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Resident evil

Zach Cregger’s Resident Evil Just Did Something No Resident Evil Movie Has Done

Luna Gray
Written by Luna Gray

September 28, 2026

Zach Cregger’s Resident Evil has crossed $100 million at the domestic box office. It’s the first film in the franchise to get there.

The reboot has now earned $103.4 million in the U.S., according to Bloody Disgusting. Worldwide it sits at $196.4 million, so the $200 million mark is close.

A record that stood for 16 years

Behind the scenes on the Prague shoot of Zach Cregger's Resident Evil

That number looks even bigger next to the franchise’s history. The best domestic finish before this was Resident Evil: Afterlife at $60.1 million in 2010. Cregger’s movie opened to $60 million in its first weekend alone. It came within a rounding error of the old record before most people had finished arguing about the trailer.

The Paul W.S. Anderson era has one title left for the reboot to chase. Resident Evil: The Final Chapter is still the franchise’s global champion at $312.2 million. With a reported production budget of $75 million, Cregger’s film is already well past its cost. Catching The Final Chapter would take a longer run overseas, though.

Five years after Raccoon City

Resident evil 4

The last attempt to restart the series went very differently. Resident Evil: Welcome to Raccoon City opened to $5.3 million in 2021 and finished with $41.9 million worldwide on a $25 million budget. Cregger’s version passed that entire worldwide total within its first two weeks. It has now grossed more than four times as much.

That gap matters for more than bragging rights. Welcome to Raccoon City left a lot of people wondering whether this property still had life on the big screen. Cregger has answered that pretty loudly. Reviews are helping too, since the film holds a 95% score on Rotten Tomatoes.

For years Resident Evil movies have made most of their money overseas and been treated as a lesser draw at home. This one is changing that math. American audiences are showing up in numbers the series has never seen. A sequel conversation now feels less like a question and more like a matter of scheduling.

Luna Gray

Luna Gray is a trans horror critic, Senior Staff Writer at iHorror, author of No House Is Empty, and a lifelong horror obsessive with a soft spot for cult cinema.She specializes in cult, independent, folk, queer, international, streaming, and physical-media horror, along with horror history, haunted history, and folklore. She has seen too much and recommends most of it.Her reviews, interviews, features, and cultural criticism appear at iHorror. She also writes about horror history, folklore, cursed media, strange movies, and the things that refuse to stay buried at her Substack, The Void Writes Back. You can follow her on Facebook at Horror Made Me Like This.