He has covered everything from Marvel to the Oscars, and Marvel at the Oscars. He also writes obsessively about the box office, charting the many hits and misses that are released weekly, and how their commercial performance shapes public perception. In his time at Collider, he has also helped drive diversity by writing stories about the multiple Indian film industries, with a goal of introducing audiences to a whole new world of cinema.
The old must make way for the new, and after a hugely successful month-long run in theaters, Sony’s new video game adaptation is looking at its steepest drop yet. This week sees DC Studios’ Clayface going for essentially the same audience, with an unexpected challenge from A24’s You Can See Everything decreasing its chances of a number-one finish. If Clayface and A24’s release siphon the same audience, Sony’s horror hit could drop out of the top five list, having recently hit the $150 million mark domestically. The critically acclaimed hit serves as a reboot of a long-running franchise that began nearly 25 years ago, and has generated more than $1.5 billion worldwide.
The reboot not only received the best reviews in the franchise’s history, but it also emerged as its highest-grossing hit. The movie is currently sitting at nearly $365 million worldwide against a reported budget of $80 million, making it one of the biggest horror movies of the year. It trails only the two horror breakouts of the summer — Obsession, which made $520 million globally, and Backrooms, which grossed $400 million worldwide. Like those films, the Sony hit received excellent reviews; in fact, it’s the best-reviewed wide release of the year, with a “Certified Fresh” 96% score on the aggregator website Rotten Tomatoes.
Four franchises, four completely different ways of getting underneath
your skin. This is the one built out of your particular fear, why it works so well on you, and what
it would leave behind.
Your nightmare does not wait outside the door. It waits for you
to close your eyes, which you are going to have to do eventually, because nobody has ever
won that particular argument.
- Freddy is horror’s cruellest idea: a threat that lives in the one place you cannot
guard, cannot lock, and cannot avoid forever. - You are the one who is fine during the film and wide awake at two in the morning. Your
own head is where this does its damage. - These films understood exhaustion as a horror engine. The kids on Elm Street do not lose
because they are weak. They lose because they are tired. - You can lock every door in the house. You still have to sleep.
Your nightmare is not really the doll. It is the face of the
person you tell, and the way they decide, very kindly, that you have imagined all of it.
- Chucky works precisely because he is absurd. That is the trap: the more accurately you
describe him, the less anybody is going to believe you. - You are the one shouting at the screen because the characters are not listening. You
know that feeling from real life too. - The franchise is at its best when the adults in the room are the real obstacle, and you
have met those adults. - By the time somebody finally believes you, you will have handled most of it on your own.
Your nightmare has your number, knows your name, and has almost
certainly been inside your house before. The worst part is that you already know them.
- Scream is the only one of these where the killer takes the mask off and turns out to be
somebody who was at the party. - You are the person who calls the twist out loud before it lands. You watch people the
same way you watch films. - The franchise made the rules of horror part of the plot, which means the survivors are
the ones paying attention. You would be paying attention. - Everybody is a suspect, including the person who just offered to walk you home.
Your nightmare is not really about you. It is about the people
asleep down the hall, and the feeling that whatever is here is not interested in leaving.
- The Conjuring films are domestic horror. The house, the family, the perfectly ordinary
room that quietly stops feeling ordinary. - Your instinct is to get everybody into one room. Your fear is protective rather than
personal, which is rarer than it sounds. - This is the one franchise where belief is the weapon. The people who come through it are
the ones who are not alone and refuse to be. - Whatever is here did not come for you. It came for the household, and you are the one
standing in the hallway.
The Movie Tells a Standalone Story
Image via Columbia Pictures- Image via Sony Pictures Releasing / Courtesy Everett Collection
- Image via Sony Pictures Releasing
- Image via Sony
- Image via Columbia Pictures
Image via Columbia Pictures
Image via Sony Pictures Releasing / Courtesy Everett Collection
Image via Sony Pictures Releasing
Image via Sony
Image via Columbia Pictures- Image via Columbia Pictures
- Image via Sony Pictures Releasing / Courtesy Everett Collection
- Image via Sony Pictures Releasing
- Image via Sony
- Image via Columbia Pictures
Image via Columbia Pictures
Image via Sony Pictures Releasing / Courtesy Everett Collection
Image via Sony Pictures Releasing
Image via Sony
Image via Columbia PicturesWe’re talking, of course, about Resident Evil — director Zach Cregger‘s follow-up to his breakout movie Barbarian, and his Oscar-winning 2025 release Weapons. Starring Austin Abrams as a medical courier who is sent into Raccoon City at the onset of a zombie apocalypse, the film debuted in nearly 3,700 theaters nationwide. It dropped to around 3,200 theaters in its third week, around 3,000 in its fourth, and around 2,700 in its fifth. It will enter its sixth week of release in 2,148 theaters, having lost another 557 locations. Also featuring Paul Walter Hauser, Zach Cherry, and Kali Reis, the movie plays like a self-contained adventure with no connection to past movies and no set-up for future installments. Y
ou can watch Resident Evil in theaters, and stay tuned to Collider for more updates.
Resident Evil
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