Running Time: 93 minutes
This feature from Sony Pictures opens exclusively in theaters and on IMAX screens on September 18th, 2026.
Ever since it became a phenomenon in the late 1990s, filmmakers have been adapting the popular horror video game series Resident Evil into movies. The results have not been, well, critically adored. While the first film in the series earned some points for originality at the time, the following five sequels felt increasingly repetitive and flat. A 2021 reboot flopped with reviewers and audiences, seemingly signaling an end to the franchise. But just five years later, another reboot has arrived from noted genre director Zach Cregger (Barbarian, Weapons).
The story follows Bryan (Austin Abrams), a young and somewhat immature medical courier who has just had a tiff with his girlfriend after learning that she is pregnant. While dropping off a package late at night, he is asked if he can transport another important item to a hospital in Raccoon City. Even though the weather is snowy and he doesn’t have chains for his vehicle, Bryan impulsively accepts the offer. It seems he needs time to process his girlfriend’s news and make a bit of extra cash in the process. After venturing down a snowy road, the delivery man has an incident on the road and witnesses some shocking things. Before he knows it, he’s on the run from infected humans/monsters as he attempts to reach his dangerous destination.
If you’re a gamer, you’ll note that this character or scenario has never appeared in the popular series. In fact, this is an original tale set during the beginning of the outbreak and a spin-off to the games. It’s a clever approach to rebooting the story, adding a new character and plenty of unfamiliar story twists and turns. We follow a panicked Bryan through a series of episodes in which he encounters ghastly, tentacled beings with no idea what to do.
Admittedly, the story is as simple as it gets, with little in the way of real character development or big themes and ideas. But at least lead actor Abrams is strong in the role. Despite his character being selfish and flawed, he carries the movie and is entertaining to watch. Unlike protagonists in previous films in the series who mow down dozens of attackers without blinking, Bryan is an ordinary guy in over-his-head. He talks to himself, can’t use weapons effectively, and reacts with relatable shock (as well as an amusing variety of curses). One particularly funny bit involves the infected throwing themselves off of roofs at the protagonist, who openly screams his outrage at what is occurring. Surprisingly, the consistent dark sense of humor is perhaps the most unexpected element of this feature. This picture is easily as funny as it is chilling.
The other major plus is the stunning cinematography. While there are disgusting things occurring, the movie is gorgeously shot. This includes the lead being lost in a forest underneath an inky black sky and snowy white ground. When a police cruiser appears with flashing red lights, it lights up the snowy road and looks incredible. Every shot is impressive, no matter whether it occurs in a farmhouse, a sewer system or the big city. As it turns out, A-list cinematographer Dariusz Wolski (the Pirates of the Caribbean series, Prometheus, The Martian, Napoleon) was behind the camera and it shows, with far more striking imagery and camera moves than one would expect from a genre picture.
So, what’s wrong with the picture? While it is excellent for the first hour-plus, as the story progresses towards its climax, it emphasizes the wrong elements. There are a couple of big set pieces and the humor is amped up too much, leading to situations and actions that appear silly instead of tension-filled. And, when a new set of characters with great expertise and smarts are introduced, they behave as anything but bright. They don’t follow expected protocols and are far more incompetent than the main character. While what occurs at the end is appropriate for a genre picture, these problems result in a final shot that lacks weight and doesn’t make a dramatic impact.
The exciting, jolting and fun first sections are accomplished, delivering more than what most horror enthusiasts will expect from the title. It’s unfortunate that the lead isn’t given more than one dramatic outburst, or that the climax doesn’t land as well as it should. After seven tries, a perfect adaptation of Resident Evil still eludes filmmakers. But even with its flaws, this is at least three-quarters of an excellent genre picture and the best chapter we’ve seen thus far.
