The global box office delivered two horror lessons in the same weekend. A sequel held at No. 1 in its fourth frame, and a low-budget new release overperformed despite a D+ CinemaScore, while costlier dramas continued to struggle.
Resident Evil reaches $320.2M
Sony and Constantin’s Resident Evil added $62.7 million worldwide over the weekend, lifting its running total to $320.2 million. That makes it Zach Cregger’s highest-grossing film, ahead of Weapons at $270 million from last year.
China powered the frame with $40.6 million, the strongest opening for a horror film there in two years. Japan added a $3.6 million start. Other top cumes include the UK at $17.0 million, Mexico at $11.8 million, Australia and France at $8.5 million each, Germany at $7.3 million and Spain at $7.1 million. The film has now made $181.7 million internationally across 67 markets.
Other Mommy outperforms its reviews
Universal/Blumhouse Atomic Monster’s Other Mommy opened to $45.1 million worldwide across 51 territories: $27.5 million domestically and $17.6 million abroad. That is notable because the film carried a D+ CinemaScore and poor reviews, on a production cost of only $19 million before global P&A.
The opening landed above M3GAN, Evil Dead Rise, The Black Phone, Smile and Evil Dead Burn in comparable markets. In the UK and Ireland, it passed The Boogeyman‘s lifetime gross to become Rob Savage’s highest-grossing theatrical release, taking $2.6 million at 625 screens.
Latin American and Catholic-leaning territories were strong: Italy delivered $2.2 million at 315 screens with a 31% market share, Mexico gave $1.9 million for a 24% share, and Brazil contributed $800,000. The Middle East region reached $1.7 million, and Southeast Asia opened to $2.2 million across Indonesia, Taiwan, Malaysia, India, the Philippines and Vietnam.
Why this matters for entertainment planners
The chart reads as a test of budget discipline.
- Resident Evil shows that a franchise title can extend its run when a major market such as China arrives late.
- Other Mommy shows genre staying power: a clear supernatural hook and a star like Jessica Chastain can beat weak word-of-mouth indicators.
- The Social Reckoning and Digger show the downside of expensive projects that miss their audience.
For media buyers, the benchmark sets are useful. Other Mommy overperformed against several horror comps in many territories, which could inform how agencies project opening ranges for mid-budget genre titles.
The other side of the weekend
Amazon MGM’s Verity continued to work as counter-programming, adding $30.1 million in its second worldwide weekend. Its global cume now stands at $114 million.
The Social Reckoning opened to $9 million worldwide: $5.5 million domestic and $3.5 million overseas, below the hoped-for $6 million. The film went out in 29 foreign territories. The trade report attributes the softness to a story that feels less urgent to audiences now focused on artificial intelligence than on a Facebook-era recap.
Tom Cruise’s Digger added $9.6 million in its second weekend for a $35.3 million global cume against a production cost above $160 million. If it reaches $50 million worldwide, the source estimates a $150 million loss.
Source: Deadline
