Heading into its fourth weekend of theatrical release, the film drew sufficient ticket buyers in China to push weekend receipts past $62 million globally, with the running worldwide total for Resident Evil reaching $320 million — a figure that places it ahead of every other feature Zach Cregger has directed.
Among the overseas markets posting notable cumulative returns, the United Kingdom led at $17.0 million, followed by Mexico at $11.8 million, with Australia and France each recording $8.5 million, Germany at $7.3 million, and Spain at $7.1 million. Across its home market of Japan, the picture drew $3.6 million at the box office on its opening weekend.
Rob Savage's directorial effort on Other Mommy drew ticket sales across international markets totalling more than $45 million in its opening weekend alone. Produced at a net outlay of $19 million — a figure that excludes any worldwide prints-and-advertising spend — the film centres on a mother's double.
Box-office returns for the film cleared analyst forecasts despite a D+ CinemaScore and a reception from critics that ran largely unfavourable, a gap that analysts noted underlined how reliably horror draws paying audiences regardless of critical response. In the United Kingdom, Ireland, Italy, and Mexico, the top chart position belonged to Other Mommy.
The film held the number-one position across a range of territories spanning the Middle East — including Israel and Lebanon — through South and Southeast Asia, including Pakistan, and onward into the Pacific rim via Singapore, Malaysia, Indonesia, and Taiwan, while in the Western Hemisphere the reach extended through Trinidad, Venezuela, Ecuador, Colombia's neighbours Argentina, Uruguay, Chile, and Central America, with European outposts in Greece, Norway, Iceland, and Turkey rounding out the full geographic spread.
Among the factors analysts point to when explaining the film's box-office returns across Latin America — a region where Catholicism holds deep cultural roots — are its storylines drawing on spiritual and supernatural elements.
Across 315 screens, Italy's weekend box office generated $2.2 million, a total that accounted for nearly a third of the market over those two days. Drawing on ticket sales across 246 screens, the Australian market generated $1.1 million and held a 14% share of the overall total, placing it second among all territories.
Contributions from elsewhere in the Middle East reached $500,000 over the weekend, pushing the area's cumulative figure to $1.7 million. Across Indonesia, Taiwan, Malaysia, India, the Philippines, and Vietnam, the film's debut weekend drew a combined $2.2 million — a total that cleared what M3GAN posted at opening and came in at roughly twice what a comparable horror title earned over its second weekend worldwide.
Earning $53.9 million from North American cinemas and a further $60.1 million abroad, Aaron Sorkin's Social Reckoning — a follow-up to his Academy Award-winning screenplay work — drew those totals through a cast headlined by Dakota Johnson, Anne Hathaway, and Josh Hartnett in a thriller format. Starring Jeremy Strong in the role of Mark Zuckerberg, the production reached audiences across 29 international markets through a release spanning 4,100 screens.
Analysts have attributed the film's weaker-than-expected box office returns partly to its subject matter — coverage of the January 6 events and Facebook's effects on teenagers — finding less traction with viewers whose attention has shifted toward the longer-term questions raised by artificial intelligence.
