Resident Evil

 As I said before, I didn't watch any of the Resident Evil movies besides the third one, Resident Evil: Extinction. I guess it just wasn't for me. That was, until Zach Cregger followed up Weapons with the franchise's eighth film. Let's see how he does it.

Bryan (Austin Abrams) is a medical courier who, just after one job, is immediately given another. He just needs to drop off a package at an Umbrella Corporation lab in Raccoon City. It pays double, which is especially convenient since he's about to become a dad. He just needs to drive in the dead of winter and avoid any trouble ...

He soon realizes that there are monsters in these parts, such as an elderly farm couple (Andrea Miltnerová & Karel Dobrý) and their malinois. These ostensible zombies don't die when you shoot them in the head; they like to merge into tentacled things instead. Bryan is forced to go to Raccoon City on foot, where he hopes to end the night alive and human. It's not going to end well.

Just five years after Resident Evil: Welcome to Raccoon City poorly melded the first two games’ stories together, Cregger & co-writer Shay Haten take the side-story approach for this reboot. There are no familiar character names, just a few aesthetic choices. During its 94-minutes, there’s a monster in every corner, Bryan never has allies for long, and he makes some easily preventable mistakes (and it’s a miracle that he survives a few). The tension never ceases as Bryan gets into one mishap after another, until its bleak & abrupt ending. Its approach has been compared to Mad Max: Fury Road for a good reason.

It wouldn’t work if Bryan wasn’t likable, which he is. Abrams plays him as well-meaning idiot whose biggest sin is “open mouth, insert foot.” I won’t deny that he’s insensitive to his now-pregnant girlfriend, Michelle (Sara Paxton, who’s only heard on his phone), but him helping the (unknown to him) zombie woman shows potential. His mistakes, such as shooting his own car, are believable cases of bad luck, rather than obstinate stupidity. I probably can’t say much about the ending, but Abrams delivers some of his best acting when Bryan realizes his situation is beyond hopeless.

Who else do we have here? Johnno Wilson, as a Sheriff who shares his last name, is reasonably strict with Bryan, who inadvertently dooms him by making him take the zombie woman. A poignant scene has Bryan encounter an infected girl (Isla McRae), who plays a major part in the bleak ending. Paul Walter Hauser & Kali Reis show up as Paul & Maxine, two Umbrella personnel who take Bryan into Raccoon City. He’s funny, while she’s super-cool, so of course they don’t last very long. And finally, we have the Umbrella Scientists, led by Zach Cherry’s Carl, where Bryan’s quest ends. They seem like a fun bunch, but their own intolerable stupidity pops up once things go horribly wrong.

One of the film's greatest decisions was to hire cinematographer Dariusz Wolski. His visual choices elevate some of its most horrific scenes into works of art. There's Bryan's snowy drive, which is only illuminated by his headlights, and is downright ominous when his taillights come on. There's also a random fat zombie that Bryan meets in the sewers, illuminated in moonlight. And then, we have a maternity ward illuminated in blood red for horrific reasons. If the Academy was willing and able, then Wolski could easily have his second Oscar-nomination here. He's accompanied by some excellent work from production designer Tom Hammock, editor Joe Murphy and composers Hays & Ryan Holladay, all of whom worked on Weapons.

Now, what can we expect from the monsters? You can expect zombies visualized with impressive makeup work, along with a few mutants with seamless CGI augmentations. The monstrous reveals provide a few great jump scares. You can also expect some imaginative monster designs, especially the aforementioned tentacled thing, The Pile. It was visualized with some impressive motion capture work, which involved harnessing a group of acrobats together. The Fat Zombie, meanwhile, is an equally heavy and realistic puppet. Its best boss battles, more or less, come from the divebombing zombies and the acidic Puker, the latter of whom impedes Bryan's elevator ride. 

Although Resident Evil isn't obviously based on the games, its narrative of unfortunate events is suitable for one. As Bryan gets to work, one can sense what it must be like to play these games without a guide. They can also get a few good laughs as Bryan's genre-savviness gets thwarted by reality (driving through locked fences doesn't work!). Once the ending hits, they can wonder about what game favorites like Leon Kennedy and Jill Valentine would expect. Video Games have been tricky to adapt into movies, but Resident Evil might hold some clues in its narrative DNA. You'll just have to find them for yourself.

Expect my next review to have at least a few more STARS!