The PlayStation horror-themed video game Resident Evil spawned a film franchise that, from 2002 through 2021, comprised seven feature films and now, in 2026, the franchise is restarted with a new movie set in its own continuity.

Directed and co-written by Zach Cregger, Resident Evil (2026) reduced much of the lore and expectations from both the previous movies and the video game series itself, opting for a simplified structure and character set-up.

Sony Pictures

Bryan (Austin Abrams) is a medical courier floating through life, not quite ready to grow up and assume the responsibilities of adulthood and parenthood with his unseen significant other. He is offered an emergency high-speed run delivering a vital package to the general hospital in Raccoon City, and despite not having the required snow chains and other equipment for icy mountain roads, he accepts the contract.

It has been commented by others, quite correctly, that Resident Evil (2026) is structured like a video game. Bryan’s first encounters with the bizarre monsters between him and his goal are simple, easy to navigate, almost tutorial in nature, but each new set piece is more complex, requires greater danger to face and more skill to overcome, until his battles are with hordes of monsters.

Cregger and co-writer Shay Hatten, in addition to the video game feel of the structure and the body-horror of the people deformed by the loosed reagent, also infuse the script with plenty of humor derived from Bryan’s most understandable reactions. Perhaps the most uttered line in the film is Bryan whispering, “What the fuck?” The comedic and absurdist aspects of the script are enhanced by Abrams’ performance. He takes a character that is very, very thin on the page, with only the barest sketches of anything beyond the needs of the plot, and imbues it with a warmth that makes Bryan sympathetic and likable.

Cinematographer Dariusz Wolski and Cregger shot the film quite well, photographing at night in a manner that preserved that the darkness held terror just out of sight but without producing a screen so dim that the action became hard to follow. Cregger only occasionally slips into a loose point-of-view shot that echoes the screen of a first-person shooter video game but not so much that it becames a tiresome gimmick.

With Austin Abrams’ performance and the light touch of comedy throughout the movie, I was ready to judge that I had had a good time watching Resident Evil, but, alas, that is not something I can say in good conscience.

At the opening of David Lynch’s adaptation of Dune, Princess Irulan advises the audience, “A beginning is a very delicate time.” The same is quite true of endings. I would even argue that it is possible to recover from a bad beginning, as you have the rest of the story to course-correct, but a bad ending only leaves you with a sour note as your conclusion.

Resident Evil’s ending is bad.

A good ending unifies three elements: Character, Theme, and Tone, producing the conclusion that fits the story and satisfies the audience.

Had Steven Spielberg in Jaws filmed the novel’s ending, that movie would not have spawned the age of the blockbuster. In the book the shark, exhausted by the barrels, loses the strength to swim and, unable to push water across its gills, suffocates. That is a realistic ending but not one that would have been in step with the tone of the film. The exploding compressed air tank, however physics-defying it was, provided the audience with the heroic and victorious bang that they needed.

In Star Wars, had Biggs or Wedge scored the ‘kill shot’ on the Death Star, that would have been a terrible ending. The ending must flow from our principal character, their actions, and their decisions. It must be Luke, and he must trust to the Force for all three elements to come together.

These elements are required for the right ending even when the right ending is not a “happily ever after” one. With The Godfather, Michael by the end of the film has become what he did not want to be. He had told Kay, “That’s my family, Kay. It’s not me.” However, by his decisions, step by step, he has become that criminal Don, unifying in theme, tone, and character with that moment as the door closes, shutting Kay out of the office.

Resident Evil‘s ending fails on all three elements.

The movie has a very weak theme, if any is present at all, and so, being generous, we can disregard this element, but on the remaining two criteria this script’s ending is seriously flawed.

Tonally, it swerves from the comedic horror to a dark, dreary, and cynical take that is wholly unearned. The goodwill of the previous hour-plus of footage is discarded without preamble or consideration. The ending feels very much like a case of cynicism being mistaken for wisdom.

But perhaps the greater writing crime is that the finale, the last action set piece takes place without Bryan having any agency at all over its nature or its outcome. Bryan, as a character driving a story with his decisions and actions vanishes and instead is railroaded to a disappointing conclusion.

I was quite disappointed by the final act of Cregger’s Barbarian, and while the whole of Weaponsworks beautifully, it would seem with Resident Evil he again shows that where he needs to grow the most as a writer is crafting endings. He, so far, only lands that task one time in three.

.

Friday night, with a hankering to see something in the theaters to kick off this year’s spooky season, I did something I have not done in a very long time: I saw a movie knowing so little about it I had not even watched a trailer. Scanning through the AMC app on my phone, I read the bare details about Beware Boiúna: “deep in the Amazon, a medical mission spirals into a fight for survival when Boiúna, a colossal ancient predator, awakens to reclaim her domain in the jungle were nature holds absolute power, she decides who lives and who dies.”

Lionsgate Films

Okay, so Beware Boiúna was a creature feature, a monster movie, and frankly that was just the sort of shallow horror film that suited my mood. I clicked on a show time, confirmed it as one of the subscription screenings, which came at no additional cost, and after my sweetie-wife had retired for the evening, drove to Fashion Valley mall for the film. I seated myself in the nearly empty theater with quite low expectations. Monster movies along with slashers are not known for deep and engaging stories, often populated by caricatures of people rather than characters, and ones that make the most idiotic of decisions. This sub-genre can be fun in a silly, campy sort of way. (Though it is possible to be just bad enough that the movie is painful to watch without any redeeming camp value.)

Beware Boiúna surprised me.

While it clearly does not carry the heft of more celebrated recent horror films such as Obsession, Backrooms, Midsommar, or Nosferatu, this movie is smart enough and entertaining enough to be counted among the rare category of good monster movies. It possesses just enough story within its plot to have something to say about the human condition but without becoming a meditation on grief, or loss, or identity.

The plot of the film is straightforward: a team of doctors and medical students travel by chartered boat deep along the Amazon River in Colombia, delivering medical supplies and care to impoverished villages. The team comes into conflict with a commercial survey/prospecting team which rapidly spirals into violence. When both groups find themselves on an isolated tributary, they are forced to reckon with a serpent of gigantic stature, Boiúna, and it is unclear who, if anyone, will survive.

In my opinion, Beware Boiúna, while not reaching the heights of these films, carries the genetic heritage of three great films of the horror canon: Jaws, Alien, and Aliens.

Like that Spielberg classic Jaws, this film doesn’t overexpose the audience to the monster at the center of the story. Boiúna makes her appearances in the first half of the movie without fully exposing her horrific nature. Like ‘Bruce’ the shark, her presence is represented by the things she affects instead of blatant CGI. It isn’t until the final act of the film that the creature is fully seen and even then, the director, Mike P. Nelson, and the VFX teams wisely restrict these scenes to the forgiving nature of well-shot night sequences.

Alien is famous for hiding just which character is the actual protagonist of the tale. It isn’t until Dallas’ foray into the airshafts that it becomes clear that Ripley is the story’s main character. Beware Boiúna performs a similar sleight of hand, revealing its protagonist at the film’s midpoint.

The connection to Cameron’s Aliens is more tenuous but struck me as plain when our surviving protagonist battles the enormous creature with massive claw-equipped machinery, echoing Ripley’s power-loader battle with the alien queen.

Well-directed by Mike P. Nelson and well-scripted by writer Alan B. McElroy, Beware Boiúna is a rare thing, a rather decent creature feature that doesn’t try for too much or overstay its welcome with a slim 104-minute running time. Cinematographer Nick Junkersfeld shot the film well; there are no overly showy flourishes of photography but rather a simple and direct style that helps ground the fantastic premise.

Overall, I found this film worth my time, and while it is not getting as wide a release as it deserves and will be overshadowed by films such as Obsession, Beware Boiúna is a film that horror fans should see, and if possible, in a theater.

.

It is September and therefore time for another horror movie marathon hosted by Film Geeks San Diego with their annual Secret Morgue.  I have attended all of the Secret Morgues except for 2023, when they hosted two, one themed on witches and witchcraft, which I attended, and the September edition focused on animal attacks, which I did not.

I knew going into the event this year that I faced the highest likelihood that more than not several if not most of the films playing would not really work for me as the theme was my least-liked sub-genre of horror, slashers and serial killers. Of the six films of the marathon, two I had not seen but thoroughly enjoyed; one was another unseen one but fell into the trappings of routine slashers that left me unimpressed; another I had seen and detested; one more I had previously watched and found mildly interesting and the final film of the evening; which I missed due to a growing migraine attack, I could tell from a trailer I would not have liked at all.

Peeping Tom from the UK kicked off the event. Released in 1960, the same year as Psycho, this film was savaged by critics and the public upon its release and fell into obscurity only to be later recognized as a work of superb filmmaking.  The film’s focus is Mark Lewis (Carl Boehm), a shy, quiet young man who records the women he murders with a motion picture camera. Peeping Tom explores the damaged and lethal psyche created by years of childhood abuse, placing it far ahead of any film of its period in actually trying to understand the psychology of serial murder. This was quite good and I am happy it has been restored not only physically but in terms of its filmmaking as well.

Memories of Murder by Oscar winner Bong Joon-Ho is a police procedural following two mis-matched cops as they attempt to identify and capture a serial rapist and murderer in a rural Korean district. Where most ‘mis-matched cops’ movies are conceived as ‘buddy cop’ stories, this one is not.Memories of Murder carries Bong Joon-Ho’s biting commentary on Korean culture, inspired by and loosely based on a series of actual murders. This film sidesteps easy answers or even an illusion of closure.

The third film, which I have already reviewed here on my site and sent me out of the Comicon museum where the Secret Morgue is hosted to walk around Balboa Park for the next 87 minutes because I have no need at all to ever see again Strange Darling.

Kolobos kicked off the swing into the evening programming. A first feature from a pair of film school graduates, Kolobos does not follow in the meta commentary of the Scream clones of the late ’90s but rather is supposed to take more of its inspiration from the Italian giallo genre of the early ’70s. That said, Kolobos I found lacked the character and writing that exemplifies the best of the giallo genre. The characters were flat stock stereotypes with trite and too on-the-nose dialog. By the end of the film’s short running time I had already begun to have the stirring of a migraine attack.

Wes Craven’s New Nightmare started as the fifth film of the evening, but the twin facts that I had already seen the film and the growing migraine prompted me to abandon the rest of the marathon and return home early. New Nightmare is a much more interesting meta commentary on horror film than Scream or any of its imitators. (And yes, I am aware that Craven directed both.)

I later learned that the final film, again from the UK, was Stitches, a slasher featuring a clown, that from the trailer, I am sure would have tested my patience.

Even with the headache and being haunted by Strange Darling dogging my steps, I am glad I attended and look forward to next year’s marathon.

.

Halloween Horror Nights, for those unaware, is a seasonal event where Universal Studios Hollywood, and the other parks around the world I assume, redecorate their parks with horror themed attractions, mazes, and wandering characters for the entertainment of guests during special evening hours. It is wildly successful, with packed attendance, and greatly anticipated by members of the horror community. I have attended twice, once paying for the more expensive admission that allowed you to skip the usual lines as without that the wait for the mazes stretched more than an hour each. I thoroughly enjoyed each visit but find that the two-and-a-half-hour drive to get there a little much for the event.

Blumhouse

Nikki Freeman is a character portrayed by Oscar-nominated actor Inde Navarette in 2026’s breakout horror hit Obsession. In the film Nikki is enslaved by a magically empowered wish, becoming obsessed with Baron ‘Bear’ Bailey (Michael Johnson), eventually leading to multiple deaths by the story’s end. Produced for less than a million dollars and grossing at the global box offer over half a billion dollars Obsession is a certified blockbuster.

With a film that successful and one that was distributed by Universal, there could be no doubt that Obsession would play a part in 2026 Halloween Horror Nights, but it is not a film that lends itself to easy adaptation to the park’s event. Bear’s home, where much of the film’s unsettling events transpire, is not something that would make a suitable horror maze, and the film release in May of 2026 would give the park little time to design and construct the maze, something the designers of Halloween Horror Nights typically spend more than a year on. To capitalize on the film’s fantastic success the quickest and most identifiable way would be an additional wandering character added to the event.

The wandering characters found at Halloween Horror Nights are most often to the point of exclusively the monstrous villains of the horror movies that birthed them. The performers portraying these characters are there to create unsettling sights and ‘jump scares’ for the attendees. They are also visually distinctive, think Freddy Krueger, Jason, Michael Myers, or Art the Clown, who have such unique appearances that even from many, many yards away there is no mistaking them for anything but who they are.

It is uncontested, except by the most brain dead, that Obsession’s true villain is Bear, who enslaved, and kept enslaved even after the torment he was causing became evident, the woman that he desired, Nikki Freeman. However, Bear makes a very poor wandering character for Halloween Horror Nights. A shaggy, shy and slightly stuttering young man in ill-fitting clothes? That is not the sort of image that grabs the attention from a dozen or more yards away. What would be his signature jump scare? Sneaking up behind you and sobbing loudly? Hardly the stuff that would make your blood run cold and your heart race.

Nikki is the only possible wandering character, with her blood-stained face sporting an incongruous smile, her distinctive little black dress and hand-drawn tattoos, are all visually distinctive. There is a reason it is by far that image is the most common thumbnail for people on YouTube reacting to the film. Already reports are coming in of people startled by the wandering Nikki stealthily coming up unseen and suddenly screaming, “WHY DON’T YOU LOVE ME?”

But it is also uncontested that Nikki is the most victimized character in Obsession, suffering extra-dimensional torment and sexual assault. Her pain and anguish, disregarded by the man-baby that supposedly loves her, all combine to make her experience the true horror of the film. (The fact that this needs to be explained to some is the real-life horror that Obsession has revealed.) It is understandable and reasonable that some have found using a character who suffered sexual assault as a mode to frighten people as quite objectionable. Their viewpoint is not without merit.

It is unrealistic to expect a global monster of a corporation like Universal Studios to ignore one of its most successful properties, and given the unique nature of Obsession and its characters, ‘Freaky Nikki’ is the only option to expect them to utilize. Given that reality, what we can do is make sure that in addition to the fun and thrill of Halloween Horror Nights we can use the text of the film to talk about the entitled ‘nice guy’ that is the real monster of the film and look to life for those that walk among us.

.

A one-night-stand in a motel leads to a prolonged chase between predator and victim culminating with numerous deaths of both the guilty and the innocent in 2023’s Strange Darling.

JT Mollner’s script and film received much praise when it hit theaters in 2023. But before I managed to find a time slot that worked with my schedule it had completed its run and no longer played in any local auditorium forcing me to wait until it appeared on one of my streaming services which it did this month with Shudder.

Miramax

Strange Darling, billed as a thriller in 6 non-sequential acts, is quite competently crafted; it is vibrantly colorful with production designed by Pricilla Elliot that is wonderfully photographed by cinematographer Giovanni Ribisi. The two principal characters remain mostly unnamed in the script, credited only as ‘The Lady’ (Willa Fitzgerald) and ‘The Demon’ (Kyle Gallner). Both performers provide good solid acting as they reveal the nature of their characters. With a brief 97-minute runtime Strange Darling is not a movie that requires a large commitment from its audience and there is more than enough chase, capture, and escape reversals to keep it from becoming overly dull. And yet, with all the praise that this movie earned from the horror film community I cannot endorse it. The more I ponder the movie and its construction the more I find it to be irritating and not entertaining. To discuss why it makes me feel that way requires dancing around the core of the film’s nature that skates right into spoiler territory, so here is your spoiler warning. Proceed no further unless you are prepared to.

ABANDON ALL IGNORANCE YE WHO READ FURTHER

One of the things discussed on the various horror film podcasts I listen to about this movie is that it has a twist. The mere knowledge that a movie has a twist is itself a spoiler, particularly for those of us inclined to work out plots of our own for fun. We will go into the experience looking for the twist, trying to work it out rather than let it reveal itself naturally.

A twist performed properly and fairly can be a great thing to witness; the moment of revelation when everything you have watched before suddenly gets recontextualized and a new paradigm for the story is on display. Strange Darling does not play fair. It cheats its audience to create the moment when everything is supposed to change, presenting moments and sequences entirely out of context, knowing that without the vital context the audience is going to make very erroneous assumptions. This is the reason the six chapters of this thriller are presented in the order of chapters 3, 5, 1, 4, 2, and 6, because to show them in chronological order would render the second half of the film absent of any surprise or unexpected reveal.

Withholding context for a scene is not always a ‘cheat.’ Memento presents each scene in reverse order, depriving the audience of the context for where and how its protagonist came to be in the situation, but because the character is unable to make new memories, he is just as lost as the audience. This puts the audience firmly in the character’s point of view, which is not what is happening with Strange Darling. This movie withholds context in hopes of creating a moment when the floor drops out from under the audience’s feet, but the characters who have lived the story in chronological sequence have no such handicap. This withholding of context is lying to the audience, lying to create in their minds an assumption that is not true so that the ‘truth’ can be revealed.

The movie’s lying begins right at the start with the first title cards that identify one character as ‘The Demon’ and another as ‘The Lady,’ but ‘The Demon’ has a proper name that is used on screen. However, ‘Demon’ creates a deliberate and false impression in the audience, one that powers the story’s supposed twist.

Strange Darling, despite the raves it has gathered from most of the horror community, is a movie that I cannot recommend and one that with each reconsideration becomes more and more one where the time watching becomes time wasted.