evil

After his existential suburban horror epic “Weapons” became an Oscar winner (for Amy Madigan’s chilling supporting performance as Aunt Gladys), filmmaker Zach Cregger has dashed off a fun little riff on one of his favorite video games. His “Resident Evil” reboot is the eighth film in the big-screen franchise based on the Japanese zombie survival game, though Cregger’s “Resident Evil” is its own beast — put those Milla Jovovich movies out of your head entirely.

There are, of course, a few shared strands of DNA in the screenplay by Cregger and Shay Hatten: an evil company, Umbrella Corporation, responsible for a virus that mutates humans into zombies and all manner of monsters, located in the lovely Raccoon City. But our hero, Bryan (Austin Abrams), a hapless medical courier, knows none of this when he takes a gig delivering what he thinks is an organ on the snowy mountain roads to the metropolis.

Abrams, who was a standout in the ensemble cast of “Weapons,” has another big movie out this fall in which he stars as the lone protagonist, “Whalefall,” and the two films comprise an apt survival thriller double feature. In “Resident Evil,” Abrams’ Bryan spends much of his lonely mission muttering to himself in annoyance and sometimes victory, much like a gamer would. During one self-reflective moment, Bryan yells, “Yeah! Video games!” elated at how his shooting is improving.

Cregger’s approach to “Resident Evil” is to seamlessly blend the cinematic with a gaming experience and his adaptation best mimics the feeling of playing an actual game or watching someone else play one. At one point, Bryan and a comrade he meets along the way (Paul Walter Hauser) marvel at the shooting skills of Maxine (Kali Reis) as if they’re watching her play the game too.

Immediately, Cregger establishes a camera that follows closely behind Bryan, a similar motif to the cinematography he used in “Weapons.” As Bryan starts to encounter the strange beings who appear on the outskirts of Raccoon City, the game mechanisms click into place. Different characters — villains and helpers — pop up along his journey, as well as different tools and weapons. He frequently encounters locked doors, obstacles and empty spaces that he has to explore. Cregger uses first-person-shooter point-of-view shots, with the long barrel of a rifle or automatic weapon lining up our sights; one running gag sees Bryan, completely hopeless with guns, having to shoot the locks off of gates.

What was already a very darkly funny and incredibly gross film gets even more disturbing as Bryan ventures into the Raccoon City hospital, trying to make his delivery. He encounters monsters that vomit acid or explode with zombie rats; one particular ward is full of undulating sacs of bloody viscera.

Cregger remains one of our finest horror image-makers, creating surreal and snowy landscapes that are as beautiful as they are disturbing: the red and blue lights of a flipped police car in a blizzard, dark pools of blood and mysterious footsteps, tentacles greeting and meeting each other, stomach acid decimating an elevator. With impeccable sound design and an eerie score by Ryan and Hays Holladay, Cregger delivers a textured, wholly realized world.

But our guide is just a regular guy, which lends to the charm. Bryan is dealing with relationship problems that add to the urgency of his desire to survive, but he’s also just a dude with questionable self-preservation instincts, which makes for a good adventure. He has an overwhelming desire to help, which leads to some ridiculous circumstances and is a quality that Cregger plays for laughs. Abrams plays the goofball well and we’re constantly rooting for him, even as his fortunes take a turn in a tragic reversal that we’ve seen in monster movies before.

Cregger wears his influences well and they aren’t just video games but pulled from the history of horror. Still, he blends it all into his own vision so it doesn’t feel derivative. While the unwieldy ending might get away from him, the tightly controlled and efficient stretch that precedes it is the work of a new master, one who delivers imaginative, terrifying and hilarious thrills and chills, whether he’s reanimating a dead franchise or dreaming up his own uncanny vibe. “Resident Evil” might be his most playful — and gooey — film yet.

Katie Walsh is a Tribune News Service film critic.

Lisa Hayden-Johnson was jailed after fabricating her son Matthew’s illnesses

Lisa Hayden-Johnson has defended her actions in a new Channel 4 documentary.

The Devon woman has spoken out for the first time since being released from prison. She was jailed in 2010 for three years and three months after admitting cruelty and perverting the course of justice.

It came after she falsely claimed that her son Matthew suffered from a range of illnesses including diabetes, food allergies, cerebral palsy and cystic fibrosis.

Matthew’s supposed health battle attracted widespread media attention. The youngster went on to appear on various TV shows and was famously introduced to the Duchess of Cornwall, now Queen Camilla.

The young boy, now aged 25, was also subjected to medical interventions before doctors grew suspicious about his alleged health problems. Now, both mother and son are telling their sides of the story in new Channel 4 three-part series, Love You to Death.

A synopsis for the show states: “Young Matthew’s health problems worry medics and his mum Lisa. But when doctors’ efforts to improve Matthew’s condition don’t work, suspicions are raised and the police are called in to investigate.”

In the first episode, which aired on Wednesday (August 19), Lisa refutes the infamous ‘most evil mum’ title she earned as a result of the story.

She says: “I’ve never had the opportunity to [tell her story]. The newspaper articles are so incorrect. How can I be ‘Britain’s Most Evil Mother?'”

She goes on to add: “The only thing I was guilty of was putting my son first and fighting his battle, which is what I did. And I don’t regret that.”

Matthew, who will feature in the second episode of the series, spoke to the BBC about how it felt to hear his mother’s perspective.

He said: “It was a lot of disappointment but I think also frustration as almost two decades on, there is still a lack of accountability from her side.

“When I could see, even after two decades… she still holds the same story and believes that she did the best by me… that obviously isn’t right.” Matthew’s older sister, Laura, also speaks out in the documentary.

Love You To Death Episode 1 is streaming now on Channel 4