The latest Resident Evil film, helmed by writer-director Zach Cregger exploded onto the market this weekend, raking in $60 million in its first three days in North America. That figure not only eclipsed Sony Pictures’ most optimistic projection of $40 million, it also dwarfed the $53–$55 million range the studio had tentatively expected a few days earlier. Across the globe the picture added another $43.8 million, bringing its worldwide total to $108.3 million after just one weekend.
For a series that seemed to be on its last legs after the 2021 reboot flopped, the numbers read like a revival anthem. The 2002 original Resident Evil finished its theatrical run with just under $103 million worldwide, a figure that, when adjusted for inflation, still outstrips Cregger’s opening weekend. Nevertheless, the new installment’s immediate impact underscores a clear appetite for fresh horror content, especially when paired with a modest $75 million production budget.
Box-office milestones and franchise comparison
Domestic earnings of $60 million placed the film at the top of the North American box-office chart for the weekend, earning a solid B+ CinemaScore from audiences. The opening came within striking distance of the entire domestic haul of the franchise’s previous record-setter, Resident Evil: Afterlife which amassed $60.1 million over its full run. In effect, Cregger’s reboot matched the lifetime gross of every earlier entry in a single weekend, a feat confirmed by Rentrak data.
The international side of the equation contributed $43.8 million from 62 overseas markets, reinforcing the franchise’s global appeal. When combined with the domestic haul, the $108.3 million total already positions the film as the highest-grossing opening in the series’ history, and it pushes the cumulative franchise earnings past the $1.2 billion mark worldwide.
Zach Cregger’s ascent and future projects
Beyond the numbers, the success of Resident Evil cements Zach Cregger as one of Hollywood’s most in-demand horror auteurs. Vulture recently listed him as the 17th most powerful director, a ranking bolstered by his recent hits Barbarian ($46.2 million on a $4.5 million budget) and the Oscar-winning Weapons ($270 million worldwide on a $38 million budget). The latter even earned Amy Madigan an Academy Award for her flamboyant turn as Aunt Gladys, and a prequel is already in development.
Industry insiders note that Sony’s TriStar Pictures, Constantin Film, and Davis Film signed Cregger for Resident Evil during the window between the modest success of Barbarian and the breakout of Weapons. The timing proved advantageous: the director’s fee and negotiating power have risen dramatically, and he now commands projects on the strength of his name alone. Upcoming ventures include the thriller The Flood and a prequel exploring the backstory of Weapons’s Gladys, both slated for release in the next year.
Critical reception and the road ahead for the franchise
Critics responded far more positively than they have to any previous entry. On Rotten Tomatoes the film holds a 96% approval rating, the highest for the series, and a 92% audience score. The Hollywood Reporter’s Frank Scheck praised Cregger for delivering “a propulsive, simultaneously terrifying and hilarious thrill ride that showcases both his cinematic chops and perverse sense of humor.” The blend of gore, dark comedy, and rapid pacing seems to have resonated with both genre loyalists and newcomers.
The movie’s success also fuels speculation about a sequel. In a pre-release interview with The Playlist, Cregger hinted at “other places this story could go,” suggesting he is open to continuing the narrative. With the franchise now financially viable again, studios are likely to green-light a follow-up, potentially expanding the universe beyond Raccoon City’s nightmarish streets.
The film not only outperforms its predecessors in opening-week revenue but also reestablishes the Resident Evil name as a viable franchise for future installments.
