10/9-10/11: OTHER MOMMY Scares off VERITY

Oct 11, 2026

Universal’s supernatural horror movie OTHER MOMMY claimed the top spot at the weekend box office with an opening of $27.5M, dethroning last weekend’s top movie VERITY. This debut result was within the range of most pre-release predictions. With additional support from a number of holdovers and the opening of Sony and Columbia’s drama sequel THE SOCIAL RECKONING, the total box office for all films came in at $85.2M, the fourth consecutive weekend with higher box office numbers than matching frames from 2025. Last year on this 41st weekend of the year, the total box office was $70.2M, led by the opening of Disney’s TRON: ARES with $33.2M.

The sustained advantage is even more pronounced as 2026 has outperformed 2025 on nine of the last eleven weekends. This suggests that the summer’s extraordinary success is continuing in the fall, giving exhibitors a solid foundation at the start of the last quarter of the year.

We have long believed that any increase in moviegoing today leads to even more growth in the future as some number of today’s viewers decide to double up the fun and come back to see another movie. In our opinion, we are now seeing the fruits of the summertime surge. SPIDER-MAN: A BRAND NEW DAY and THE ODYSSEY brought new viewers into theatres, where they could experience a fun night at the movies and leave wanting more. They are also exposed to the upcoming slate of new movies by seeing posters and watching trailers. The longer that cycle continues, the stronger the habit and greater the opportunity to sustain the box office momentum.

THE LAST FOUR WEEKS – 2026 vs. 2025

Results from the last four weeks support this argument, showing this year as having a 13% increase in box office and 10% increase in attendance compared to last year.

#1 - OTHER MOMMY

OTHER MOMMY, the supernatural horror film from Universal, Blumhouse and Atomic Monster, opened to $27.5M. This is a screen adaptation of Josh Malerman’s 2024 bestselling novel Incidents Around the House. Malerman also wrote the novel behind BIRD BOX (2018). Nathan Elston, whose television credits include Succession, wrote the screenplay, and James Wan produces. The film runs for a brisk 93 minutes and is rated R for bloody violence and language.

Rob Savage directs, following his work on HOST (2020), DASHCAM (2021) and THE BOOGEYMAN (2023). Jessica Chastain stars as both Ursula, Bela’s mother, and the threatening entity that resembles her. Chastain’s best-known films include THE HELP (2011), ZERO DARK THIRTY (2012), INTERSTELLAR (2014), IT CHAPTER TWO (2019), and her Oscar-winning performance in THE EYES OF TAMMY FAYE (2021). Young newcomer Arabella Olivia Clark plays eight-year-old Bela, while Jay Duplass plays her father, Russ, whom she calls “Daddo.” Supporting players include Karen Allen, best known for RAIDERS OF THE LOST ARK (1981), Dichen Lachman of JURASSIC WORLD: DOMINION (2022) and Severance, and Arian Moayed, who is also in Succession.

The story starts when Bela begins communicating with a mysterious presence in her bedroom that she calls “Other Mommy.” The entity looks and sounds like her mother, presenting itself as an inviting companion before becoming increasingly manipulative and threatening. Ursula and Russ must confront this danger while navigating their deteriorating marriage. Told through Bela’s perspective, the film combines the terror of an intruder within the home with a child’s uncertainty about the adults she depends upon. Savage confirms that the supernatural presence is real within the story, although the film deliberately makes viewers question whether they are seeing Ursula or her doppelganger in particular scenes.

The critics are absolutely destroying this movie, with only an 18% rating on Rotten Tomatoes. Audiences are a tad more accepting, with a 47% score. Here are several examples of the reviews. Vulture felt that, “Clever visuals cannot overcome thin emotional development and inconsistent supernatural rules. The relentless monster action eventually becomes tiresome.” The Guardian said, “A disappointing horror film that substitutes relentless jump scares and gore for sustained dread, failing to fulfill its trailer’s promise.” The New York Post offered up, “an exceptionally foolish horror outing and a major disappointment for Chastain.” Variety concludes, “A limp, ineffective horror film with a confused tone and disjointed storytelling. It sometimes feels like a horror comedy awkwardly reworked into a straightforward scare fest”.

The film cost only $19M to make, another example of Blumhouse delivering a new feature for Universal under a tightly controlled budget. This translates to a target for theatrical profitability of only $48M, and after a $27.5M opening, we expect it to get there sometime next weekend.

For a comparison film, we chose MAMA (2013). Both are Universal supernatural horror releases starring Chastain, with young children endangered by a disturbing maternal figure. MAMA cost $15M to make, opened to $28.4M, and finished with $71.6M domestically and $146.4M globally. The principal audience difference is the rating, as MAMA was PG-13, while OTHER MOMMY is rated R.

OTHER MOMMY vs. MAMA

#2 - VERITY

Amazon MGM’s VERITY slipped into second place in its sophomore weekend with $11.5M, a rather steep decline of 64% from last weekend’s opening, Its 10-day totals sit at $53.9M domestically and $113.8M worldwide. VERITY has become Amazon MGM’s second most profitable film this year, based on box office results. Of course, PROJECT HAIL MARY is the studio’s top-grossing release of the year, having earned $684.5M worldwide on a production budget of $200M. With VERITY’s production budget of $40M, it will be reach profitability when it crosses $100M in global gross, which it is likely to do in the next week. The following chart outlines Amazon MGM’s top five grossing films of 2026.

AMAZON MGM TOP 5 2026 RELEASES

VERITY will also be the second highest-grossing release of a Colleen Hoover book-to-film effort, trailing IT ENDS WITH US.

COLLEEN HOOVER’S BOOK-TO-MOVIE HISTORY

With four of her books having been adapted into movies over the last two years, attention is turning to other movie projects that could follow. While no project has been confirmed, some are speculating that IT STARTS WITH US could be next, a sequel to IT ENDS WITH US. This story follows Lily Bloom as she builds a new life after divorcing her abusive husband, Ryle Kincaid. Lily is raising their young daughter, Emerson, and running her flower shop when she reconnects with Atlas Corrigan, her first love. They finally have a chance to pursue a relationship, but Ryle’s jealousy and his continued presence as Emerson’s father complicate their future.

VERITY vs. GONE GIRL

#3 - RESIDENT EVIL

RESIDENT EVIL has become Sony’s strongest film since SPIDER-MAN: BRAND NEW DAY. Now in its fourth weekend, the live-action reboot of the horror film franchise finished in third place this weekend, adding another $8.4M and dropping 34%. This brings its 24-day totals to $138.5M domestically and $320.2M globally.

RESIDENT EVIL’s successful formula combines a familiar brand worldwide with a filmmaker who has become an attraction in his own right. Following BARBARIAN and WEAPONS, Zach Cregger brought credibility and anticipation to a franchise in need of fresh energy. His approach also broadened its appeal, creating an original story centered on an ordinary person caught in a terrifying situation. Newcomers could follow the story of this film without knowing the games or previous movies. That combination of franchise recognition, director appeal and accessibility helped produce a $60.2M domestic opening—a record for the series. It also continues to solidify its place as one of the highest-grossing horror films of 2026, trailing only OBSESSION and BACKROOMS.

TOP 4 HORROR FILMS OF 2026

RESIDENT EVIL is on target to finish as the second highest-grossing film in the movie franchise’s history. It is already the highest-grossing domestic release for the franchise, but will likely come in second to RESIDENT EVIL: AFTERLIFE’s global gross of $300.2M back in 2010.

RESIDENT EVIL vs. RESIDENT EVIL: AFTERLIFE after 24 Days

#4 - HEART OF THE BEAST

Paramount’s HEART OF THE BEAST landed in fourth place in its third weekend, earning $7.1M and falling 35%. This brings its 17-day totals to $50.0M domestically and $131.4M worldwide.

While not a blockbuster, this film has shown resiliency and found an audience. HEART OF THE BEAST’s sustained performance appears to be driven by Brad Pitt’s star power, strong word of mouth, and the emotional resonance of a story that shows the bond between a combat veteran and his military dog. Its accessible survival story and PG-13 rating offer an alternative to the horror films and darker adult dramas competing for attention. It opened with $20.0M and retained third place the following weekend with $10.9M, a manageable 45% decline. After this weekend's drop of only 35%, the movie is enjoying sustained interest, and we predict it will finish with $75M for North America and $180M worldwide.

However, these numbers will not bring the film to theatrical profitability. The $82M production costs mounted as its seemingly simple premise required filming across New Zealand’s South Island, with local crews and extensive location support. Those logistics, alongside action sequences, post-production, and Brad Pitt’s compensation, likely explain much of the expense. The movie would need to earn $200M at the global box office to reach profitability, and that’s not going to happen. This is another case of a good film that has done reasonably well in theatres but loses money because of an expensive production budget. Downstream revenues could help minimize the loss. It has easily outpaced its comparison film, DOG, after 17 days.

HEART OF THE BEAST vs. DOG after 17 Days

#5 - THE SOCIAL RECKONING

THE SOCIAL RECKONING, a fact-based drama from Sony’s Columbia Pictures division, opened in fifth place with $5.5M. Written and directed by Aaron Sorkin, it revisits Facebook sixteen years after THE SOCIAL NETWORK (2010), shifting attention from the company’s creation to its power and consequences. Sony describes it as a “companion piece” to the earlier film. The story of THE SOCIAL RECKONING draws on whistleblower Frances Haugen’s disclosures and The Wall Street Journal’s The Facebook Files investigation in 2021. Producers include Todd Black, Peter Rice, Stuart Besser and Sorkin. The film runs 112 minutes and is rated R for language.

This is Sorkin’s fourth feature as director, following MOLLY’S GAME (2017), THE TRIAL OF THE CHICAGO 7 (2020) and BEING THE RICARDOS (2021). His screenwriting credits include A FEW GOOD MEN (1992), MONEYBALL (2011) and STEVE JOBS (2015), along with his Oscar-winning adapted screenplay for THE SOCIAL NETWORK (2010). Mikey Madison, who won Best Actress for ANORA (2024) and appeared in ONCE UPON A TIME IN HOLLYWOOD (2019) and SCREAM (2022), plays Haugen. Jeremy Allen White, best known for The Bear, THE IRON CLAW (2023) and SPRINGSTEEN: DELIVER ME FROM NOWHERE (2025), plays reporter Jeff Horwitz. Jeremy Strong, known for Succession, THE BIG SHORT (2015) and THE APPRENTICE (2024), takes over from Jesse Eisenberg in playing Facebook’s founder Mark Zuckerberg. Sorkin spent three days trying to persuade Eisenberg to reprise his role from THE SOCIAL NETWORK, but even the offered payday failed to change his mind. Supporting actors include Wunmi Mosaku, Betty Gilpin, Billy Magnussen, and Bill Burr.

In the story, Frances Haugen has become increasingly troubled by the gap between Facebook’s public assurances and knowledge inside the company of the harm its platforms are inflicting on the public. She supplies confidential documents to Wall Street Journal reporter Jeff Horwitz, which he uses as the foundation of an investigation into the company’s practices. Their collaboration pits two individuals against an enormously powerful corporation, with professional and personal risks accompanying the decision to expose its secrets. Zuckerberg represents the company’s leadership, but Haugen and Horwitz drive the story. The film connects their investigation with political polarization, harmful online content, and the events surrounding January 6, 2021. Sorkin’s story is a dramatized account, with invented dialogue and compressed events.

Critics have been less than enthusiastic about the film, giving it a 54% rating on Rotten Tomatoes. Audiences feel better at 72%. Variety describes it as, “An intelligent, reasonably engaging drama that feels behind the times. It lacks the unsettling atmosphere and urgency David Fincher brought to THE SOCIAL NETWORK.” The Wrap called it, “A disappointing investigative thriller weighed down by heavy-handed dialogue and dry exposition. Sorkin’s direction makes the film feel closer to conventional television than compelling cinema”. The Daily Beast judges it to be “A preachy, simplistic drama whose reassuring ending understates Facebook’s continuing damage.” The Houston Chronicle liked it as “a compelling exposé whose convincing account of social media’s damage outweighs Sorkin’s occasionally theatrical dialogue. Strong commands attention, while Mikey Madison and Jeremy Allen White share effective chemistry.”

When managing a film’s production budget, directors and producers are often faced with the difficult decision of where to shoot in order to keep costs under control. This can result in what insiders call a “runaway” production, in which a project that would traditionally have been filmed in Los Angeles is relocated outside of Hollywood to benefit from lower costs and financial incentives. THE SOCIAL RECKONING is an example of this phenomenon, having been filmed in Canada on a budget of only $30M after factoring in Canadian tax incentives. Aaron Sorkin explained that he considered the options to film in California, Atlanta and Vancouver and now estimates that shooting in California would have added $10M-$12M to the budget.

When looking for a film to compare with this one, we chose THE SOCIAL NETWORK (2010). This gives us a shared subject matter, screenwriter, and distributor. Directed by David Fincher, it cost $40M, opened to $22.4M, and finished with $97.0M domestically and $224.9M globally, including subsequent releases. That film’s PG-13 rating offered broader access to audiences than the new film’s R rating.

THE SOCIAL RECKONING vs. THE SOCIAL NETWORK