THE STORY – A hapless courier is tasked with delivering a package to a remote hospital. He soon finds himself caught in the middle of an outbreak and must fight through hordes of mutated creatures to survive.
THE CAST – Austin Abrams, Zach Cherry, Kali Reis & Paul Walter Hauser
THE TEAM – Zach Cregger (Director/Writer) & Shay Hatten (Writer)
THE RUNNING TIME – 90 Minutes
Despite some lucrative success that some projects have been able to strike, a truly worthwhile adaptation of a video game property remains elusive for many. Sure, “The Super Mario Bros. Movie” franchise might be raking in billions at the box office, but they also don’t represent the height of storytelling either. Many attempts to bring these well-known games to the screen are met with such a challenging process that it’s difficult to know what exactly can work in the cinematic medium. That’s why one approach is just taking the fundamentals. The story doesn’t have to be an exact replica of previous games but instead can embody the spirit that players are familiar with. In terms of “Resident Evil,” that’s a path already previously trotted, the collaboration between Paul W.S. Anderson and Mila Jovavich often produced less than desirable results. Now it’s Zach Cregger’s turn, and his vision presents an engaging, if uneven, horror spectacle.
The setting is a cold, wintry night, and Bryan (Austin Abrams) works as a courier charged with delivering organic materials for medical purposes. The evening is already full of conflict in dealing with his partner’s pregnancy, and he vows to continue the conversation later. However, that’s interrupted by a new assignment. He’s charged with delivering a package to Raccoon City, a metropolis on the outskirts of the town. While traveling on the icy roads, his car hits a woman in the street. But her injuries do not impede her relentless pursuit of him, following another accident. So begins a night of terror for Bryan, one in which he is constantly chased by hideous monsters and barrels toward what he hopes will be salvation from the terror he’s experiencing.
It is an amusing observation that Cregger’s directorial filmography has, so far, consisted entirely of horror films, despite his previous background being normally associated with comedy. I suppose if that career path worked for Jordan Peele, it can work for Cregger as well. Much like Peele, every successive effort has seen a stronger sharpening of filmmaking skills, and this represents his best display of his abilities behind the camera. There is an impressive atmosphere crafted that expertly utilizes the open spaces to create a sense of omnipresent dread. Dariusz Wolski’s cinematography uses shadows in a captivating manner, particularly when needing to slowly expose empty rooms in order to reveal whatever unsettling creature may possibly be lurking around the corner. Throwing in whip pans and first-person perspectives when characters are holding guns helps to give the aura of the film’s video game roots. Even the beginning that shows Bryan driving on that isolated road at night is reminiscent of many openings to horror video games. One can sense a certain glee when assembling such sequences designed to amp up the tension in a knowing acknowledgment, and it’s an enthralling ride one is thrown into.
There is such a fun energy that permeates through the first half, in particular. Scattered about are small nods to the original game series that are sure to bring a smile to those who are aware, as a typewriter or green plant making an appearance will have great significance to those in the know. The set pieces mimic the progression of levels, showcasing vicious creatures who contort their bodies into grotesque figures that can also morph into each other to create even more disturbing monstrosities. The creature design pays more reference to the source material, though often is reminiscent of John Carpenter’s “The Thing,” which even the score seems to be slightly influenced by. It’s graphic carnage that’s displayed with the right amount of awe, with one particular moment involving a young girl in an RV being a creative execution of hyperbolic gore that’s quite impactful. Many scenes demonstrate Cregger’s evolution as a filmmaker, and the film represents his strongest work as a director to date.
However, the writing is the area in which the film suffers the most. It’s not necessarily through characterization, as whatever personality that defines Bryan is minimal but satisfactory. The problem arises from that comedic background that infuses the sensibilities of the storytelling. Inherently, this shouldn’t be a problem because horror and comedy are two genres that typically blend well together. Laughter is, after all, an appropriate response mechanism after being scared. But the flow between those tones is jarring, and it causes an unnatural shift between the two. Cregger and co-writer Shay Hatten love to throw in quick asides that finds Bryan muttering some quirky observations to himself. Soon, the bits become more pronounced, and an elongated exposition dump involving Paul Walter Hauser in a car (that stops for no other reason than to create another major event to witness) nearly derails the entire sense of momentum. By the time the third act comes, what is still an entertaining venture is bogged down so much by stupid decisions being compounded with little motivation other than story progression. The narrative isn’t calling out to be complex or nuanced, but things drag heavily toward the finale, even if they are still compelling overall.
Abrams remains an engrossing presence throughout the film, tapping into an endearing oddball energy that perfectly embodies the out-of-depth frustration that would arise from being thrust into such a heightened situation. The backstory relating to his impending fatherhood is meant to etch out some emotional detailing for him to work with, but that mostly just presents yet another scene that causes the pacing to stall. For the most part, we are simply treated to his absorbing screen presence as he attempts to maneuver from one dangerous situation to another. For that objective, he’s a fine performer to watch. It’s not a role that demands much from him, as even the physicality is fairly minimal except for when the stakes elevate toward the end. But what he does provide is a charming and alluring turn that successfully keeps one invested in this horrific plight.
The blend of comedy and horror was also felt in both of Cregger’s previous films, so this is very clearly a melding of genres that appeals to him. Those movies, however, managed to utilize humor without completely undercutting the more unnerving elements. The awkward interactions that begin “Barbarian” are meant to illuminate the uncomfortable space that is shared between strangers, and Justin Long’s playful brashness is meant to stand out in contrast with the sinister evil that lurks in other corners. “Weapons” comes to life with the wacky personality of Aunt Gladys, but Oscar-winner Amy Madigan can delight in equal measure of her stark intimidation. The fluctuation between those two poles is more naturally engineered than in “Resident Evil.” It’s a much more uneven tonal experience here, and the writing struggles to invest in completely satisfying world-building. Still, there’s plenty of enjoyment to be found within this framework. The set pieces are still effective and Abrams’s performance is riveting, and that does a great deal to compensate for the inconsistent pacing. Purists may still yearn for a more faithful adaptation of this property, but given previous attempts, this is a big step in the right direction.
