Resident Evil (2026)

Resident Evil (2026) is written and directed by Zach Cregger, who previously directed Barbarian and Weapons. Cregger brings a strong understanding of tension and horror to the film, relying heavily on jump scares, drawn-out suspense, and carefully executed moments of terror. The movie also contains so many video game easter eggs that fans of the franchise will have plenty to appreciate. While I had heard that Cregger had reduced the amount of humor, the film is still surprisingly funny. The comedy never completely disappears, even when the movie is focused on being genuinely frightening.

Austin Abrams, known for Weapons and Euphoria, carries much of the film as Bryan. The audience spends nearly the entire movie with him, and fortunately, Abrams has the charisma and delivery to make even his smaller moments entertaining. There is something about the way he performs the character that makes you smile, even when the situation around him is becoming increasingly terrifying. He gives the film a likable lead who can balance the horror and comedy without either feeling completely out of place.

The supporting cast does not have much opportunity to make an impression. Most of the movie is spent with Austin Abrams, and the other performers either have limited screen time or characters that are not given enough material to stand out. That is not necessarily a flaw, since the film is clearly designed around Bryan's experience, but it does mean there are not many other performances worth discussing in detail.

Overall, Resident Evil is a strong horror film that understands how to build tension and deliver scares while still maintaining enough humor to keep things entertaining. As a horror fan, I would give it a B+. However, as someone who grew up enjoying the Resident Evil video games, the abundance of easter eggs and attention to the source material makes the experience even more enjoyable. For fans of the games, this is an A-. Take that for what you will. Result: A-

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We Bury The Dead (2026)

We Bury The Dead (2026) is a slow burn post apocalypse film centered on grief more than horror. Directed by Zak Hilditch , best known for smaller projects like 1922 and Rattlesnake , this is his first step into a larger American production. You can feel the restraint in the direction, sometimes to the film’s benefit and sometimes to its detriment. The pacing is deliberate, almost stubbornly so, and while the mood is consistent, it rarely escalates into anything memorable. Daisy Ridley , best known for Star Wars: The Force Awakens , carries the film as a woman searching for her missing husband who may or may not have turned into a zombie. Ridley is solid and emotionally grounded, doing the best she can with minimal dialogue and long stretches of quiet reflection. Her performance is never the problem. If anything, she is the primary reason the movie remains watchable. The supporting cast is where the film struggles. Nearly every side character is written as painfully one note, existi...

One Night Only (2026)

One Night Only is a romantic comedy written by Travis Braun , creator of T.O.T.S. , that ultimately turns out to be something very different from what its marketing suggests. The trailers present it as a lighthearted Valentine's Day romance, but the film quickly pivots into a dystopian story that blends elements of The Purge with overt political commentary. Whether that shift works will largely depend on the viewer's expectations, but I found the bait-and-switch frustrating. The political messaging is so persistent that it frequently overshadows the romance at the center of the story. Despite that, the direction from Will Gluck is surprisingly strong, with confident staging and solid pacing that keep the film engaging even when the screenplay becomes heavy-handed. Gluck did Anyone But You and the romance really felt similar to the point I couldn't help but think of the film even though I had forgotten he had done the film back in '23. Another distraction is the amou...

fjord (2026)

Fjord is written and directed by Cristian Mungiu , best known for 4 Months, 3 Weeks and 2 Days and Graduation , and features Sebastian Stan and Renate Reinsve . This film is about a lot of things, but at its core, it follows a family trying to get their children back after they are wrongfully taken by child protective services. Along the way, the story explores faith, religious persecution, cultural differences, resistance to change, and the importance of community. There are plenty of political interpretations that viewers can take from the film, but I think Mungiu does something more interesting than simply taking one side or the other. The film can be interpreted as pro-immigration and pro-LGB, while also being pro-Christian and supportive of traditional family values. Rather than forcing the story into one ideological corner, Mungiu allows these ideas to coexist, creating a film that encourages viewers to consider perspectives they might otherwise dismiss. I appreciate that ap...

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