Every marathoner knows the exact moment the race truly begins.

It’s not at the starting line amidst the early morning excitement, but around the 32-kilometer mark, when your legs begin to feel heavy and your form starts to fall apart.

Nike designed its latest marathon racer specifically for that critical window. The Alphafly 4 shifts the focus away from chasing sheer top-end speed, targeting instead the physical breakdown that happens late in a long run.

By studying how fatigue alters a runner’s mechanics over time, Nike rebuilt its flagship distance shoe to help athletes maintain their stride when energy starts to dip.

Holding the line when fatigue sets in

On the road, the shoe operates as a complete, unified system designed to protect your stride.

A redesigned Atomknit upper wraps the foot with breathable support, using targeted midfoot cables and an integrated heel unit to keep your fit secure without adding unnecessary weight or friction over long distances.

Underfoot, the new ZoomX LT foam layer works alongside Nike’s contoured carbon-fiber Flyplate. The lighter foam returns maximum energy with every footfall, while the plate smooths out your rolling motion.

Together with dual forefoot Air Zoom units and a durable Fast Shot outsole, the setup keeps your cadence consistent and your legs feeling fresh well into the back half of the race.

As Emily Farina from the Nike Sport Research Lab notes, their goal was to help runners stay confident, balanced, and capable from the start line all the way to the finish.

Built on the miles that came before

That focus on real-world endurance stems directly from athlete testing.

Nike developed the shoe using feedback from its Project Dreamweaver initiative and extensive trials with women distance runners, prioritizing stability and comfort alongside high performance.

The lineage carries significant weight. The Alphafly family has grounded some of distance running’s greatest moments, from historic sub-two-hour efforts to major course records.

With the Alphafly 4, that legacy translates directly into everyday marathon training, helping athletes hold their target pace just a little bit longer. Marathoners won’t have to wait long to feel the difference on race day.

The Nike Alphafly 4 drops in an early, limited release on September 17 at nike.com, followed by a wider global release on October 29 online and at select retail stores.

SEGA and Netflix have announced a new Crazy Taxi film adaptation. This will usher in a new collaboration era with the parties also developing adaptations for Sonic and STRANGER THAN HEAVEN.

Such a slate of future adaptations reflects the range of SEGA’s library as it draws on Netflix’s experience bringing beloved game worlds to new audiences.

The first project features Crazy Taxi, which will be written by Dan Gregor and Doug Mand. The beloved writing duo was behind the 2025 reboot of The Naked Gun.

Also on board to help helm the production are the same visionaries behind the Sonic franchise: Neal H. Moritz, Toby Ascher, and Toru Nakahara.

Crazy Taxi has been an arcade hit since 1999, putting players behind the wheel of a fearless cabbie racing the clock through chaotic city streets.

There’s flying off ramps, dodging traffic, and chasing tips with punk-rock energy that has become the series’ signature.

The latest title in the franchise, Crazy Taxi: World Tour, is set for a 2027 release. You can watch its trailer below:

The intersection between horror and comedy is separated by a thin wall of air. In modern times, we’ve seen comedy legends, such as Jordan Peele and John Krasinski, make the successful jump into horror. Some have theorized that laughter is a pain response, which links it to the adrenaline-filled thrill of experiencing horror. Personally, I believe that mastering comedic timing also complements the timing of scary moments in horror. Comedy-trained directors just get it. That’s why the melding of the two genres is always something to look for, and that’s why Zach Cregger’s Resident Evil is a must watch.

Coming from last year’s Weapons, Cregger established himself in the annals of horror history, despite learning the art of filmmaking from cult comedy classics like Miss March and The Whitest Kids U’Know. Weapons (and Barbarian before it) expertly balances the essentials of horror with dark comedy. If you’ve seen either of these movies, then you know what you’re in for with Resident Evil.

Based on the games or the past movies?

Resident Evil is tagged as second reboot of the movie franchise after 2021’s disastrous attempt, starring Kaya Scodelario, which barely registered a hiccup in the oeuvre of Resident Evil films. However, like 2021’s failure, Cregger’s take bases itself primarily on the events of the games, specifically around the plot of Resident Evil 2.

Bryan, a medical courier played by Austin Abrams, is tasked with delivering a top-priority package to Raccoon City. Unbeknownst to him, the way leading into Raccoon City (and the fabled city itself) is already overrun with mutated monstrosities.

And so, Bryan, a courier inexperienced with combat (much less surviving against zombies), must fight his way into the city to deliver his charge.

A worthy protagonist

Over the years, the franchise has seesawed between capable action heroes, like Leon Kennedy, and those who can barely survive, like Biohazard‘s Ethan Winters. On that scale, Bryan falls deeply into Winters’s side of the spectrum. He’s ill-equipped to survive a zombie apocalypse. He even admits that his barebones knowledge of guns comes from videogames. He attempts to shoot locks, thinking they’d work as they do in games. He is not a character you’d want to follow if you’re looking for a gruff man gunning down hordes of zombies with a machine gun.

But that’s exactly what makes this horror film worth watching. Bryan is us. Though there were times I was screaming at the screen because he wouldn’t do the obviously logical thing of running away from blatant traps, our fragile protagonist mimics how we would all react in a horrific situation: a deer in the headlights stuck staring.

Every situation feels more frightful. You don’t know how you’d react. He doesn’t know how he’d react. We’re just stuck trailing along for his ride. If he lingers too long looking at a zombie about to bite him, you have no choice but to look along with him. As a horror protagonist, he’s perfect.

When a camera does the work

Of course, inept protagonists aren’t new to horror. Practically all good horror films will feature a helpless hero standing up to the monster. See: the “final girl” era of horror.

Resident Evil elevates this trope by allowing the camera to do the heavy lifting. The film’s expert transitions into first-person perspectives and over-the-shoulder ones amp up the frights. When Bryan sweeps a room with a gun, the camera takes you down to the muzzle. You become the one sweeping along with him. You see the darkness as he does. The style creates an impressive layer of immersion that brings you into his trauma. Plus, if we’re going with comparisons, the transitions feel like a game taking you from a cutscene back into control of your character.

And it’s not just the perspectives, too. The film mimics several tense moments oft found in horror games, like gingerly creeping through a thin ledge when one false move can mean plummeting to your death. Resident Evil also has scenes in a dark tunnel, the sewers, and an overrun hospital. It’s a veritable who’s who of horror settings. But they all just work. It’s like you’re in a Resident Evil game.

When goofy becomes scary

But that’s enough of how the movie was made. How scary is it?

Taking them from their respective contexts, each monster is goofy. There’s an infirm zombie spewing acid bile that Bryan just bullies around. There’s a seemingly innocent young girl with a tentacle foot. There’s a zombie katamari.

And if that’s not enough, the casting is filled with masters of comedic timing like Paul Walter Hauser, Zach Cherry, and Austin Abrams himself. The first two play bumbling representatives of Umbrella Corporation, people who are too incompetent to do their job. Abrams is the bumbling everyman who can’t make heads or tails of what’s happening. Comedy is a living, breathing presence in this film.

But that’s not to say that this is a comedy film. The horror is still top notch. Cregger just knows how to time everything right.

Unlike modern films today, like in The Conjuring universe, Resident Evil is not a scare-a-minute film. It will not bombard you with jumpscares.

Now, to be fair, there are a fair bit including fakeouts. In fact, under normal circumstances, I’d dislike how many there are. But here, each jumpscare comes with a lengthy period to catch your breath. The film gives you time to relax, to laugh, and, eventually, lower your guard for the next scare. It’s a balanced pace that’s kept up throughout the entire film.

This is exactly how you should pace a horror movie.

Should you watch Resident Evil?

Even with its uniquely comedic style, Resident Evil is one of the most faithful adaptations of a video game I’ve ever seen. Like a game, Cregger’s pacing knows when to let you, the viewer, breathe and when to thrust you back into its monstrosities.

Humor will always go hand in hand with horror. Though the responses to these two categories are technically different, they’re both genres about facing the unexpected. On the box, Resident Evil says that it’s a horror film, but it’s so much more. If you want to laugh, cry, and cower in fear all in the same movie, this is the movie to watch.