During its fourth weekend of release, the film distributed by Sony and Constantin under the Resident Evil banner claimed the top position on the global box office chart, drawing $62.7 million internationally across that frame alone, while a running total of $320.2 million made it the highest-earning theatrical release in Zach Cregger's directing career. That figure surpasses the worldwide total of $270 million generated by Weapons — the film associated with Cregger's Academy Award — across global markets the previous year.

At $40.6 million, the Chinese market posted its strongest opening weekend for a horror release in two years. The film's Japanese theatrical run got under way with ticket sales totalling $3.6 million across its opening weekend.

Among the six markets posting notable returns, the UK led with $17.0 million, followed by Mexico at $11.8 million, while Australia and France each recorded $8.5 million, Germany contributed $7.3 million, and Spain rounded out the group at $7.1 million. Across 67 markets outside the United States, the Resident Evil franchise has drawn a cumulative box-office total of $181.7 million, with the film running on more than 38,150 screens.

The National Day Golden Week holiday period contributed to box-office receipts for the horror film, drawing on audience interest in the territory that had been building since Resident Evil: Final Chapter arrived in 2017, when that entry posted an opening of $94.3 million and ultimately accumulated $159.5 million across its Chinese run. Of the $32.8 million IMAX collected on the Cregger-directed Capcom adaptation over the weekend, $8.8 million traced back to Resident Evil ticket sales, with China alone accounting for $7.7 million of that share.

Across 51 territories, the Universal/Blumhouse Atomic Monster release Other Mommy drew a combined worldwide debut of $45.1 million, with North American theatres accounting for $27.5 million of that total and international markets contributing the remaining $17.6 million. Production costs for the doppelgänger horror directed by Rob Savage came in at a net figure of $19 million, a sum that does not yet account for global prints-and-advertising expenditure.

That weekend's tally placed the film ahead of M3GAN, Evil Dead Rise, The Black Phone, Smile, and Evil Dead Burn across those same markets. Among Jessica Chastain's domestic box-office records, that figure lands at position six on her all-time opening-weekend list, trailing the debuts of It: Chapter Two at $91 million, The Martian at $54.3 million, Interstellar at $47.5 million, X-Men: Dark Phoenix at $32.8 million, and Mama at $28.4 million.

In the UK, Ireland, Italy, and Mexico, the top chart position belonged to Other Mommy. Among the territories and nations where distribution extended were those in the Middle East (beyond the primary regional designations), alongside Taiwan, Malaysia, Indonesia, Argentina, the Central American republics, Chile, Greece, Turkey, Israel, Norway, Singapore, Ecuador, Venezuela, Uruguay, Lebanon, Trinidad, Pakistan, and Iceland.

The film's thematic focus on spirituality appeared to draw audiences in predominantly Catholic markets, with Latin America among the regions where it performed notably well at the box office. Earnings of £2.6 million flowed from a 625-venue run across the UK and Ireland, placing the film above The Boogeyman's overall gross and establishing it as the highest-earning entry in Rob Savage's directing career to date.

At 315 screens, the Italian market generated $2.2 million, accounting for nearly a third of the weekend's overall box-office take. In Mexico, Other Mommy drew a weekend audience share of 24 percent, with ticket sales reaching $1.9 million. Across 246 screens, the Savage film drew A$1.1 million in box office returns, capturing 14 per cent of the Australian market.

At its opening, the Spanish title drew nearly $1 million at the box office, placing second on the chart behind the domestic favourite La Bola Negra. Placing third nationally among all releases, the film in Brazil collected $800,000 across 726 screens, capturing a 13 percent slice of total box-office activity, with only Verity and domestic production Minha Amiga drawing larger audiences.

A $700,000 entry from the U.A.E. took the top position in the rankings. A figure of $600,000 formed the opening position for Saudi Arabia. Contributions from elsewhere in the Middle East came in at $500,000, lifting the region's combined figure to $1.7 million.

Six territories across Southeast Asia combined to generate $2.2 million at launch, with Indonesia contributing the largest share at $476,000, followed by Taiwan at $424,000, Malaysia at $416,000, India at $327,000, the Philippines at $248,000, and Vietnam rounding out the group at $217,000.

Placing third on the global chart for its second weekend of release, the Amazon/MGM Studios production Verity brought in $30.1 million overall — $11.5 million from domestic markets and $18.6 million drawn from 76 territories abroad. A combined worldwide gross of $114 million took shape from two revenue streams: $53.9 million collected at North American theatres and a further $60.1 million drawn from international markets, for this thriller featuring Dakota Johnson, Anne Hathaway, and Josh Hartnett.

The Social Reckoning, a follow-up written by Aaron Sorkin — whose screenplay for The Social Network earned an Academy Award — drew combined worldwide ticket sales of $9 million at its opening, with $5.5 million of that figure coming from domestic markets and the remaining $3.5 million generated internationally. Across 29 international territories, the film starring Mikey Madison and Jeremy Allen White secured placement on roughly 4,100 screens. Production of the film drew on a budget put at around $40 million.

Across its second weekend of release, Digger — the Tom Cruise vehicle built on a net production budget exceeding $160 million — pulled in $9.6 million globally, with $3.2 million of that figure coming from domestic markets and the remaining $6.4 million generated abroad, lifting its total worldwide haul to $35.3 million, of which $20.9 million traces to international territories and $14.4 million to the domestic side.