Return to Silent Hill (2026)

Having received a letter from his dead wife Mary (Hannah Emily Anderson), artist James Sunderland (Jeremy Irvine) returns to Silent Hill, the place where they were once happy (or actually weren’t more often than not going by later flashbacks), but that is now consumed by recurring quotes from the videogame this adapts, which appear with little rhyme or reason and are completely divorced from the rich metaphorical quality they had in the game. Also, lots and lots of these flashbacks, establishing things that don’t need to be established, while also showing us things that make the idea of James returning to Silent Hill for any reason utterly preposterous.

Despite the amounts of harsh criticism thrown at Christophe Gans’s return to the Silent Hill franchise (sorry), I went into this one with a degree of optimism. Gans’s first foray into the world of Silent Hill did take some years to be appreciated, after all, and this does attempt to adapt an absolute masterpiece of a game rich in suggestion and ambiguity which also manages to be richly metaphorical in every part of its design.

However and alas, I can’t imagine any reappreciation happening to this abomination, a film that manages to at once overexplain everything and be nearly completely incoherent, that attempts to squeeze in every single bit of iconic imagery of the game – there are way too many shots that attempt to reproduce damn cut scenes – while clearly having not the faintest idea what that imagery actually means. As an adaptation, this seems to have been created by someone without any comprehension of the material they are working with – which is curious since this is made by the same guy who clearly did show such comprehension two decades ago.

But then, this doesn’t feel at all as if it was made by the same Christophe Gans who made Brotherhood of the Wolf or Silent Hill – or hell, even Crying Freeman. There’s none of the visual flair on display here that once was the director’s strength, nor of his ability to present bullshit with such conviction it becomes utterly captivating and even rather convincing. Instead, this version of Gans can’t even handle simple establishing shots properly.

Though, it has to be said, Doppelganger-Gans and his Return to Silent Hill do manage to provoke the kind of reaction in me that doesn’t happen all that often these days when it comes to movies – they make me genuinely angry.