A horror film starring Jessica Chastain, titled Other Mommy, drew the largest North American audience at cinemas over the weekend. Box-office returns for Universal's release reached an estimated $27.5 million across 3,365 venues. The per-screen average landed at roughly $8,172, a figure that came in ahead of most analyst projections.

Projections had placed the film's opening at around $20 million at the outset, though a portion of industry analysts later pushed their upper estimates toward $35 million. The box-office figure settled between those two points, while reviewers responded to the film with limited enthusiasm. Reviews placed it among the lower-rated titles to surface during the current calendar period.

Box-office receipts held steady, with audiences attending even though advance access for most reviewers had been withheld by the studio until shortly before the film opened.

The Social Reckoning, Sony's drama, drew an opening-weekend total of $5.5 million at the box office. Across 2,606 venues, the film landed at number five, with per-day attendance figures tapering off as the run continued. Friday's box-office take, preview screenings included, landed at roughly $2.25 million.

Ticket receipts across the two-day period totalled roughly $3.25 million — $1.76 million on Saturday and $1.49 million on Sunday — against a forecast that had placed expected intake near $8 million. Projections from a handful of analysts had placed the upper boundary closer to $13 million. Pre-release viewings pointed toward a production that would struggle to meet expectations across its various elements, a verdict the official debut bore out according to tracking figures.

Box-office figures from Thursday night placed the drama at $650,000, while Other Mommy drew $3.6 million across 2,850 venues during that same window. On the international side, The Social Reckoning pulled $3.5 million from 29 overseas markets, bringing its global opening tally to $9 million. A production budget of $30 million has been reported for the project, with promotional and distribution expenditure sitting outside that figure.

Other Mommy drew stronger numbers internationally than it posted domestically during its opening run. Across international markets, the film brought in $17.69 million, lifting its worldwide haul after the opening weekend to $45.19 million. With a production budget of $18 million, the picture has taken in more than twice that amount at the global box office. Industry insiders described the box-office performance as a respectable outcome for a film in the horror genre.

Other Mommy pulled in roughly five times the domestic box-office revenue of its closest competitor over the weekend, and more than half of the overall weekend box-office take landed in its column. Over the two-day market period, combined sales came to roughly $85.2 million. Compared with the prior weekend a year ago, the figure runs 19 percent higher, though it has pulled back 15 percent from the previous weekend.

Domestic ticket sales crossed the $8 billion threshold on October 9th. Compared with 2025 figures, the 2026 total runs roughly 19 percent higher.

The Social Network drew $22.4 million at the box office when it debuted in October 2010. A domestic run of roughly $97 million followed its release across 2,776 venues. Global box-office receipts reached approximately $225 million, and the film's audience attendance in its second weekend fell by around 69 percent from opening. On Rotten Tomatoes, the film holds a 96 percent approval rating from reviewers.

The follow-up picture pulled in less than a quarter of its predecessor's opening-weekend take. On Rotten Tomatoes, audience and critic scores for The Social Reckoning land between the upper 50s and the lower 60s. Director David Fincher did not return for the follow-up, while Jesse Eisenberg, who portrayed Zuckerberg in the original film, did return. Aaron Sorkin took the director's chair on this project, with Jeremy Strong cast as Zuckerberg, alongside Mikey Madison and Jeremy Allen White in supporting roles.

The project centres on a junior engineer at Facebook, with Sony positioning it as a companion piece to the original rather than a direct continuation. The story additionally involves Frances Haugen, the whistleblower whose disclosures brought the organisation's internal operations into public view. According to people who track the entertainment industry, ticket-buying patterns point toward viewer reluctance around films tied to troubling real-world events. Some audience feedback indicated that ticket purchases hinge on whether the opening draws viewers in sufficiently.

Box-office tracking for Digger showed a 60 percent drop in ticket revenue during its second weekend of release, following an $8 million debut the prior week for the Tom Cruise vehicle. Projected losses tied to that production have been placed at up to $245 million, according to circulating industry accounts. Early box-office data placed The Social Reckoning on a path that would rank it among the more costly box-office disappointments of recent years.

Industry watchers project a notable box-office drop for the Sorkin picture in its second weekend. Verity landed the runner-up position with $11.5 million in receipts, though ticket sales for the Anne Hathaway and Dakota Johnson thriller slid after its opening weekend. Audience polling through CinemaScore placed it at a C+ rating. Resident Evil drew $8.4 million to land in third position.

Placing fourth on the weekend chart, Heart of the Beast drew $7.1 million, while The Social Reckoning settled into fifth and Forgotten Island landed at sixth with $4.5 million — results that arrived as the Sony horror release continued to perform steadily across its run since a September debut. Among the wider release slate, Angel and the Badman opened in roughly 2,000 venues across the country. Guillermo del Toro's Pan's Labyrinth, brought back for a theatrical run, screened across roughly 1,000 venues.

Directing Other Mommy is Rob Savage, whose prior credits include the lockdown-era horror picture Host and the adaptation The Boogeyman, with James Wan attached as a producer. Three studios — Universal, Blumhouse, and Atomic Monster — backed the project, which follows an eight-year-old girl as its central character. Something takes up residence in her wardrobe, and whatever it is wears her mother's face. As the narrative unfolds, the creature's presence becomes increasingly unsettling; the film carries an R rating for violent content and strong language.

A scheduling change pushed the debut from its original May 8 date to October, landing the release a few weeks ahead of Halloween. Industry analysts project the following weekend's box office at roughly 50 to 60 percent below current figures, which would translate to somewhere between $11 million and $14 million in ticket revenue. Ticket purchases by readers of the source material have concentrated at the start of the release window, and additional competing titles are set to enter the market.

A DC-based horror production titled Clayface is set to open in theatres before the month ends, while Resident Evil continues to draw audiences. Halloween is expected to introduce a wider spread of competing genres, though current figures tilt in Universal's favour. When a film's production budget stays modest and its opening weekend draws well, industry observers note that financial loss becomes less likely, though no outcome is guaranteed until the full run concludes.