Zach Cregger directs and co-writes the second reboot (and eighth overall in live-action series) with Shay Hatten.
Austin Abrams - Bryan Hodukavich
Zach Cherry - Carl
Kail Reis - Maxine
Paul Walter Hauser - Paul
Sara Paxton - Michelle
Summary
In 2026 (presumably), Lightfoot medical courier Bryan agrees to deliver a top-priority package from St. George's Hospital to Raccoon City General, even though his vehicle isn't equipped for snowy terrain.
While on the phone with his pregnant girlfriend Michelle, he hits a woman who appears out of nowhere.
After pulling Bryan over for fishtailing, Sheriff Wilson agrees to take her with him, as Bryan follows.
The cruiser suddenly swerves and crashes, killing Wilson.
He shoots the woman with Wilson's gun and heads for an isolated farmhouse.
Suffice to say, Bryan's night is only going to get worse.
Padlocks, doors and keys
An enjoyable romp, but is it worthy of the name?
Kinda.
Before continuing, principle eerily smacks of Metallica: Through the Never (2013).
In feature-length thriller concert film, a roadie called Trip (Dane DeHaan) is given a gasoline tank and paid to find a truck that needs refuelling. He's t-boned by another car and wakes to post-apocalyptic anarchy.
One to chew over.
Lovecraftian creature design is derivative of The Thing (1982), Slither and Dead Space.
Cart-wheeling Amalgam is similar to many things, but reminded me most of Rat King (The Last of Us Part II).
Umbrella Corporation employee Paul explains they created a 'substance' that can almost instantaneously transform any organism into a hyper-evolved version of itself, and all the shit going on started in the lab.
Dariusz Wolski's cinematography deserves huge props, as subtle FPS work and chiaoscuro is generally excellent.
Any tension built during the opening 20m quickly vanishes, lazer focused on action and comedy.
And that's film's primary weakness - it treats virtually every perilous encounter as a fucking joke.
Visual references don't feel forced, but a sign reading Leon S. Kennedy Guns and Ammo in the street where infected throw themselves off rooftops made no sense, unless rookie cop is trying to put Robert Kendo out of business.
Once Bryan reaches the hospital, Carl tells him to take the stairs to the 24th floor, cross the skybridge to the second tower and go to the 28th floor, where laboratory is.
Possibly coincidence, but the fourth part of first campaign No Mercy in Left 4 Dead is The Hospital. To reach Rooftop Finale, a lift must be called which terminates on Floor 28.
Bryan's tantrums made me chuckle, but this reaction had the opposite effect.
He shoots open the maternity ward door, freeing the infected and causing them to fall on his makeshift Nemesis, the Amalgam. Bryan triumphantly screams "YEEAAAHHH! VIDEO GAME!"
So dumb.
Anachronism
Paul reveals Bryan is actually carrying a neutralising base that completes the antidote for the Cure.
Antidotes counteract poison, so useless against a virus. What script needed was an antiviral, which treats and/or manages an active infection.
Ending
Having delivered the vial to Carl, a heavily infected Bryan (bitten earlier by a little girl), finally mutates and completely loses control of his body. As Bryan Birkin rips through the researchers, he still retains human intelligence and begs for the Cure. The final scientist attempts to inject him, but fails, and the syringe falls to the ground below. As National Guard helicopters arrive, Bryan roars and camera zooms inside his eyeball.
As credits roll, Animal Farm by The Kinks plays, an ironic nod to a brief action sequence of Bryan being attacked by a dog.
"This world is big and wild and half insane. Take me where real animals are playing. Just a dirty old shack. Where the hound dogs bark."
Next is closing theme by Ryan and Hays Holladay, clearly inspired by Ennio Morricone's score for The Thing.
There isn't a post-credits scene, but if I was in charge, the syringe landed intact and Ada Wong takes it for nefarious means.
Awesome idea, right?
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