Barbarian

Resident Evil

18/09/26

Cineworld, Edinburgh

I don’t play video games and, under normal circumstances, wouldn’t feel compelled to watch a film from this franchise. But two words make me decide to give this one a whirl. And those words are: Zach Creggar.

I loved Creggar’s weird debut film, Barbarian, while his follow-up, Weapons, was one of our best films of 2025. There have been numerous attempts to translate the titular game into cinema, all of which have failed to make the transition – and I tell myself that, if anyone can make this concept fly, then Creggar is surely the one. I’m happy to report that he succeeds, making Resident Evil a gruelling and enthralling experience.

Meet Bryan (Austin Abrams), a hapless young man who ekes out a precarious living by driving donor organs from hospital to hospital. Looking for a used heart or a second-hand liver? Bryan’s your man! It’s a snowy night and he has just learned that his girlfriend Michelle is pregnant. He really should be heading home to assure her that he’s ready to become a father. But then a job comes up at the last minute and he’s offered double pay to get a mysterious package to Racoon City hospital.

And sure, he doesn’t have chains on his tyres and Michelle really needs him to come home but… double pay, man! You can’t let that go! So off he heads into the night and everything goes surprisingly smoothly – until he accidentally runs down a woman in the middle of nowhere. She’s not dead, exactly, but she is behaving very oddly and Bryan can’t seem to get a phone signal, so surely the only thing left for him to do is to strap her into the passenger seat and keep heading for the hospital?

Resident Evil is a gleeful, Sam Raimi-like affair, comprising equal parts terror and laughter. As Bryan blunders from one disaster to the next, I am with him every step of the way and the levels of tension are off the scale. While the film’s first third is perfectly paced and utterly propulsive, the second enters into a more complicated scenario as Bryan (still carrying the mysterious package) heads into the centre of Raccoon City. It’s here that he has to deal with an officious guy in a business suit (Paul Walter Hauser) and with a little girl who… well, I won’t spoil it for you, but it is intense.

In tthe final third, Creggar (who co-wrote the screenplay with Shay Hatten) unleashes a gnarly maelstrom of action and splatter as Bryan finally makes it to his destination, only to discover that getting there isn’t the end of the story. I cannot say with authority whether this bears any resemblance to the game that inspired it, but it does manage to keep me hooked throughout and, as Bryan, Abrams manages to convey a bumbling vulnerability that makes us care deeply about him when bad things happen.

While Resident Evil isn’t the perfectly-constructed puzzle-box that was Weapons, those who enjoy a wild ride will relish sitting in Bryan’s passenger seat as he speeds headlong into one of the most anxiety-riddled cinematic journeys of recent years.

4 stars

Philip Caveney

Weapons

15/08/25

Cineworld, Edinburgh

Yes, I know it’s the Fringe and I do appreciate that cinema is supposed to be taking a back seat this month, but anyone who caught Zach Creggar’s debut movie, Barbarian, back in 2022, will doubtless be as fired up for his sophomore feature as I am. Like its predecessor, Weapons is a wild ride, one that has more twists and turns than a passenger could ever anticipate. I sit spellbound as I am thrown this way and that, sometimes mystified, occasionally terrified, but never ever bored.

The story begins with an inexplicable event. In the little town of Maybrook, Pennsylvania, teacher Justine Gandy (Julia Garner) arrives at school, ready to teach her class – to find only one pupil waiting for her. He’s Alex (Cary Christopher) and he’s the only kid left because, earlier that same morning (at 2.17am precisely), all his classmates woke up, got out of their beds and ran off into the night with their arms held out at their sides.

Now, nearly a month after that event, the children still haven’t been located. Archer Graff (James Brolin), the father of one of the pupils, wants to know why Justine hasn’t been arrested. After all, it’s only her class that has vanished; she must know more than she’s letting on!

Archer wants an explanation and so does the film’s audience, but, just as he did in Barbarian, writer/director Creggar refuses point blank to offer a straightforward, linear narrative. Instead, he gives us seven different points of view, allowing us to gradually piece the events together as we are flung back and forth in time.

As well as Justine’s and Archer’s observations, there’s the story of what happens to mild-mannered school principal, Marcus Miller (Benedict Wong); the misadventures of Justine’s old squeeze, police officer, Paul Morgan (Alden Ehrenreich); there’s Paul’s clash with vagrant drug addict, James (Austin Abrams); and, of course, Alex’s account. Dare I mention a propitious visit by Alex’s Great Aunt Gladys (a bone-chilling performance by veteran actor, Amy Madigan), who provides the final piece in the puzzle?

I really can’t say any more about the plot without giving too much away; suffice to say, Weapons is an absolute smorgasbord of delights, by turns poignant, tense, bloody and, in its later stretches, darkly comic. It keeps me enthralled from start to finish and, happily, my initial fears that the central premise would remain unexplained prove to be completely unfounded. The explanation might be as mad as the proverbial box of frogs, but it’s right there, waiting to punch you in the kisser, then run gleefully away with its arms held out at its sides.

If Barbarian was a promising debut, Weapons is proof that horror has a brilliant new exponent. Creggar has created one of the most downright unmissable films of 2025 and I’m already hyped to see whatever he comes up with next.

5 stars

Philip Caveney

Barbarian

08/11/22

Cineworld, Edinburgh

There’s been a lot of hush-hushery from the makers of Barbarian, of the ‘don’t give away the ending’ variety. I can totally understand why. Writer/director Zach Creggar has put together a low-budget horror tale that seems to delight in pulling the rug from under the viewer at regular intervals. No sooner am I thinking, ‘Ah, I know what’s happening here,’ than I am obliged to indulge in a major rethink, until – eventually – I’m in the ‘what the hell is happening here?’ camp.

I rather like being in this position and, in the end, I find I’m awarding points for Creggar’s chutzpah, as he gleefully galumphs into uncharted territory. Put it this way: if you can work out where it’s all going, you’re way ahead of me.

Tess (Georgina Campbell) is travelling to an Airbnb in a run-down neighbourhood of Detroit, ignoring regular calls from someone who we presume is her troublesome ex. She arrives in the dead of night, exhausted, only to find that the place is already occupied by Keith (Bill Skarsgärd), who seems thoroughly nice and agreeable. But is he? When Tess discovers that every hotel in Detroit is fully booked because of a convention, she reluctantly accepts Keith’s invitation to take the bed while he sleeps on the sofa, but she’s understandably apprehensive when he offers her a glass of wine.

The atmosphere is already freighted with anxiety and, when Tess wakes up in the night to find that her previously locked bedroom door is open, it’s clear that darker things are coming. These include: the unexpected arrival of the Airbnb’s owner, toxic male film director, A J (Justin Long); flashbacks to the antics of a very disturbing fellow called Frank (Richard Brake); and then there’s… no, sorry, I can’t really tell you about that. You probably wouldn’t believe me anyway.

Campbell and Skarsgärd are both terrific, and Long is convincing as the odious AJ. But Barbarian goes to some pretty horrible places. As the title suggests, there are various barbaric situations for viewers to get through and those who draw the line at seeing a man beaten to death with his own arm might prefer to give this one a miss. Like many films in the horror genre, it’s only in the closing stages that some of what’s happening onscreen begins to stretch credulity. (I was always told that all falling objects descend at the same speed – but apparently not.)

However, it’s been a while since a horror film has surprised me in such a positive way, and in that spirit, I’m happy to commend this film as a right riveting watch.

Just make sure you double-lock your bedroom door when you get home afterwards. It’s best to be on the safe side.

4.2 stars

Philip Caveney