'Resident Evil' review: Austin Abrams delivers in Zach Cregger's survival horror comedy
Okay, the kids are definitely not alright, we can conclude. Resident Evil breaks out from its short-lived hiatus with a new reboot. Based on Capcom's video game series of the same name, the story brings us back to Raccoon City. We follow Bryan (Austin Abrams), a courier avoiding a burning issue in his relationship. It's late at night and he's finally off the clock, but he agrees to deliver a time-sensitive package to a hospital in Raccoon City for a bigger payday. On the way there, he hits a woman (Andrea Miltnerová) with his car before they're pulled over by police officer Wilson (Johnno Wilson). Things escalate quickly since the woman has been infected by a monstrous disease. Bryan must survive attacks from various mutated creatures while he attempts to deliver the package to its destination since it might be the key to combat the disease. Kali Reis (as Maxine), Paul Walter Hauser (Paul) and Zach Cherry (Carl) appear in the movie as well.
Director and co-writer Zach Cregger takes over the franchise along with co-writer Shay Hatten, and while the helmer's previous work has certainly earned laughter, the approach here is to mix survival horror with more abrasive comedy. In terms of the scary stuff, you'll find more generic and predictable jump scares that tend to be annoying rather than creative, but you're also starting to recognise motifs, from blackened doorways to the dread of something getting closer and closer. They may not be the most inventive scares you've seen, but there is enough fun to inhale, plus the blend of practical and digital gore is pretty damn cool.
Speaking of fun, the humour and physical comedy are absolutely areas where Cregger and company's efforts shine. Much of this is also because Abrams is delivering an extremely deft comedic performance. Presumably inspired by your Charlie Chaplins and Buster Keatons of the world (there's a stunt jump that is framed rather similarly to one of Keaton's comic high points), Abrams' slapstick energy earns chuckles, "oh no no nos" and gasps at a steady pace. Even if you're not a horror fan per se, you should have a great time with all the bits, hilarious stunts and the film's use of the rule of three.
The script does admittedly struggle in other aspects, though. Dialogue is its Achilles' heel despite Abrams giving it his best shotgun shot in his line deliveries as it's such a disappointment, not only because of expectations but also when compared to dialogue in video games, which is rarely the priority in said medium. The nonstop swearing and avoiding the silence with nonsense becomes pretty unbearable after 20 or so minutes. Anyone who has heard a group of tween/teenage boys conversing in public after having an energy drink or ten will recall that sort of sensation of ick during this movie. Plus, "Yeah video games!" is a real line said out loud so there's that. Maybe the creatives should have leaned more on the classic slapstick influences and turned this one into a silent picture. The humour would've been a headshot with better dialogue.
As far as themes and ideas go, it is nice to see that there's some motivation and thought injected into the narrative, even if you're not buying a ticket to Resident Evil for its groundbreaking thematic exploration. Bryan is only in this isolated state of fright because he's terrified of communicating with his partner about whether he wants kids or not, or if he sees himself becoming a good parent who can make the world feel safe. Mind you, there is no wrong answer for the first question; the problem is his lack of openness. You can also see the story as commentary on how corporations and institutions are fine with putting their expendable, working-class employees at risk for the sake of profit margins, cost-cutting or faux efficiency. That part gets fairly murky, but it's better than nothing.
Where the film is less murky is in its technical proficiency. Cinematographer Dariusz Wolski and Cregger move the camera with real determination (they also give nods to video game mechanics); composers Hays Holladay and Ryan Holladay make perhaps the biggest difference with their moody, anxious yet often goofy score; while editor Joe Murphy not only lets both the physical comedy and horror breathe expertly, but he also keeps the set pieces taut and tense. Together, the editing and music make sure that the story moves and grooves, creating the kind of pace that forms Resident Evil into a tight 90-minute adrenaline rush, even though it undoubtedly has three final set pieces when you only need one.
It won't change your life and the cheap jump scares and repetitive dialogue will be irritating, but when you produce an entertaining and efficient ride like this, there's not enough time to hold grudges. Grab an umbrella because this movie is worth going to the theatre even if it's raining cats and mutant dogs. Prepare to have a good ol' time.
Smileys: Pacing, score
Frowneys: Dialogue
That last bullet might've been a magic bullet.
3.5/5
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