Resident Evil (2026)

This film is good, i really like the cast and the trame. This film have some problem in the second part of the film. The finale scene is bad. I can accepted that if you tell me there is going to be another movie. But this film is still good.

Zach Cregger takes Capcom's zombie-outbreak survival horror and does exactly what a video game adaptation should do: capture the *feeling* of the games instead of slavishly recreating cutscenes. Rather than shoehorning in Leon or Claire, he builds an original story around Bryan (Austin Abrams), a hapless medical courier who stumbles into an outbreak near Raccoon City — and it works because Cregger clearly loves this world rather than just licensing it. The tense, blood-soaked gore is offset by moments of levity and humor, that signature Cregger tonal whiplash from Barbarian and Weapons — genuinely unsettling dread punctuated by "what the fuck" comedic beats that shouldn't work together but do. It's easily the best live-action Resident Evil yet. Only real complaint: the ending. Hard swerve that undercuts the tension built for two hours. Docking half a star for that alone — everything before it is a near-perfect survival horror movie.

RE? NO, a generic comedy horror.

It's really hard to accept that 'comedy horror' genre is a thing, like this one.

A Uber courier (with no car) sets out to make a delivery-sparking uproarious laughter in what looks like a festival of stupidity-and ends up dead.

RE (game saga) centers on an imminent pathological outbreak that triggers a massive socio-economic transformation of society. A group attempts to expose the details regarding the responsible corporation-which defends itself by weaponizing the outbreak-thereby unleashing an exodus and a struggle for survival of the fittest.

This movie has nothing about that, just a generic pandemic BS from a messenger perspective.

The best kind of survival horror knows that darkness is not merely a lack of light—it is a promise that something is waiting just beyond it. That instinct serves *Resident Evil* remarkably well, delivering a film that finally understands the eerie isolation and creeping dread that made the games so enduring.

The atmosphere is easily one of the movie's greatest strengths. Dark corridors, quiet stretches and an almost oppressive sense of isolation give the film the texture of survival horror rather than generic creature-feature action. The story's emphasis on being alone and cut off from safety captures the essence of the games, often making the viewer feel as though they are navigating the next room alongside the protagonist.

That commitment to suspense pays off. The film knows when to hold back and when to strike, and its jump scares are generally effective because they are built around genuine tension rather than simply being loud interruptions. There is a satisfying uncertainty to many sequences, with the audience constantly wondering what might emerge next.

The movie's original story may divide longtime fans, particularly those expecting a more direct adaptation of established Resident Evil lore. Yet setting an original narrative alongside the events of the games proves to be a sensible way to reboot the franchise. After so many previous films, a clean entry point for newcomers feels overdue. More importantly, the filmmakers clearly understand the source material: the weapons, video-game-like level structure, expendable side characters and various franchise tie-ins all feel deliberately designed rather than randomly inserted.

The practical effects are another highlight. The blood, gore and grotesque creature work have a convincing physicality that makes the horror considerably more satisfying. Unfortunately, the CGI is less consistent. Some effects blend reasonably well, while others are conspicuously digital, creating an uneven visual experience. The monsters themselves also suffer from the film's eagerness to showcase them. Their progression can feel suspiciously convenient, while some creatures are dispatched almost as quickly as they are introduced. At times, it resembles a monster highlight reel instead of allowing individual threats to develop into memorable encounters.

Pacing is sometimes inconsistent. Certain scenes rush through moments that deserved more room to breathe and build suspense, while others linger when the story clearly needs to move forward. The subplot involving the protagonist's girlfriend is particularly frustrating because it ultimately is inconsequential. There are also moments when the protagonist's goofy, humorous behavior clashes with the seriousness or urgency of the situation, making his overall tone sometimes feel inappropriate.

The ending may leave some viewers wanting more, although expectations matter here. *Resident Evil* has never been primarily about delivering profound narrative closure; audiences come for the monsters, scares, tension and grisly spectacle. On those terms, the film generally delivers. Viewers unfamiliar with the games will also miss some of the more specific references, but that does not prevent the movie from functioning as an accessible horror story in its own right.

Considering the franchise's uneven cinematic history, this *Resident Evil* is an effective return to its survival-horror roots with a story that deserves being told. It is not without rough edges, but the atmosphere, suspense, practical effects and understanding of what makes the games work give it a distinct identity. The movie is an imperfect but genuinely entertaining reboot that truly captures the essence of *Resident Evil* rather than feeling like it only wears the name.

Courier "Bryan" (Austin Abrams) is charged with delivering a vital organ through snowy conditions to a distant city hospital whilst arguing with his girlfriend on the phone about what to do about her recently discovered pregnancy. Next thing, he's clouted a woman wandering the woods at night with his car, and that's just the start of things going perilously wrong for this young man as she appears to have certain traits of lithe and nimble immortality and - well maybe she isn't alone? Abrams holds this together really quite well, and his dead pan delivery is really pretty engaging. Sure, the plot itself isn't that original and it's not really so similar to the 2002 version, but the wintry conditions set the scene darkly and a little claustrophobically and there's some fun to be had from a dialogue that tells us amidsts all his perils, that his socks are wet! The visual effects used to conjure up his nemesis are used sparingly but still quite effectively and the traditionally accumulating elements of the video game shoot'-em-up that we find here are actually acknowledged as part of the humour. The ending wasn't my favourite - it has something of the gory slapstick to it and maybe suggests a sequel, but Abrams holds the film together entertainingly by characterising his "Bryan" as an adaptable and cheeky character that - unusually for me - I actually did want to root for rather than see gobbled up by any monster. It's really hard to be fresh with this genre - same old, same old, week in, week out - but this spent more time on the writing and on a lead actor who leaves out the histrionics and brings us something that's really quite good fun.