Tag: Adaptation

Resident Evil (2026) | REVIEW

Austin Abrams behind the steering wheel while being bothered by an infected individual in RESIDENT EVIL — PHOTO: Sony Pictures Releasing / TriStar Pictures.

Directed by Zach Cregger (Barbarian; Weapons) — Screenplay by Zach Cregger and Shay Hatten.

The Resident Evil franchise is one of horror gaming’s most popular, and yet it has struggled to find the same critical success on the big screen that it has reached through multiple video games. The Paul W. S. Anderson-shepherded films starring Milla Jovovich made money, but none of the six Jovovich-led films resonated with critics or audiences. Johannes Roberts’ Resident Evil: Welcome to Raccoon City from 2021 was meant as a more faithful adaptation of the early Resident Evil games, but still, audiences and critics were left underwhelmed. Now Zach Cregger is giving it a go, following his critically lauded horror-thriller films Barbarian and Weapons. The on-the-rise horror filmmaker with a keen understanding of how to plant comedic beats in even the darkest storylines has opted for a different strategy than Roberts. Cregger has deliberately decided that he would not slavishly recreate the story of the games. However, he has nonetheless managed to honor the games in his own way while, at the same time, turning in a genuinely thrilling film.

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A Prayer for the Dying (2026) | Fantastic Fest 2026 | REVIEW

John C. Reilly and Johnny Flynn in Dara Van Dusen’s A PRAYER FOR THE DYING. Image provided by Fantastic Fest. Courtesy of Quiver Distribution.

Directed by Dara Van Dusen – Screenplay by Dara Van Dusen.

Following its world premiere at this year’s Berlinale, the western-adjacent drama, A Prayer for the Dying, from debut feature filmmaker Dara Van Dusen, just had its North American premiere at Fantastic Fest 2026. As part of my remote coverage of the latter festival, I got the opportunity to watch this ambitious debut. Dusen’s Western-adjacent debut, which is being prepared for a post-festival US theatrical release on October 9th, contains fascinating surreal imagery, pitch-black dark character predicaments, and a challenging role for its competent leading man. Although it has some blemishes, I thought it was mostly quite effective.

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The Invite (2026) | REVIEW

Edward Norton, Penélope Cruz, Seth Rogen, and Olivia Wilde in THE INVITE — PHOTO: A24 (Still image from trailers).

Directed by Olivia Wilde — Screenplay by Will McCormack and Rashida Jones.

When actress Olivia Wilde burst onto the scene behind the camera with her feature directorial debut, Booksmart, it was quite exciting. It felt like the kind of film that could stand the test of time and become a coming-of-age comedy favorite for a certain generation of moviegoers. So, when her second attempt as a director, Don’t Worry Darling, was widely recognized as an underwhelming and somewhat messy sophomore slump, it was quite disappointing. Well, it’s been four years since Don’t Worry Darling, and now Wilde is back with her third film as a director. The actress-turned-director is pulling double duty, as she’s also one of the stars of the four-hander that is The Invite. This is the latest of multiple remakes of Cesc Gay’s Spanish comedy The People Upstairs from 2020. This adaptation was scribed by screenwriting duo Will McCormack and Rashida Jones, and it is a remarkably strong return to form for director Olivia Wilde.

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Bugonia (2025) | REVIEW

Emma Stone in Yorgos Lanthimos’ BUGONIA — PHOTO: Focus Features (Still image from trailers).

Directed by Yorgos Lanthimos (Poor Things; Kinds of Kindness) — Screenplay by Will Tracy (The Menu).

Bugonia marks the 4th collaboration between multiple Oscar-winning actress Emma Stone and the most famous filmmaker of the so-called ‘Greek Weird Wave’ (and in a row, no less). Their latest film together is an English-language remake of Jang Joon-hwan’s black comedy titled Save the Green Planet!, a South Korean film released in 2003. Though initially conceived as an opportunity for Jang, the original filmmaker, to direct the English-language remake of his own film for an international audience (not unlike what Ole Bornedal did with his English-language Nightwatch remake in the 1990s), it is now, instead, a fascinating instance in which a European auteur is adapting an Asian original story though in a North American setting. In a way, that almost intercontinental approach is fitting for a film about people who may or may not come from different worlds in more ways than one. It’s also, frankly, a really effective film.

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The Last of Us – “The Path” | REVIEW

Bella Ramsey in THE LAST OF US: THE PATH — PHOTO: HBO.

This is a recap and review of the third episode of the second season of HBO’s The Last of Us. Expect spoilers for season 1 and game 1 (and the episode itself, of course), but also some references to and comments about the second game (though without spoilers).

In the third episode of the second season — titled The Path — we get a three-month time jump, as the Jackson settlement and its wounded — including Ellie (played by Bella Ramsey) — recover in the wake of the tragedy in last week’s episode. However, when Dina (played by Isabela Merced) reveals a secret to Ellie, it sets in motion an appeal to gather up a crew to hunt down those who wronged them and killed Joel. The Path was written by Craig Mazin (Chernobyl) and directed by Peter Hoar (The Last of Us: Long, Long Time).

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The Count of Monte Cristo (2024) | REVIEW

Pierre Niney as the title character in THE COUNT OF MONTE CRISTO — PHOTO: Pathé.

Directed by Matthieu Delaporte and Alexandre de La Patellière — Screenplay by Matthieu Delaporte and Alexandre de La Patellière.

Based on Alexandre Dumas’ novel of the same name, The Count of Monte Cristo is set in the 1800s, where we follow Edmond Dantès (played by Pierre Niney), a recently promoted sailor, who, during his wedding with his fiancee Mercédès (played by Anaïs Demoustier), is arrested and accused of being a Bonapartist. Though innocent, Edmond is betrayed by people he thought that he could trust and is, eventually, imprisoned indefinitely on a harsh prison island. When he starts talking to his neighboring inmate Abbé Faria (played by Pierfrancesco Favino), Edmond starts to plan for both an escape and sweet revenge on the people who wronged him.

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Wicked (2024) | REVIEW

Ariana Grande-Butera and Cynthia Erivo in WICKED — PHOTO: UNIVERSAL PICTURES (Still image from trailers).

Directed by Jon M. Chu — Screenplay by Winnie Holzman and Dana Fox.

Sometimes I like to think of myself as an ‘unrealized musical theater kid,’ since I do, and always have, enjoyed performances, musicals, and whatnot but didn’t really have school programs or friends to help steer me in a fulfilling direction when I was younger. As such, it sometimes feels like I’m behind on a couple of musical theater touchstones that I undoubtedly would’ve loved when I was younger. Although I knew of “Defying Gravity,” through, I think, Glee, Wicked has been a little bit of a blind-spot for me, despite my love and appreciation for The Wizard of Oz. In early 2024, I did express some doubt about this entire big-screen adaptation project of the musical theater phenomenon, as the adaptations of Cats and Dear Evan Hansen appeared to have only lessened the reputations of those shows. So, I openly asked, on the social media platform formerly known as Twitter, if this was something people actually wanted to see? Wicked die-hard fans were quick to respond with a clear and obvious ‘yes.’ Now that I’ve seen the big-screen adaptation, I can happily say that I totally get the excitement. Although I, admittedly, don’t think it’s perfect or the best movie musical of the last ten years, I found Wicked to be utterly delightful. I understand why it is, ahem, popular.

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‘Salem’s Lot (2024) | REVIEW

Ben Mears (played by Lewis Pullman) looks out at the vampires in his hometown in ‘SALEM’S LOT — PHOTO: New Line Cinema/Max (Still image from trailer).

Directed by Gary Dauberman (Annabelle Comes Home) — Screenplay by Gary Dauberman.

This long-awaited Stephen King adaptation has gone through what many would describe as development hell. The film started principal photography in late 2021 and was originally slated to be released theatrically in 2022, but it was shelved or delayed due to a variety of circumstances including COVID-19-related post-production issues. Despite there having been talk about releasing it a year ago around the time of the SAG-AFTRA strikes, it remained shelved for quite some time, which led many to fear that, like Adil El Arbi and Bilall Fallah’s Batgirl or Dave Green’s Coyote vs. Acme, it could be yet another finished but unreleased and permanently shelved Warner Bros. Pictures product. Earlier this year, Stephen King even got involved and questioned its shelving, but, eventually, it was finally released straight to Max almost two weeks ago. Though not exactly a gem in its current state, there are definitely things to like about this adaptation that has, thankfully, finally seen the light of day.

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Dear Evan Hansen (2021) | REVIEW

Ben Platt and Julianne Moore as son and mother in Stephen Chbosky’s DEAR EVAN HANSEN adaptation — PHOTO: Erika Doss / Universal Pictures.

Directed by Stephen Chbosky — Screenplay by Steven Levenson.

I decided to skip Dear Evan Hansen, the coming-of-age film musical based on a stage musical of the same name, back when it was first released in theaters. I did this in spite of the fact that I had heard the Benj Pasek and Justin Paul songs beforehand (and really liked quite a few of them — I know the lyrics to some of them from end to end). The story follows a depressed and lonely seventeen-year-old high school student, named Evan Hansen (played by Ben Platt), who suffers from extreme social anxiety. One day, he runs into Connor Murphy (played by Colton Ryan) — the troubled brother of Zoe Murphy (played by Kaitlyn Dever), whom Evan has a crush on — and Connor, due to a misunderstanding, decides to take Evan Hansen’s personal letter home with him. Sometime later, Evan finds out that Connor has taken his own life, and that the Murphy family thinks that Evan’s letter was left as a suicide note for the friend they never knew he had. Evan, not knowing how to get out of the situation, then decides to fabricate this lie that he and Connor were best friends, and, in the process, he gets to be a part of the kind of family he always wanted to be in.

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REVIEW: Knock at the Cabin (2023)

Dave Bautista (left) in M. Night Shyamalan’s KNOCK AT THE CABIN — PHOTO. Universal Pictures.

Directed by M. Night Shyamalan — Screenplay by M. Night Shyamalan, Steve Desmond, and Michael Sherman.

Like you may have read previously elsewhere, M. Night Shyamalan was once dubbed ‘the next Spielberg.’ It was meant as a great honor but became a bit of a challenge to live up to. After four or five disappointments in a row between the mid-2000s to the early 2010s, Shyamalan was no longer being compared to Spielberg but rather known for his reliance on twists and his cameo appearances, as well as for his kind of unconvincing dialogue. With The Visit and Split, fans of his — and I consider myself a fan — started to believe that he was making a return to form with simpler premises and genuinely strong films. Then Glass was released — the conclusion to his Unbreakable trilogy — and it was another crushing disappointment — a cruel twist on his supposed ‘return to form’ for fans of his. He’s not done, though. In 2021, he released Old to mixed reviews, and, this year, he’s got Knock at the Cabin to showcase his talents with. Unfortunately, neither of those films fully worked for me. They aren’t outright disasters like some of the works that derailed his career, but even though they indicate that Shyamalan is on his way back, they also show that he still has a ways to go before being back ‘in form.’

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