Ali Larter
Actor
Financial Data
Film Title Release (m/yr)
| Film Title | Release (m/yr) | Est. Production Cost (millions) | US Box Office (000's) | Foreign Box Office (000's) | Worldwide Box Office (000's) | Est. World Film Rentals (000's) Est. Profitable | |
|---|---|---|---|---|---|---|---|
 | The Last Victim | 05/2022 | 6 | N/A | N/A | N/A | N/A |
 | Resident Evil: The Final Chapter | 01/2017 | 42 | 28,670 | 286,500 | 315,170 | 128,075 |
 | The Diabolical | 10/2015 | N/A | N/A | N/A | N/A | N/A |
 | You`re Not You | 10/2014 | N/A | 11 | N/A | 11 | 5 |
 | Resident Evil: Afterlife | 09/2010 | 66 | 60,876 | 239,100 | 299,976 | 124,252 |
 | Obsessed | 04/2009 | 25 | 68,350 | 5,800 | 74,150 | 34,445 |
 | Natioinal Lampoons Homo Erectus | 07/2008 | N/A | N/A | N/A | N/A | N/A |
 | Resident Evil: Extinction | 09/2007 | 45 | 50,750 | 95,600 | 146,350 | 62,093 |
 | Marigold | 09/2007 | N/A | N/A | N/A | N/A | N/A |
 | A Lot Like Love | 04/2005 | 30 | 22,000 | 26,000 | 48,000 | 20,740 |
 | Final Destination 2 | 01/2003 | 26 | 46,500 | 43,000 | 89,500 | 39,055 |
 | American Outlaws | 08/2001 | 35 | 13,283 | N/A | 13,283 | 6,243 |
 | Jay and Silent Bob Strike Back | 08/2001 | 22 | 30,085 | 3,000 | 33,085 | 15,340 |
 | Legally Blonde | 07/2001 | 18 | 96,521 | 40,700 | 137,221 | 61,645 |
 | Final Destination | 03/2000 | 23 | 53,331 | 57,500 | 110,831 | 48,066 |
 | House on Haunted Hill | 10/1999 | 19 | 40,846 | 27,800 | 68,646 | 30,318 |
 | Drive Me Crazy | 09/1999 | 8 | 17,786 | N/A | 17,786 | 8,359 |
 | Varsity Blues | 01/1999 | 16 | 52,894 | 4,000 | 56,894 | 26,460 |
Note: Film Rentals is the amount received by Distributors from Theaters/Exhibitors. A film's profitability may be assessed when estimated world film rentals approach/equal/exceed estimated production cost. DVD, Television, Digital and Ancillary revenues are then added and production, marketing and other costs deducted (Cost variables may affect this calculation).
Click on Est. Profitable above.
Approximately one half of the films released each year in the U.S. avoid the considerable marketing costs of a wide release in theaters and go directly to digital and other media often taking them into profit. A substantial number are made for and streamed by Netflix, Amazon, Hulu, Disney, Apple, Peacock, HBO and similar platforms.
