Editor's Choice
After Seven Duds, ‘Resident Evil’ Finally Captures What Fans Want: The Feel of Playing the Games
Balle Balle Radio™ Entertainment Desk
Zach Cregger’s new "Resident Evil" adaptation has cleared a bar the franchise’s live-action films have struggled with for two decades: both critical and audience responses have converged around the film’s merits. The film holds a Certified Fresh 95% among critics and a Verified Hot 91% audience score on Rotten Tomatoes’ Popcornmeter, according to the site’s own audience-review roundup, and it has also broken multiple franchise and opening-weekend box office records.
That combination matters given the history. There have been seven prior live-action "Resident Evil" films, most recently a 2021 reboot that landed with little critical or commercial traction. Cregger, whose credits include "Barbarian" and "Weapons," took over the project as a self-described fan of the video game series, and the approach he settled on was not a direct retelling of any single game’s plot but focused on capturing the sensation of experiencing the games rather than adapting their narratives.
reviewers throughout the compiled responses consistently emphasize this same theme. One reviewer, identified only as Kevin, wrote that Cregger seemed to recognize he couldn’t satisfy every fan by adapting "RE1," "2" and "3" directly, so he built the film around the sensation of being dropped into the games instead. Others compared the tonal mix — jump scares layered with comic relief — to John Carpenter’s "The Thing," and several said the film works for viewers with zero background in the games, while still scattering in enough series nods to reward longtime players.
while mostly positive, some audience members raised reservations. At least one commenter, going by Rob, argued the film’s connection to the source material is thin enough that it plays more like a loosely licensed spin-off than a true franchise entry, and suggested it might have scored better as a standalone horror movie without the "Resident Evil" name attached. Another reviewer flagged pacing choices around humor landing in otherwise tense scenes as a point of friction, and called the ending unresolved. Both critiques came alongside largely positive scores from the same reviewers, which is its own data point about where the film sits with its audience.
For a franchise that has spent most of its life as a critical afterthought regardless of its box office reliability, the more interesting story may be less about this single film’s numbers and more about whether prioritizing directorial vision over source-material fidelity — is the formula that finally works for video game movies built on atmosphere rather than plot.
Public Opinion
Audience response has coalesced around Cregger’s tonal balance and his choice to prioritize the *feeling* of the games over strict narrative fidelity. The film’s 91% Popcornmeter score reflects viewers’ appreciation for that approach—particularly among those with no prior series knowledge, who found the jump-scare-and-humor blend accessible. Multiple review threads across platforms highlight the same tension: while some longtime fans questioned whether the loose connection to source material warranted the "Resident Evil" name at all, suggesting it might have worked better as a standalone, most paired such critiques with positive assessments. Cregger himself acknowledged surprise at the fan response, reassuring both veterans and newcomers that the film would satisfy them despite its departures from game canon. The consensus suggests audiences largely accepted the trade-off—narrative deviation in exchange for directorial vision and atmospheric cohesion.
Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.
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Editor's Choice
Global Ambitions Meet Cultural Tradition: ‘Ramayana’ Gets Two Versions, But at What Cost?
Balle Balle Radio™ Entertainment Desk
Nitesh Tiwari’s "Ramayana: Part 1" is planned in multiple edits tailored to regional audiences, with reports indicating the international version will be approximately 30 minutes shorter than the one Indian audiences will see. The film is the opening chapter of a two-film series based on Valmiki’s ancient Sanskrit text, following Prince Rama’s journey from Ayodhya.
The editing decision arrives alongside a more pointed claim attributed to the producer: that the film’s success will ultimately be judged by how it performs in Western markets. If it fails to make an impact there, the producer has reportedly said, it will be considered a failure regardless of how it does elsewhere.
That’s a striking bar to set for a story this specific to Indian religious and cultural tradition. Unlike generic fantasy epics that use mythology decoratively, the Ramayana stands as a core spiritual and literary work with deep roots in centuries of devotional practice and diverse regional interpretations, watched by Indian audiences with a familiarity no marketing campaign manufactures. Measuring that film’s worth primarily by Western box office receipts inverts the usual logic of how culturally specific epics have traveled internationally in the past, where domestic and diaspora success typically came first and crossover interest followed, if it came at all.
The production has scale to back its ambitions. The production features producers Namit Malhotra and Yash, with Tiwari and Shridhar Raghavan handling screenplay duties, and a cast roster spanning Ranbir Kapoor, Sai Pallavi, Sunny Deol, Anupam Kher, Kajal Aggarwal, Rakul Preet Singh, Vivek Oberoi, Kunal Kapoor, Arun Govil, and Lara Dutta. Reports have also pointed to a planned marketing push tied to the 2026 FIFA World Cup, with short promotional spots airing during matches — a strategy aimed squarely at the international audience the producer has singled out as the real test.
The reported budget circulating in coverage has been described in the hundreds of millions of dollars, a figure that would require substantial global returns to justify on financial grounds alone, separate from any argument about cultural reach.
Studio CarryOnHarry will be watching whether "Ramayana: Part 1" ends up judged on the terms its own producer has set, or whether that framing quietly falls away if the film’s real strength turns out to be at home.
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Between viral paparazzi clips, a Bigg Boss physique reveal, and Maidaan’s uncertain path to release, Salman Khan’s evolution from a reserved star to an unapologetic public figure says as much about India’s celebrity culture as it does about the actor himself.
Salman Khan has never needed a film release to make headlines. In recent weeks, viral clips from a Dubai trip — where he was seen in a cap, prompting online chatter about his appearance — spread across social media and were picked up by entertainment outlets almost instantly. What followed wasn’t a scandal. It was something closer to a referendum on how India’s biggest star has chosen to age, and how publicly he’s decided to push back against those commenting on it.
The reaction itself is worth examining, separate from the man at its centre. A viral cap photo becoming national entertainment news says less about Salman Khan and more about how thin the line has become between celebrity observation and celebrity surveillance.
A Different Salman
Those who worked alongside Khan during the Maine Pyar Kiya era describe a notably different public personality — quieter, more reserved, even somewhat influenced by a Hollywood-inflected coolness in his early screen presence. That version of Salman Khan was, by most accounts, shy rather than combative, subtle rather than loud.
The shift is widely traced to Wanted (2009), the film credited with reintroducing Khan through a harder physique, a more theatrical dialogue delivery, and an on-screen persona built on unapologetic swagger. Bonny Kapoor recently marked the film’s 17th anniversary, and the moment invited reflection on how significant that stylistic pivot actually was — not just for Khan’s career, but for single-screen cinema, which found in Wanted a certain big-screen, dialogue-driven energy that had been missing.
What’s happened since, particularly visible during his recent Bigg Boss appearance, looks like an extension of that same trajectory rather than a new one. The physical transformation — visibly the product of rigorous gym work rather than any cosmetic shortcut — has been paired with a willingness to directly confront trolls, paparazzi, and unflattering camera angles on camera, in real time.
The Paparazzi Problem
Khan’s on-air remarks about photographers taking deliberately unflattering or inappropriate-angle shots of actresses — and his blunt suggestion that such behaviour deserves confrontation — is where the conversation gets more complicated. It’s a real grievance dressed in a phrasing that will likely divide opinion: some will hear a star defending his colleagues; others will hear an aggressive, almost vigilante tone that sits uneasily with public discourse.
Both readings can be true at once. The underlying issue — a paparazzi culture that has, by many accounts, grown more invasive since social media turned every unflattering photograph into potential viral content — is real and well documented globally, not unique to Bollywood. The pressure to generate the next viral image, the next breaking-news graphic, has created incentives for photographers to chase precisely the moments celebrities least want captured. Jaya Bachchan has spoken publicly about this dynamic for years.
What’s less certain is whether Khan’s specific proposed remedy — confrontation, even physical threat — is the right response, or whether it simply escalates a culture already prone to controversy-as-content. There’s also a reasonable counterpoint: photographers, however aggressive their methods, are operating within an ecosystem that rewards exactly this kind of image. The audience clicking on the photo is as responsible for the incentive structure as the photographer taking it. A mutual, sustainable understanding between celebrities and media — rather than confrontation on one side — is probably the more durable long-term fix, even if it’s the less viral one.
Maidaan’s Uncertain Road
Away from the personal controversies, Khan’s long-delayed film Matrbhoomi, (referred to in some reports as Matrabhoomi) remains stuck in a holding pattern. As of the most recent update, the film has not been submitted to the Censor Board, and there is no confirmed evidence of any Home Ministry involvement or government approval process, despite chatter suggesting otherwise. That distinction matters: reports of political interference should be treated as unconfirmed unless a formal, sourced statement exists.
What does appear more plausible is a geopolitical sensitivity around content. If the film’s narrative engages with the Galwan Valley clashes between India and China, industry observers reasonably expect that material to face scrutiny or recutting, given the current diplomatic climate and recent high-level engagements between the two nations. A trimmed theatrical cut, or a shift toward an OTT release, are both floated as possible outcomes — though neither is confirmed. The film’s release date has reportedly moved from April 17 to a later date, though even that remains provisional.
Studio Perspective
Strip away the noise, and what’s actually being discussed here isn’t really Salman Khan’s biceps or his Bigg Boss soundbites. It’s a much older tension: what happens when a public figure decides he no longer owes politeness to an audience that increasingly treats him as content rather than a person.
That’s a defensible position. It’s also not a neutral one. Encouraging combativeness as the answer to intrusive photography risks normalising exactly the kind of aggressive posturing that makes celebrity culture more volatile, not less. Khan’s frustration is legitimate; his prescribed solution is more debatable.
The more interesting story, arguably, is the one about incentive structures — a media economy that rewards the worst angle, the most viral clip, the most alarming headline, regardless of whether it’s earned. Salman Khan didn’t create paparazzi culture. He’s simply the highest-profile person currently refusing to quietly absorb its costs. Whether that refusal is empowering or simply loud probably depends on which side of the camera you’re standing on.
And Matrbhoomi, caught between censorship uncertainty and geopolitical timing, is a reminder that even a film with a completed production can be held hostage by forces that have nothing to do with its script, its direction, or its box-office potential.
— Studio CarryOnHarry Editorial Desk
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