Resident Evil

Most videogame heroes are physically intimidating, or mentally cunning, or at least a good shot. The protagonist in Resident Evil is none of those things.

As its story unfolds almost in real time, the bumbling antics of a scrappy medical courier provides some welcome comedy amid the blood-soaked surroundings in the latest big-screen adaptation from director Zach Cregger (Weapons).

Among the stylish visual flourishes, Cregger adopts the game’s first-person perspective without overplaying the gimmickry, enabling us to experience the misadventures of Bryan (Austin Abrams) through his beleaguered yet determined eyes.

Unfortunately, what starts as a taut and mildly subversive origin story evolves into a more formulaic and predictable monster movie in the second half as it becomes more beholden to the established mythology.

As for the beginning, the naive and hapless Bryan is dispatched on a late-night delivery to a hospital in Raccoon City, which foreshadows — for anyone familiar with the lore — that a chaotic evening is in store.

After hitting a pedestrian along an icy rural highway, Bryan stops to investigate, realizing quickly that the woman might not be fully human. A visit to a nearby farmhouse only worsens his plight, as does an encounter with two corporate scientists (Paul Walter Hauser and Kali Reis) whose apparent assistance comes with ulterior motives.

Desperate to get home to see his pregnant girlfriend, he instead winds up battling for survival against shapeshifting mutant beasts with zombie characteristics and regenerative powers — while trying not to become infected or lose track of his precious cargo.

Abrams (Wolfs) is fully committed, with his character spending much of the time muttering obscenities to himself, and conveniently ignoring common sense, while being put through the physical wringer.

Cregger’s swirling camera, combined with some impressive creature effects and nods to vintage body horror, provide some genuine frights, starting with Bryan’s initial encounter with his undead passenger.

But the screenplay by Cregger and Shay Hatten (Ballerina) otherwise can’t enliven material that leans into genre tropes. Even for those willing to forgive the egregious logical gaps and coincidences, it struggles to maintain consistent tension alongside its jump scares and escalating body count.

The filmmaker obviously is a fan of the source material, and his reimagining playfully pokes fun while affectionately paying tribute. However, he can’t replicate or replace the preference for playing Resident Evil over watching it without a controller in hand.

Rated R, 94 minutes.