Video game adaptations are rough.
The Sonic movies range from solid to mediocre, the Super Mario movies are profitable, but fall flat narratively, and “A Minecraft Movie?” Well… we don't talk about that one for a reason.
No video game adaptation yet has truly embodied the spirit of what makes these games so special — not even the seven previous attempts at a “Resident Evil” movie.
Last August, Zach Cregger released his second horror feature “Weapons,” a huge step up from his already great first, “Barbarian.” It’s equal parts frightening and hilarious— with one of the finest jumpscares of all time — and it was one of the biggest surprises of the year.
All that said, you better believe I was excited when Cregger announced he had a new movie releasing in 2026. “Resident Evil” hit theaters Thursday, and it's a disgusting, riveting journey that truly feels like a video game.
Bryan, an organ courier played by Austin Abrams, has to get from point A to point B. He doesn’t know what he’s carrying, all he knows is it's important, and it pays double what an average delivery would.
What follows, however, is the absolute worst possible night of Bryan’s life.
This “organ” is being brought to Raccoon City General Hospital, the famous locale where the “mutant zombie virus” outbreak started in the “Resident Evil” games.
On the icy road to the hospital, Bryan hits a woman with his car, kicking off the first of many mission-like sequences in this film. This is where the film succeeds most.
Each plot point in the story feels like another “level” in a video game. In fact, the movie is as dedicated as it could be to keeping the spirit of the “Resident Evil” games alive in film format. There are first-person shots, guns found in random places completely separate from the bullets, random side characters interrupting the narrative and even a ticking time bomb forcing Bryan to move quickly to survive.
The film is a love letter to the games, with the video game flair anyone can appreciate, and Easter eggs galore for the die-hard fans of the franchise (a typewriter and a certain plant stood out in particular).
There's an approach to scares in the movie that shouldn’t be categorized as jumpscares nor the slow-burn terror of something like “Hereditary.” Rather, the horror lies in seeing something unlike anything you've ever laid your eyes on. At every turn, there's a new Lovecraftian “stupid f-ing monster,” as Bryan said. Tentacle dogs, acid vomiters, suicide bombers and a sweet surprise in the sewers are among the many frights Bryan encounters during his journey, and each one is an absolute delight.
There's also no shortage of practical effects—- the makeup and production design teams absolutely killed it. Every creature is at least somewhat practically created, and you can most certainly tell. Each set piece is filled with all the goop and blood you could ask for, and every monster has so much visible care put into its oozing gashes and tentacled deformities.
It’s evident how much reverence Cregger has for the franchise, and there's nothing better than a director making something he cares about.
The color in the movie specifically stood out to me. It’s fairly obvious how drained of color major blockbusters are today, and this movie ensures the same can’t be said about it. The blue hues of snow and the night mixed with the reds of blood and alarm lights are gorgeous to look at and complement the tone of the film perfectly.
Director of photography Dariusz Wolski (“Alien: Covenant”, “The Martian”) crushes it in just about every facet. The camera’s slow pan away from Bryan showcasing the sets and the first person shots create a nightmarish tension that emulates the video game style.
However, the film is not without its pitfalls. Just like “Weapons,” the movie draws the line between horror and comedy. It's a bit overdone, at times, with constant quips and running gags that feel like a Marvel movie in the worst ways. But my goodness, the horror sure makes up for it.
The pacing falters a few times, and some scenes clearly exist solely to set up the next, but it's hard to complain when you’re asking for a tight, 90-minute horror blockbuster.
I’m often asked, “Why should I see a movie in theaters if it's coming to a streaming service?” The answer? Shared experience. There's nothing quite like the feeling of sitting in a crowd during a movie, where everyone is watching the same thing, and you can turn around and see people screaming with equal parts joy and terror while someone else is laughing hysterically. I can’t think of a better example of a film like this than “Resident Evil.”
Go check this one out in a theater, and make sure to catch it in IMAX —- there's an aspect ratio change in the second half that absolutely rips. It's worth the extra fee. And no, don’t worry, you don’t need to have seen the other ones.
Contact Jack Wellikoff at jackdylanw@gmail.com. Follow him on X @jdwelli.
