams.
There are two things that stick out rather quickly in this film (even before the blood and guts). The first is the look, which is supplied by cinematographer Dariusz Wolski. A veteran of over three decades (he is responsible for the look of films ranging from the stellar Dark City in 1998 to the Pirates of the Caribbean films), he is wise enough to know that the lack of light (the film takes place in one night) is more than just a basic concept of horror: it is vital when done right. Even the biggest nerds of the franchise may find themselves too entranced to notice any easter eggs (which the film does supply).What we see in the end is a borderline resplendent result of celluloid.
Then there is the sound design, done by a plethora of names that I saw on IMDB that will not state here. This art form of sound has always been a somewhat secret weapon in horror films (most notably in the best of them all, The Exorcist), and that is proven again here. Despite a stellar soundtrack courtesy of brothers Ryan and Hayes Holladay, it is the moments of small sounds that get the blood temp going: footsteps in the snow, creeking branches, squeaking doors, and so on.
While those horror elements (and many others) are to be expected, there is one thing I was not expecting: a cornucopia of comedy. The script is by Creggar and Shay Hatten, supplying dialogue (mainly to Bryan) of how I would like to think I would respond in a situation like this. Personally, I feel like I can relate to Bryan, someone we see clearly is not prepared for a zombie apocalypse. While alone for most of the film, it would stand to reason he would be talking to himself as he explains much of what he does (“I’m coming in. It’s cold outside”), but this is not just some cheap way to keep the audience members on their phones interested: it is because Bryan is still coming to terms with his situations that he is in.
Parents, this is clearly an R-rated movie. There may be no sexual content or nudity, but the swearing and violence are on full display. High School and above.
As seasoned a moviegoer as I am, I’d be lying if I said I was not prone to jump scares. This is mainly due to tourettes in my left shoulder. This film did not put my tourette’s into overdrive, but I was more aware of it than normal.
The scariest thing about the film? Walking out and realizing it has a chance of being in my top ten of the year.
Well, that and padlocks. Stupid padlocks.
Overall:
Nothing else to say 