His latest film, Resident Evil, a riff on the enduring and now practically antique Japanese video game, isn’t as clever, funny, or grimly haunting as Weapons—but then, it’s simply a different type of beast altogether. The picture is loose-limbed and rambling by design, a kind of shaggy-dog story that reflects the experience of maneuvering a character, via a controller, through a landscape of obstacles. And while some fans of the game have complained that Cregger has failed to include their favorite characters, he has perhaps wisely decided to focus on one: Austin Abrams, who portrayed the drug addict James in Weapons, plays Bryan Hodukavich, a hapless medical courier charged with transporting a very important parcel to far-away Raccoon City General Hospital, which can be reached only by driving across treacherous, icy mountain terrain. His ramshackle vehicle slips and slides on the slick roads, and his headlights flash on the figure of a wild-eyed, bloodied woman just as he hits her.
The mishaps pile up one by one: a state trooper stops Bryan for speeding, and reluctantly agrees to transport the zombie woman in his own vehicle—a good solution but, as it turns out, only a temporary one. Other stuff happens. Bryan must race across a fenced-in field, pursued by a dog—which is of course not exactly a dog. He’s thrilled to have located a shotgun in what looks to be a deserted farmhouse—he’s just got to find some ammo learn how to load the thing. Later, he’ll encounter a duo of travelers (Paul Walter Hauser and Kali Reis) who inform them they’re representatives of a shadowy group known as the Umbrella Corporation, and they reveal the significance of the package he has been protecting so gingerly. (Previously, he’d been convinced it was a tiny heart destined to save the life of a child.) Amid all this, he worries about a cellphone call he’d received earlier from his girlfriend, informing him of a potentially relationship-changing situation. He’s desperate to get back to her, but he can’t get a signal. And over and over again, he's flummoxed by a single, ancient device: he encounters one padlock after another, but of course, he's never got the key.
Naturally, as the story moves forward, the zombies begin piling up in alarming quantities. To describe the creatures in detail would be giving too much away: let’s just say, for now, that there are slimy tentacles involved, and vomit and pustules also make an appearance. Resident Evil is largely a one-man show, and Abrams carries it deftly. In the movie’s early scenes, his eyes have a checked-out quality; he’s like an absentee participant in his own life. But as the action, and the danger, intensifies, he becomes more and more alive. By the end of this movie's fleet 90 minutes, his battle seems unwinnable, and Cregger and his co-write Shay Hatton leave him almost literally hanging, begging for a sequel. The Resident Evil gestalt has been interpreted in movie form before, in the series of pictures made by Paul W.S. Anderson in the early 2000s through 2016; a ten-year gap is certainly a reasonable length of time to warrant a series reboot. In the meantime, although Bryan’s fate is unknowable, Resident Evil leaves you satisfied enough. Time, as we measure it in movies, has already proved that zombies aren’t going anywhere. We need them even more than they need us.
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