We're back to the viral zombies of 'Resident Evil,' this time with a hot horror visionary
On September 18, 2026, the Los Angeles Times reported on filmmaker Zach Cregger's new movie 'Resident Evil,' a reboot of the popular video game series. The film, co-written by Cregger and Shay Hatten, features Austin Abrams as Bryan, a medical courier who unknowingly becomes entangled in a zombie outbreak caused by the Umbrella Corporation. The movie blends horror with elements of video games, using first-person shooter perspectives and interactive gameplay mechanics. It is described as darkly humorous and gross, with Cregger's signature style of surreal visuals and intense action sequences. The article highlights Cregger's creative approach and connects the film to his previous work 'Weapons,' noting their thematic similarities.
Zach Cregger’s Resident Evil, the latest installment in the long-running video game-based franchise, has arrived with a fresh twist that diverges significantly from its predecessors. Following the critical and commercial success of his Oscar-nominated horror film Weapons, Cregger has delivered a new entry that leans heavily into the conventions of video games while maintaining a distinct cinematic identity. The film, which premiered on September 18, 2026, features Austin Abrams as Bryan, a medical courier tasked with delivering a mysterious package to a distant city amid an unfolding zombie-like outbreak. The movie, clocking in at approximately 90 minutes, is designed to immerse viewers in a survival scenario that mirrors the structure of a video game, complete with escalating challenges, environmental puzzles, and a mix of horror and humor. Cregger’s approach to Resident Evil is rooted in blending the cinematic with the interactive. The film’s visual style and pacing echo the experience of playing a first-person shooter, with tight camera angles, dynamic camera movements, and frequent use of first-person perspective shots. This technique immerses the audience in Bryan’s journey as he navigates a series of increasingly perilous environments, from snowy mountain roads to the abandoned ruins of Raccoon City. The film’s tone is intentionally exaggerated, with moments of slapstick humor juxtaposed against scenes of visceral horror. For example, Bryan’s struggle with firearms becomes a recurring gag, as he fumbles with weapons, misfires, and occasionally accidentally shoots himself or others. These moments are presented with a sense of irony, acknowledging the absurdity of the situation while keeping the narrative grounded in the logic of a video game. The film’s setting is a crucial element of its storytelling. Raccoon City, once a hub of activity, is now a desolate wasteland overrun by grotesque mutations of the undead. The environment is rendered with meticulous detail, featuring surreal landscapes such as blood-slicked streets, inverted buildings, and eerie, glowing signs. These visuals serve both aesthetic and thematic purposes, reinforcing the idea that the world has been irrevocably altered by the virus. The film’s score and sound design further enhance the atmosphere, using unsettling tones and abrupt silences to heighten tension during key moments. While the film is clearly inspired by the Resident Evil video game series, it does not merely replicate its source material. Instead, Cregger draws from broader horror traditions, incorporating elements reminiscent of classic horror films and modern indie horror. The script, co-written by Cregger and Shay Hatten, balances action with character development, giving Bryan a relatable arc that includes personal stakes beyond mere survival. His relationships and internal conflicts add depth to the narrative, making his journey more than just a series of survival tropes. The film’s graphic content has drawn mixed reactions. While some viewers find the violence and gore intense, others appreciate the film’s commitment to its source material. The depiction of monstrous transformations, including a particularly disturbing portrayal of a maternity ward turned into a site of grotesque mutation, has sparked discussions about the boundaries of horror cinema. However, the film avoids being overly exploitative, instead focusing on the emotional and psychological toll of survival. As with any major release, Resident Evil has generated a wide range of responses. Some critics praise its creative approach and technical execution, noting its unique ability to merge gameplay mechanics with cinematic storytelling. Others argue that the film’s reliance on video game tropes limits its originality, despite its clever execution. Regardless of these debates, the film has undoubtedly captured the attention of fans of both horror and video games, offering a fresh take on a familiar genre.
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The article discusses the upcoming horror movie 'Resident Evil,' directed by Zach Cregger, which is part of the video game-based franchise. The piece highlights the film's similarities to the previous successful horror film 'Weapons' and notes that Cregger aims to bring his own vision to the project. The article introduces a fictional 'Scaredy Scale' to rate the movie's scariness based on suspense, spookiness, and gore. It mentions the protagonist, played by Austin Abrams, and describes the film's setting and tone, emphasizing its blend of humor and terror. The article does not provide a final assessment of the movie's scariness but invites readers to consider their own tolerance for horror.
Bias read (Center): The article focuses on a movie review and does not address any politically charged topics such as government policies, elections, or social issues. Therefore, it is considered apolitical and leans toward the center.
Why factuality (85): The article mentions Cregger's previous successes and the upcoming release of Resident Evil, referencing the Scaredy Scale as a tool for evaluating horror films. It aligns with the primary source regarding Cregger's career and the film's basis in the video game franchise. However, it lacks detailed
Why objectivity (80): The article uses a promotional tone, particularly with the mention of the Scaredy Scale and the humorous suggestion that the film might 'ruin you.' While it acknowledges the film's potential impact, it leans into a more entertaining and possibly exaggerated portrayal, which could be seen as less obj
The article reviews the new 'Resident Evil' movie, describing it as a satirical take on video game tropes. It highlights the protagonist's struggle with shooting mechanics, mirroring the frustrations of gamers who are bad at aiming. The film uses video game-style elements like level design and monster encounters to create a comedic and meta experience. The review contrasts this approach with previous 'Resident Evil' films, which were more focused on lore and less on gameplay parody. The article suggests that the film cleverly blends horror and humor by treating gameplay mechanics as part of the narrative.
Bias read (Center): The article discusses a video game adaptation and its portrayal of gaming mechanics, which is not a politically charged subject. The tone is analytical and humorous rather than biased toward any political ideology.
Why factuality (65): The article makes some accurate points about the film being a send-up of video games and references gameplay elements like the protagonist's struggle with guns. However, it invents details not present in the primary source such as the character 'Bryan' and specific scenarios involving him. The artic
Why objectivity (60): The article uses humorous and subjective language such as 'deeply unhinged send-up' and 'literally gut-busting comic romp'. It frames the film in a clearly positive light with phrases like 'ha ha' and 'you've almost certainly found yourself in a similar predicament', showing a biased perspective rat
On September 18, 2026, the Los Angeles Times reported on filmmaker Zach Cregger's new movie 'Resident Evil,' a reboot of the popular video game series. The film, co-written by Cregger and Shay Hatten, features Austin Abrams as Bryan, a medical courier who unknowingly becomes entangled in a zombie outbreak caused by the Umbrella Corporation. The movie blends horror with elements of video games, using first-person shooter perspectives and interactive gameplay mechanics. It is described as darkly humorous and gross, with Cregger's signature style of surreal visuals and intense action sequences. The article highlights Cregger's creative approach and connects the film to his previous work 'Weapons,' noting their thematic similarities.
Bias read (Center): The article discusses a film and its creative process, focusing on entertainment and artistic expression rather than political issues. There is no indication of political bias or controversy surrounding the subject matter.
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