'Resident Evil' Review: A Relentlessly Entertaining Crowd-Pleaser
Writer/director Zach Cregger is back with Resident Evil, a relentlessly entertaining, pulse-pounding thrill ride that should not only please passionate fans of the beloved video game series, but the uninitiated as well.
‘Resident Evil’ centers on Bryan (Austin Abrams), a courier who is put in charge of delivering a highly valuable medical package to a remote hospital located in Raccoon City. Unfortunately for him, not only is the road to his destination long and arduous, but he must also fight his way through a horde of genetically mutated creatures in the middle of a terrifying outbreak that puts his life in danger at every turn. There have been a myriad of live-action Resident Evil adaptations, most notably the long-running, heavily maligned franchise starring Mila Jovovich, but Zach Cregger, coming off of the horror hits ‘Barbarian’ and more recently ‘Weapons’, aimed to make this IP truly his own. Thankfully, he’s done that in spades here.
Cregger hardly lets the audience breathe for even a second, throwing them into the action almost immediately, cranking up the tension, suspense and stakes exponentially as Bryan crosses paths with all sorts of horrifying and grotesque creatures on his traumatic journey. This horror film may be simple in concept, but is robust in execution, Cregger creating a world that not only feels distinctly like the games he’s drawing inspiration from, but that feels wholly enveloping and wonderfully claustrophobic as well. There are plenty of visual nods to the gameplay of the games, ranging from iconic objects and imagery to perfectly placed POV shots as he seamlessly transitions from one beautifully deranged, blood-soaked set piece to the next with a confident and assured hand behind the camera. His love for the games coupled with his knack for delivering genuinely great chills and thrills makes for a knockout combo, successfully bridging the gap between those who have an affinity for the series and those who have never picked up a controller.
Abrams is electric in the lead, tasked with carrying the vast majority of the film on his shoulders. Thankfully, he’s more than up to the task, not only making Bryan lovably hapless, but imbued with enough charm and likability that makes him an easy protagonist to root for as his journey becomes increasingly more perilous and terrifying. Paul Walter Hauser also delivers a fantastic supporting performance as his character crosses paths with Bryan as the story begins to reach its fever pitch. The comedic chemistry between Walter Hauser and Abrams is effortless, the two bringing out the best in one another on screen.
Speaking of the comedy in the film, the scales could’ve easily tipped far too heavily into the silly in another director’s hands, but with Cregger behind the wheel, that’s never the case. As with the director’s previous films, humor plays a substantial role in delivering a crowd-pleasing film for audiences, but Cregger knows how to use it sparingly and to great effect. The laughs not only land with mostly pinpoint precision, but they’re utilized exceedingly well to throw the viewer off balance before delivering some genuinely great thrills and chills. Humor is never a crutch or distraction, but a weapon Cregger wields with dexterity and solid form throughout. This is only aided by Abrams’ physically and emotionally dedicated performance that not only yields consistent laughs, but conveys palpable dread, the two of them continuing to make a dynamic duo in front of and behind the camera.
The only minor setback the film suffers from is its breakneck pacing which prevents any substantial development of Bryan’s character, only giving the viewer scraps of a stressful situation with his girlfriend amidst the crisis he’s facing that’s far more pressing. With a little more time to breathe, this subplot could’ve added a worthwhile emotional component to the film that could’ve given it an emotional punch in addition making Bryan feel a bit more three-dimensional. While it’s clear Cregger aimed to make a horror film that is all gas and no brakes, some pit stops could’ve benefited the film tremendously. It also doesn’t help that the film also suffers from some hit or miss CGI that ranges from looking suitably gruesome and tactile to lackluster and a bit janky.
‘Resident Evil’ is not only one of the best horror films of the year, but further proof that Cregger is one of the most exciting voices in horror right now, his singular blend of comedy and horror continuing to make for a lethal, highly effective combo that is yet to lose its appeal. However, if this film is proof of anything most notably, it’s that telling a fresh story within this fertile world was absolutely the best approach to not only bridge the gap between fans and non-fans alike, but deliver by far and away the best use of the IP yet.