At The Movies: Resident Evil

Resident Evil is, in my opinion, one of the best film adaptations of a video game I have ever seen. Directed by Zach Cregger, who delivered the extraordinary horror film Weapons last year, Resident Evil returns the long-running franchise to its video-game roots, drawing heavily on the second game in the series.

There have already been seven Resident Evil films released between 2002 and 2021, but Cregger takes a noticeably different approach. Rather than simply adapting the game’s characters and mythology, he attempts to recreate the experience of actually playing a Resident Evil game. The film follows Bryan (Austin Abrams), a medical courier who must fight his way through a viral outbreak of infected monsters in Raccoon City while making a delivery.

One of the film’s most effective techniques is Cregger’s use of an over-the-shoulder, third-person camera that closely follows Bryan as he makes his way through Raccoon City. Extended, unbroken tracking shots create an extraordinary sense of spatial presence and real-time tension, effectively replicating the experience of navigating a video-game environment.

This approach feels particularly appropriate for an audience that grew up with video games as a key visual touchstone. The agile third-person camera, combined with occasional first-person perspectives, makes the film remarkably immersive. Like the original games, Cregger’s camera effectively locks the audience into the environment, creating the feeling that danger could emerge from anywhere.

The film also cleverly incorporates many familiar mechanics of video games. Bryan starts with a basic pistol, then moves to a shotgun, and eventually makes creative use of objects he finds in his surroundings. The constant concern over ammunition — and the possibility of running out at the worst possible moment — becomes an important part of the tension.

There is also a welcome sense of humour. An ongoing joke involves the seemingly endless number of locks Bryan encounters and his increasingly frustrating attempts to open them. I particularly enjoyed the sight of a van completely wedged sideways in a tunnel, which felt like a wonderfully funny callback to some of the more absurd moments I have encountered in video games.
Visually, the film is impressive. I was particularly struck by the early snow sequences, with the red glow of the car’s rear lights reflecting across the snow and creating a striking image. The gritty city environments, claustrophobic alleys, underground sewer system and streets of Raccoon City are all beautifully realised, while the eventual arrival at the hospital provides another suitably atmospheric setting.

Austin Abrams, who previously appeared in a crucial supporting role in Cregger’s Weapons and is also known for Euphoria, is excellent as Bryan. He plays the character as an ordinary everyman suddenly thrust into an increasingly absurd and terrifying situation. Abrams gives Bryan an emotional vulnerability that makes it easy to become invested in his survival.

The score, composed by brothers Ryan and Hays Holladay, complements the film’s atmosphere particularly well. Their bass-heavy synth instrumentation frequently resembles the sound of a heartbeat, adding another layer of unease. Cregger also understands the power of silence, allowing several scenes — particularly during the early snow sequences — to play out with little or no music. The absence of sound can be just as unsettling as the score itself.

Resident Evil is an enormously enjoyable horror film, packed with jump scares, inventive set pieces and some of the most bizarre-looking monsters I have encountered in quite some time. More importantly, it understands what makes the games so compelling and translates those elements to the big screen without losing their interactive spirit.

In fact, the film left me wanting to experience the source material for myself. As soon as I arrived home, I purchased Resident Evil 2 and started playing it, keen to see these locations, creatures and situations in their original video-game setting. For me, that is perhaps the greatest compliment I can give the film: it didn’t simply remind me of the game — it made me want to buy it and play it.

Movie Review By Richard De Pizzol