Film Fests
Fantastic Fest: ‘Resident Evil’ Review
Resident Evil is a title so fiercely protected by fans, it’s tough to stay fully optimistic about a new live-action adaptation. We’ve been here eight times already. Six biopunk entries ignoring RE source material to prove Mila Jovovich is a badass (we already knew that, though), Johannes Roberts’ 2021 reboot that tried too hard, and a Netflix series that was fun, but quickly swept under the rug. Fan reactions say that they all would’ve been better off without the RE tag. The universe has already been picked apart by the lore-keepers of the fandom. And it’s tough to keep up with them. Even Zach Cregger’s Oscar win for Weapons wasn’t enough to convince fans that heading back to Raccoon City was a good idea. Great news, nerds, eighth time’s the charm. We got the movie we deserved; just make sure your shoes are tied.
Cregger’s Resident Evil isn’t just an A+ video game movie; it’s a great movie, period. No homework necessary. It’s a whole new game we’re speed-running, just without the controller in hand. We follow a medical courier, Bryan (Austin Abrams), who takes a last-minute run delivering an organ to Raccoon City hospital. Without knowledge of the turmoil going down inside the city limits, his would-be A-to-B journey is flooded with scenario after scenario of increasingly gag-worthy tussles that just keep evolving. Trading heavy lore to focus on white-knuckle adrenaline is exactly what the doctor ordered.
Austin Abrams Is A One-Man Circus
Abrams (Weapons) leads the one-man circus with physical acting of the comedic everyman. He makes the same dumb mistakes we’ve all made in-game. Mistakes we would most likely fumble through if we had boots on the ground at the end of the world ourselves. Cregger’s comedy is life-like, and overcooked at times, but still confirms the marriage of horror and comedy.
It pains me to admit that leaving Leon Kennedy at home was the right choice. Watching an RCPD cop rip through doomsday couldn’t meet the level of calories burned as forgetting to breathe until Bryan makes it out the other side of a single challenge. Following in the footsteps of Sam Raimi’s Evil Dead, it’s a right of passage to throw your good-sport talent into the deep end. There’s bound to be a natural gag or two that come out of good talent (yeah, I did just compare Abrams to Bruce Campbell).
Resident Evil Is A New Kind Of Evil
Cregger’s Resident Evil won’t tell you it’s RE, but it’ll sure as hell show you. It’s got all the pieces of fundamental survival horror that span the whole damn map (which canonically is vast). You’ll know which theater-goer has played as they laugh at the relatability of finding peace in a random typewriter. Zach Cregger uses game theory to take over the sacred easter egg. Resource management, knowing when to stealth, the frustration of rerouting the plan because “the door is locked from the other side” all remind the viewer what universe we’re in–no lore necessary. Each scenario is a mini mission that moves Bryan closer to the end goal.
Resident Evil is as explosive as you’d hope for, but Cregger lets the pace off the leash in the third act, and it does get muddy. It holds on to, and subtly evolves its style from beginning to end, though, which could be more important with this specific adaptation.
The influence of John Carpenter’s The Thing and Escape from New York is all over this apocalypse. In not just its monsters, but mainly in Resident Evil’s audio/visual language. Light is also a resource, and has just enough give to stretch the quiet moments into an easy, stylized panic. The wall of sound is horrific (complimentary) in those same areas. The audience relies on it against adaptable lighting that builds a guessing game for what we’re against could present itself as. And man, does whatever the hell it ends up looking like bring my perverted soul joy. Best enjoyed in IMAX.
If you’re not watching Indonesian horror, you’re missing out. The region is producing some of the craziest genre movies around right now, thanks in no small part to the efforts of writer-director Joko Anwar. His latest, Ghost in the Cell, which celebrated its North American premiere at Fantastic Fest 2026, combines everything we love about the filmmaker’s work—supernatural scares, inventive kills, and gnarly gore—along with a strong vein of comedy and political satire.
What is Ghost in the Cell About?
Ghost in the Cell centers around Dimas (Endy Arfian), a journalist whose life falls apart after he tries to run a story on corporate corruption and mysterious worker deaths. Wrongfully convicted of the horrific murder of his boss, Dimas finds himself with a one-way ticket to Cell Block C, where he quickly meets a colorful cast of prisoners—the good, the bad, and the seriously nasty. Among the good guys, there’s Anggoro (Abimana Aryasatya), who is constantly getting into trouble for defending fellow inmates, and Six (Yoga Pratama), who claims he can see people’s auras.
As if Dimas’ situation couldn’t get any worse, his arrival seems to trigger a series of brutal killings in the prison. Bodies are showing up mangled beyond recognition and displayed in positions that wouldn’t look out of place in Hannibal. It soon becomes clear that Dimas isn’t behind the murders, which begs the question: what did he bring in with him?
Anwar Embraces Horror-Comedy Whole-Heartedly
Prison is a scary place, and Anwar makes great use of the setting, with the action moving from the dingy showers where predators lurk to the bleak cellblock where inmates are at the mercy of their captors and the cafeteria where rival gangs eye each other up with ill intent.
But for all the human misery contained within the film, Ghost in the Cell is ultimately a horror-comedy, one that isn’t afraid to lean into broad slapstick and quippy dialogue when it wants to raise a chuckle. The tonal shifts can take a little while to adjust to, especially if your previous experience with Anwar comes from his more serious horror outings like Impetigore. This might be a problem if the film wasn’t actually funny, but Ghost in the Cell has enough laugh-out-loud moments to make you forget about any whiplash.
Ghost in the Cell Is a Genre-Bender to the Max
Comedy isn’t the only new flavor that Anwar has tossed into the mix. In Ghost in the Cell, dance sequences and martial-arts fight choreo sit side-by-side with some of the most extreme gore scenes seen outside a Terrifier movie in recent years. Then there’s the eerie way the spirit presents before it kills (trypophobia sufferers, beware) and the extensive critique of political corruption, power, and inequality. It’s an everything-and-the-kitchen-sink approach that shouldn’t work on paper, but under Anwar’s assured hand, it does.
It helps that for all the slapstick, the film lands a surprisingly earnest message, amplified by its vast ensemble cast. Dimas and Anggoro at times feel like main characters, but everyone in Ghost in the Cell has a big part to play, and that’s the point: in seemingly impossible circumstances, there’s strength in unity.
Ghost in the Cell Is an Endlessly Entertaining Blend of Goofiness, Heart, and Gore
If you’re looking for nonstop scares, you won’t find them in Ghost in the Cell. What you will find is a delightful blend of horror, comedy, and action that is apt to leave you grinning from ear to ear.
The film doesn’t skimp on the gore, throwing flesh and fluids at every surface. But it’s also charmingly goofy, with a cast that doesn’t take itself too seriously and a script that’s all too happy to devolve into a comedic dance scene when it feels like the spirit might strike. In every sense, Anwar is doing the most, and the end result is a film where there’s nary a dull moment in sight.
One of the great pleasures of attending Fantastic Fest is the ability to occasionally see movies that won’t be out for many months. That’s especially true with the Secret Screenings, which this year included a work-in-progress print of In a Violent Nature 2, a film that doesn’t even have a release date yet and made for a wildly entertaining midnight movie surprise.
While a few things may change between now and release, the cut shown at Fantastic Fest felt near-final. Here’s what you can look forward to when this sequel eventually slashes its way onto our screens.
Johnny Returns in In a Violent Nature 2
In a Violent Nature 2 picks up right where the action of its predecessor left off, while also introducing new aspects of the lore that slightly contradict or complicate what has already been established, a nod to the way that slasher sequels throw in new plot elements willy-nilly to suit their needs.
The second film centers on Alex (Lucas Nguyen), a quiet 14-year-old kid who misses the bus home from camp because his bullies have stuffed him in a trunk. Since his older sister works at the camp, he gets to hang out for the night while the counselors celebrate the end of the season. Unfortunately, an old fireman’s whistle has drawn the mute, hulking Johnny (Ry Barrett) to the camp—and before long, their night of revelry has turned into one of unimaginable horror.
Less Walking, More Killing
Chris Nash, who wrote and directed the first film, handles scripting duties this time around, with Nate Wilson—who served as first assistant director on the original—stepping into the director role. It feels as though Nash may have listened to viewers’ complaints about how much walking was in the original, because In a Violent Nature 2 takes a break from following Johnny on his lumbering mission. Instead, the camera largely chases Alex through the woods as he runs, trips, and stumbles away from the carnage.
This change is a mixed bag. Alex may be more a dynamic figure to follow overall, but he also makes some frustratingly poor choices, and his teenage moodiness makes him a little unlikeable. The first film also succeeded, in part, because it consciously played into how audiences consume slasher movies, with their sympathies shifting from cheering on the killer to rooting for the final girl when she triumphantly emerges. In a Violent Nature 2 feels like less of a meta-commentary on the slasher genre, though it still has plenty to offer fans of the genre, especially when it comes to kills.
In a Violent Nature 2 Takes the Gore to a Whole New Level
Mention In a Violent Nature to a horror fan and they’ll probably bring up the yoga kill within 10 seconds. For the sequel, Nash and Wilson attempt to up the ante—no small feat considering just how violent the first film was. It’s hard to top that particular kill, but In a Violent Nature 2 certainly gives it the old college try.
Shifting the focus from a single group of friends to an entire summer camp, even one that’s emptying out, instantly ups the potential body count (and harkens back to the slasher films of yore). Counsellors are slaughtered in droves, in ways more brutal than anything seen in the original film, with a few kills in particular sure to get people talking. It’s a real treat for fans of practical effects, and it’s great to see that even horror films positioning themselves as more “elevated” than the typical fare can have fun and get their hands bloody.
A Possible Set up for Another Sequel?
Minor spoilers ahead.
In a Violent Nature 2 feels like something of a response to the reception of the first film, removing what people didn’t like and piling on more of what they did. The result is a movie that feels a little less focused and meditative than its predecessor, but still incredibly fun. And with a third film heavily teased in the final minutes, it seems like we’ll be seeing more of Johnny in the near future. Based on the trajectory of other slashers, can we expect to see him fighting a psychic child next? Or—dare we dream—is he preparing for a trip to space?
Only time will tell. Better lace up your walking shoes.
When Does In a Violent Nature 2 Come Out?
In a Violent Nature 2 is slated to hit theaters sometime in 2026. Keep an eye on IFC Films and Shudder’s socials for more release information as it becomes available.
