Resident Evil is a surprisingly good new take on the famous horror-action franchise, following an ordinary medical courier whose routine delivery turns into a nightmare when he becomes trapped in a deadly chain of creatures, conspiracies, and increasingly impossible survival missions.
It does not follow Leon Kennedy or Claire Redfield, and it is not a direct adaptation of one particular Capcom game, but Zach Cregger understands something important about Resident Evil: the experience should feel like you are moving from one terrifying objective to the next with limited resources and no idea what is waiting around the corner.
Austin Abrams plays Bryan, and his performance is one of the biggest reasons the movie works. He is not presented as a traditional action hero who suddenly discovers that he can destroy everything in his path. Bryan is an ordinary guy who becomes completely overwhelmed by what is happening around him, and Abrams sells that fear through physical performance, panic, exhaustion, and disbelief. The movie constantly puts him into situations where running is a better option than fighting, which makes his eventual survival feel much more satisfying.
The villains are less about one conventional human antagonist and more about the nightmare surrounding Bryan. The creatures become the real threat, and Cregger uses them carefully enough that their appearances remain unpredictable. Rather than relying entirely on familiar zombies, the film introduces increasingly disturbing mutations and monsters that push the story toward body horror and creature-feature territory. That gives this Resident Evil its own identity while still feeling connected to the franchise.
Zach Cregger directs after making Barbarian and Weapons, and those previous films explain why he seems so comfortable building tension around situations that initially appear ordinary. Here, however, he strips the approach down and moves with much greater efficiency. The movie is structured almost like a game, with Bryan completing one objective before being pushed toward another, and that rhythm gives the story an addictive quality. Once the film starts, it becomes surprisingly difficult to stop watching because every new location feels like another level with something worse waiting ahead.
The action and horror are supported by strong practical-looking creature work, physical performances, and carefully controlled camera movement. Cinematographer Darius Wolski gives the film a dark but readable visual style, allowing monsters to emerge from shadows without turning every scene into an indistinguishable wall of darkness. The camera also understands when to stay with Abrams, allowing his reactions to become part of the action instead of constantly cutting away from the danger.
The movie is not perfect, particularly toward the ending, where the storytelling becomes less confident than the buildup. At around 90 minutes, it can also feel like Cregger has stopped just when another major sequence could have pushed the experience further. Still, those problems are minor compared with how much fun the movie delivers.
For me, the best comparison is the first Resident Evil movie with Milla Jovovich. That film understood how to combine horror, action, atmosphere, and a simple survival story without overcomplicating everything. Cregger’s version captures a similar energy while giving the franchise a modern visual identity.
If you enjoy horror-action movies, creature features, or simply want a Resident Evil movie that actually feels like an exciting cinematic experience, this is one surprisingly good version of the franchise that is difficult to stop watching.
