- Other Mommy £1,969,621 – NE
Took £721k 36.6% Friday; £764k 38.8% Saturday; £485k 24.6% Sunday.
988th biggest opening between Open Water and Furiosa: A Mad Max Saga (close to Heretic, Aliens vs. Predator: Requiem, John Carter, and Bad Teacher) and 1,472nd biggest inflated opening between The First Purge and My Bloody Valentine (close to Blair Witch 2, Galaxy Quest, Parenthood and Corpse Bride).
42nd biggest opening over the last 52 weeks between Pressure and Gabby’s Dollhouse: The Movie (close to The End Of Oak Street, Heart Of The Beast, Tron: Ares and Mortal Kombat 2)
Universal Pictures sixth different #1 film in 2026 (10 weeks) after Hamnet, The Super Mario Galaxy Movie, Micheal, Disclosure Day and The Odyssey)
Building the Buzz
Interest in Other Mommy had been growing since its trailers began playing before The Odyssey in July. That momentum was strengthened by the success of Blumhouse’s Obsession, which opened with £1,342,900 and went on to take £20.03m, almost 15 times its opening. The placement was particularly effective: audiences expecting one kind of experience were suddenly confronted with something genuinely unsettling.
Why the Trailer Worked
The trailer for Other Mommy succeeded because audiences understood what it was selling. By contrast, the trailers for Digger and The Social Reckoning tried to appear clever at the expense of clarity. Filmmakers can become so focused on making a trailer look sophisticated that they overlook its primary purpose: persuading audiences to see the film. A good trailer does not need to explain the entire plot, but it must give viewers a reason to care about what they are seeing.
Echoes of Coraline
Other Mommy also has striking similarities to 2009’s Coraline, which opened with £2,427,244 and took £7,244,992. Both stories feature an “other mother” who traps a young girl in a distorted parallel world.
Intended Tone and Audience Response
The director said the film relied equally on dread and paranoia, particularly the uncertainty over whether viewers were seeing Ursula or her supernatural counterpart. Audiences, however, responded very differently.
Jessica Chastain’s Return to Horror
Other Mommy marks Jessica Chastain’s return to horror after Mama, which opened with £1,512,297 and took £5,321,101, and It: Chapter Two, which opened with £7,368,586.
Second-Weekend Outlook
Other Mommy appears highly front-loaded: its takings fell sharply from Saturday to Sunday, suggesting that it is likely to drop heavily in its second weekend.
Universal Pictures UK has taken over £280m to date in 2026 more than it took in 2015 their earlier biggest year; Sony Pictures #2 with about £200m and Disney #3 with £140m even Avengers: Doomsday is unlikely to see Disney top Universal Pictures this year. Universal Pictures, Sony Pictures, and Disney will have taken about £700m between them more than half of the 2026 box office.
- 2. Verity £1,936,358 – £7,302,828
Down 42.9% in its second weekend
£635k 32.8% (-47% £1.19m) Fri; £770k 39.8% (-36% £1.2m) Sat; £531k 27.4% (-73.3% £1.1m) Sun
527th biggest second weekend between Glass and Pride and Prejudice (close to The Departed, American Hustle, Chicago, and A Quiet Place) and 875th biggest inflated second weekend between Monster-in-Law and A Knight’s Tale (close to Cocktail, In the Line of Fire, Swordfish and Don’t Worry Darling).
21st biggest second weekend over the last 52 weeks between The Magic Faraway Tree and The Drama (close to Marty Supreme, Backrooms, Disclosure Day, and Practical Magic 2)
Verity is a very different kind of film from other Colleen Hoover adaptations. It is an erotic psychological thriller, a genre that has struggled to find audiences for 25 years. Recent attempts like Babygirl and Deep Water have tried to revive it, with mixed success. Verity likely sits between Gone Girl and the Fifty Shades trilogy Dakota Johnson starred in a decade ago.
It is also a very different kind of film for Anne Hathaway. Audiences have grown up with her in very different roles, and it can feel awkward seeing an actor in such a different part, even though we understand they want to play different characters.
Its overtaken Regretting You (£6.27m) and Reminders Of Him (£4.45m) and is 36% behind It Ends With Us
Colleen Hoover’s earlier adaptions
2024’s It Ends With Us dropped 37.3% £2,834,201 and £11,384,454 of £21,241,321
2025’s Regretting You dropped 28.9% £907,655 and £3,854,462 62.3% of £6,186,391
2026’s Reminders of Him dropped 37.6% £675,229 and £2,462,691 60.5% of £4,068,843
Colleen Hoover has opted over writing new novels over adapting her other original novels into films, as would have expected many of her other original novels in development. While even after the court case ending earlier this year there are still big questions if the It Ends With Us sequel will be made anytime soon.
Verity held far stronger in the UK than the US only taking £33,263 less than Other Mommy in its second weekend, as Other Mommy was much more front-loaded and despite Verity’s big drop on Sunday, it still took more than Other Mommy on Sunday. This weekends new releases Forgotten Island, Whalefall and Streetfighter are unlikely to have much effect on Verity while Other Mommy will drop heavily.
- 3. Heart Of The Beast £815,452 – £5,440,864
Dropped 28.6% in its third weekend.
£201k 24.7% (-25.8% £271k) Fri; £367k 45.1% (-24.8% £488k) Sat; £247k 30.3% (-57% £382k) Sun.
844th biggest third weekend between Wimbledon and Blood Diamond (close to Fantastic Four (2005), Gran Torino (2009), The Bad Guys 2 and District 9) and 1,1195th biggest inflated third weekend between Epic and A Bad Moms Christmas (close to Dances with Wolves, Rampage, The Pelican Brief and Underworld).
Heart of the Beast has already overtaken many of Brad Pitt films including Spy Game (£4.02m).and will shortly overtake Fight Club’s £5.7m.
Why Heart of the Beast Held Strong
The box-office performances of The Social Reckoning and Digger look even weaker when compared with Heart of the Beast. The survival thriller held strongly in its third weekend, showing that adult audiences will still turn out for star-driven dramas when the star’s established appeal matches the material.
From “Pretty Boy” to Powerhouse
Pitt’s career trajectory mirrors Leonardo DiCaprio’s. In 2026, it is exactly 35 years since his breakout role as J.D. in 1991’s Thelma & Louise. Then marketed as the ultimate “pretty boy” a piece of cinematic eye candy, he has since evolved into a formidable actor and an influential producer-mogul, a transformation few contemporary critics could have predicted.
Building Audience Trust
Rather than relying on safe, commercially engineered studio vehicles, Pitt has spent three and a half decades subverting his own image. Through daring shifts between genres and his taste-making work with Plan B Entertainment, he has taught audiences to trust his artistic instincts.
Whether playing a manic anarchist in Fight Club, an unhinged detective in Seven or a stoic survivor in Heart of the Beast, Pitt has repeatedly shown that he is a character actor in a movie star’s body. That creative consistency gives audiences confidence to follow him into unconventional stories.
His biggest successes have often been ensembles, including the Ocean’s trilogy, Once Upon a Time in Hollywood and Inglourious Basterds—rather than the kind of single-handed box-office vehicles associated with Tom Cruise.
The Enduring Appeal of “Man and His Dog”
Heart of the Beast belongs to a long tradition of “man and his dog” survival films, including I Am Legend, The Call of the Wild, White Fang, Alpha and Dog. Audiences have long responded to stories built around the bond between people and dogs, as demonstrated by the enormous success of 2008’s Marley & Me.
Heart of the Beast offers one important reassurance: audiences know from the beginning that the dog survives.
12 years ago, Brad Pitt starred in David Ayer’s Fury dropped 45.9% £674,430 and £7,056,559 84.8% of £8,135,654.
Heart of the Beast is the first film starring Brad Pitt since 2025’s F1 dropped 61.9% £1,170,337 and £15,881,231 71.1% of £22,335,543. He next stars in the standalone sequel and spin-off to 2019’s Once Upon a Time in Hollywood, The Further Misadventures of Cliff Booth directed by David Fincher and written by Quentin Tarantino opening in November.
- 4. Resident Evil £780,925 – £12,710,018
Dropped 41.6% in its fourth weekend.
£210k 26.9% (-44% £372k) Fri; £343k 43.9% (-38.4% £557k) Sat; £228k 29.2% (-71% £409k) Sun
524th biggest fourth weekend between Looper and The Twilight Saga: Eclipse (close to Planet of the Apes, Batman Begins, The Meg 2 and Braveheart) and 819th biggest inflated fourth weekend between Memoirs Of A Geisha and Cruella (close to Ghostbusters: Frozen Empire, The Grudge, Dungeons & Dragons: Honour Among Thieves and Crimson Tide).
Holding similar to fourth weekend of Zach Cregger’s Weapons dropped 26.9% £838,351 and £10,387,914 89.6% of £11.85m.
Having overtaken Weapons (£11.85m), it’s also overtaken A Quiet Place (£12.20m) to be just outside the top 10 biggest horror films, behind #10 The Final Destination (£12.80m) and is getting close to top Backrooms (£13.15m) to become the biggest the second biggest horror of the year behind Obsession (£20.03m). Will face competition from Austin Abrams next film survival thriller Whalefall opening Friday.
All of the other Resident Evil films were very front-loaded lasting only a couple of weeks in cinemas and the reboot has outgrossed all of them after three weeks.
After the strong performance of Resident Evil Sony Pictures will surely be trying to get Zach Cregger to change his mind over making only one film as they will be wanting a sequel asap.
Sony have had an excellent 2026 so far with Sony Pictures films taking £135m+ and MGM taking. £60m+ and still have The Social Reckoning and Jumanji: Open World still to open. Sony Pictures will surely be third after Disney and Universal of course almost half coming from Spider-Man Brand New Day.
- 5. The Social Reckoning £621,262 – NE
Took £199k 32.05% Friday; £248k 39.94% Saturday; £174k 28.02% Sunday.
2,526th biggest opening between No Other Choice and Halloween (2007) (close to Friend Request, The Rising Sun, The Damned United and A Clockwork Orange (2000 RE) and 3,033rd biggest inflated opening between No Other Choice and Evelyn (close to The Shawshank Redemption, Dead Man Walking, The Fifth Estate and Postcards From the Edge).
70th biggest opening over the last 52 weeks between Mothers Pride and Ready Or Not 2: Here I Come (Song Sung Blue, The Bride, Mercy, and Cold Storage).
Opened similar to 2020’s legal thriller Dark Waters (opening £860,942 taking £2,411,637) and 2015’s Steve Jobs opened £903,214 taking £2,282,033.
It is interesting to see the films it opened similar to:
| Film | Subject | Connection |
| Friend Request | Social media horror. | “Sums up what Facebook has been for many years.” |
| The Rising Sun | Technology thriller based on a Michael Crichton novel. | Corporate conspiracy. Cultural conflict. |
| The Damned United | British political football drama. | Institutional failure. Ego. Betrayal. |
| A Clockwork Orange (2000 RE) | Dystopian thriller about psychiatry, juvenile delinquency, social issues, politics. | Systems of control. The state vs. the individual. |
| The Shawshank Redemption | Prison drama. Institutional corruption. | The system is the villain. |
| Dead Man Walking | Death row drama. | Moral systems. Institutional failure. |
| The Fifth Estate | WikiLeaks drama. | Whistleblowers. Tech. Truth. |
| Postcards from the Edge | Hollywood recovery drama. | Fame. Exploitation. Survival. |
All films is about systems that fail people.
| Theme | Films |
| Systems that fail us | The Shawshank Redemption, Dead Man Walking, A Clockwork Orange |
| Whistleblowers | The Fifth Estate, The Social Reckoning |
| Tech and control | Friend Request, The Rising Sun, A Clockwork Orange |
| Institutional betrayal | The Damned United, The Social Reckoning |
| Survival within systems | Postcards from the Edge |
Audiences don’t want to pay for a mirror. They want a window.
You don’t go to the cinema to be reminded that the system is rigged. You go to escape it. You go to see the hero win. You go to see the villain lose. You go to see justice served or at least entertained.
The Social Reckoning doesn’t offer escape. It offers confirmation. It tells you what you already know, in a tone you already recognise, with an ending you’ve already lived through.
A lot has happened with social media and Facebook since 2010’s The Social Network and Aaron Sorkin had been planning a sequel: since 2019. The problem was the 2021 Facebook leak by whistleblower Frances Haugen was not the story to tell, the Cambridge Analytica scandal would have been far more interesting to audiences, but it would have been far too political at the moment.
Companion Piece or Sequel?
Sony describes The Social Reckoning as a companion piece to The Social Network, but audiences have largely treated it as a sequel. That creates a fundamental problem: the two films are tonally very different. The Social Network is the Empire Strikes Back of the story—a dark, cynical middle chapter in which the apparent hero becomes the villain. It ends in isolation and betrayal, as the audience realises that the person it has been rooting for is actually the problem.
The Redemption It Wants to Deliver
The Social Reckoning aims to be Return of the Jedi: the chapter in which the truth emerges, the whistleblower triumphs and the system is finally exposed. It wants to offer redemption. Instead, it feels closer to The Phantom Menace, repeating familiar points in a didactic way, through characters the audience has little reason to care about and a political system it may struggle to follow.
Trying to “Fly Casual”
The analogy extends to Han Solo’s instruction to “fly casual” in Return of the Jedi. As he and Chewbacca approach in an Imperial shuttle, they try to blend in, but the harder they work to appear as though they belong, the more conspicuous they become.
Sony faced the same problem. It tried to position The Social Reckoning as both a sequel and a companion piece, hoping to benefit from both identities. In trying to have it both ways, it achieved neither.
From Dorm-Room Jerk to Global Comic-Book Villain
In The Social Network,
Mark Zuckerberg is a petty, insecure, socially awkward kid who stumbles into creating something world changing. He is not a villain. He is a person. He is an asshole, but he is a human asshole. You understand him. You might even root for him, despite yourself.
The dramatic tension comes from watching a good kid become a bad man. The lawyer tells Mark he’s not an asshole; he’s just trying to be one. It’s a challenge. It’s a prophecy. It’s the film asking the audience: “Will he become the thing he’s pretending to be?”
And then he does. By the end of The Social Network, Mark is alone. He’s lost Eduardo. He’s lost Sean. He’s lost the one person who actually mattered. He’s sitting in a deposition room, refreshing Facebook, waiting for a friend request from the girl who got away. He got everything he wanted. And he has nothing. That’s the tragedy. That’s the arc. That’s the film.
In The Social Reckoning
Zuckerberg becomes something else entirely: a global supervillain. A James Bond villain. A Kingsman villain. He is no longer a person; he is a system. He is the algorithm. He is the thing that controls billions of people without them knowing.
The Social Network asked a question. The Social Reckoning answers it before the opening credits. The Social Reckoning tells a story where the audience already knows the ending. Zuckerberg is an asshole. Facebook is a problem. The system is rigged. We know. We’ve known for years. There’s no tension. No surprise. No arc.
One is a story. The other is a lecture. One is about a person. The other is about a system. One is a revelation. The other is a reminder.
South Park’s HumancentiPad episode in 2011 highlighted this when Kyle as the billions of uses of Facebook did not read the iTunes terms and conditions, not realising he agrees to be used as a human centipede as the users of Facebook agreed to be used as data. As whenever you get something for free, you are paying for it in other ways, these companies have not spent millions creating something without the expectation of getting billions back.
There is also the problem making a film or TV series about a current news story it’s still continuing as 2021’s She Said (opened £444,806 taking £1,173,847), about the New York Times investigation that exposed Harvey Weinstein, ending before he was sentenced, similar to TV dramas like The Dropout, ending before Elizabeth Holmes had gone to prison.
The Social Network opened to £2,486,454 at #2 (including £382,605 previews) in 2010 (£3,347,310 inflated) taking £10,306,540/£13,874,855; Despicable Me #1 £3,664,376
It is Mikey Madison’s first film since winning Best Actress for Anora (opened £509,005 taking £2,792,040), Jeremy Allen White and Jeremy Strong starred in last year’s Deliver Me from Nowhere (opened £1,306,626 taking £3,632,978). It is Aaron Sorkin’s first film since The Trial of the Chicago 7 and Being the Ricardos, Netflix, and Amazon; The Trial of the Chicago 7 was made by Paramount Pictures, selling it to Netflix.
Aaron Sorkin was honest when he said he was his second choice to direct the film as his first choice was David Fincher. Aaron Sorkin is a fabulous writer, but The Social Reckoning is stiff, it reminded me of Sydney Pollack directing 1993’s The Firm and Brian De Palma directing 1996’s Mission: Impossible, both were incredible directors, but they both lacked the kinetic energy the stories had.
Aaron Sorkin also directed 2018’s Molly’s Game opened £2,283,420 (including £1,149,871 previews) taking £3,788,031.
The problem with a news story that is all over the media is that it could make people feel they already know the story. It is about a whistleblower, which makes it far less cinematic. 2000’s The Insider (opened £437,078/£795,681 taking £1,379,265/£2,510,890), 1983’s Silkwood, 1976’s All the President’s Men, 2000’s Erin Brockovich, 2017’s The Post, 2019’s Dark Waters, and 2016’s Spotlight managed to do both, but they were all made years after the events. The events featuring in The Social Reckoning are in daily news. Factual adult dramas have struggled at the cinema in recent years.
These films were all about the corruption of American institutions.
The Social Reckoning: The corruption of tech.
Digger: The corruption of politics and climate.
All the President’s Men (1976): The corruption of the presidency.
The Insider (1999): The corruption of Big Tobacco.
Spotlight (2015): The corruption of the Church.
Dark Waters (2019): The corruption of Big Chemical.
She Said (2022): The corruption of Hollywood.
—
Also opened
- The Uprising – £541,444 #7 from 482 screens
The period action drama starring Andrew Garfield, Paul Greengrass directed Jamie Bell, Stephen Dillane, Tom Hollander, and Jonny Lee Miller. Paul Greengrass of course directed the Jason Bourne films, Captain Philipps and United 93, but since directing Jason Nourne directed 22 July for Netflix, News of the World released by Netflix internationally and The Lost Bus released by Apple.
It started development in 2022 as The Hood with Benedict Cumberbatch attached, was retitled The Rage in 2025 with Matthew McConaughey attached he was replaced by Andrew Garfield and Focus Features bought US rights for $11m and the title was changed to The Uprising.
The film was marketed for a short time in the US as The Uprising: The Rise of Robin Hood, even though Robin Hood is never mentioned in the film, Focus Features marketed it as a Robin Hood origin story without permission from the producers.
The film was marketed as The Uprising up to three weeks before opening, then Focus Features released a new trailer changing its title to The Uprising: The Rise of Robin Hood with Garfield dressed in green wearing a mask.
Entertainment Films had a very different marketing campaign that did not mention Robin Hood and issued a statement saying that any refences to Robin Hood were not approved.
Had a slightly better opening as The Death Of Robin Hood opening £316,129 #7.
But as with The Death Of Robin Hood opening in the US ahead of the UK despite being a film that would play better in the UK likely impacted on its UK opening, it was similar with the recent film Pressure opening in the US in May and in September in the UK.
2026 BO is currently up 21% from 2025.
The weekend’s top 10 box office took £8,496,631 down 17.7% from last weekend’s £10,329,785: 1,060,753 admissions, down 17.7% from 1,289,611 admissions.
44th biggest weekend of the last 52 weeks between 30 January 2026 #1 Hamnet £1,412,612 (15.9%) and 12 December 2025 #1 Zootropolis 2 £2,767,509 (36.28%)
198th biggest since cinemas reopened out of 308 weeks between 12 November 2021 #1 Eternals £2,918,585 (34.28%) and 24 December 2021 #1 Spider-Man No Way Home £4,619,518 (54.48%)
883rd biggest top 10 of the last 25 years (out of 1,278) between 12 November 2021 #1 Eternals £2,918,585 (34.28%) and 01 March 2019 #1 Fighting With My Family £2,022,174 (23.83%) and 1.146th biggest inflated between 28 April 2023 #1 Super Mario Bros £3,067,431 (39.15%) and 18 March 2007 #1 Norbit £1,069,030 (21.49%)
The top 3 took £4,721,431 (55.6%) of the top 10; Other Mommy 23.18% (£1,969,621); Verity 22.79% (£1,936,358); Heart Of The Beast 9.6% (£815,452)
1,049th biggest percentage share #1 (23.18%) between 04 November 2011 #1 The Adventures of Tintin: Secret of the Unicorn £2,199,171 (23.2%) and 23 July 2021 #1 Black Widow £1,410,288 (23.18%)
1,143rd biggest admissions (245,895) between 06 July 2018 #1 The First Purge £1,778,157 (246,282) and 25 August 2023 #1 Barbie £1,944,777 (245,553)
Up 38.39% from 2025; (£6,139,786); Tron: Ares (£1,790,651); I Swear (£1,185,756); Good Boy (£230,214); Corpse Bride (20th Anniversary) (£129,218); Twilight (10th Anniversary) (£97,010); #1 Tron: Ares £1,790,651 1st week 609 screens (29.16% of top 10).
Up 23.27% from 2024; (£6,892,905); Transformers One (£1,691,928); Terrifier 3 (£1,049,416); Vettaiyan (£485,910); Salem’s Lot (£359,911); Buffalo Kids (£345,411); Gladiator (Re: 2024) (£96,349); In Restless Dreams: The Music Of Paul Simon (£35,702); #1 Transformers One £1,691,928 1st week 577 screens (24.55% of top 10)
Down 36.20% from 2023; (£13,316,825); Taylor Swift: The Eras Tour (Concert) (£5,729,998); Paw Patrol: The Mighty Movie (£3,348,155); Sumotherhood (£746,714); The Miracle Club (£276,379); Friday The 13th (1980) (Re: 2023) (£102,978); #1 Taylor Swift: The Eras Tour (Concert) £5,729,998 1st week 656 screens (43.03% of top 10)
Down 10.2% 2022 (£9,458,247); Lyle, Lyle Crocodile (£2,783,562); Halloween Ends (£2,110,010); Prima Facie – NT Live 2022 (£282,166); Emily (£276,322); The Lost Boys (35th Anniversary 4k Restoration) (£20,718); #1 Lyle, Lyle Crocodile £2,783,562 1st week 652 screens (29.43% of top 10)
Down 55.7% 2021 (£19,158,551); Venom: Let There Be Carnage (£6,167,833); Halloween Kills (£1,598,062); Ron’s Gone Wrong (£868,053); The Last Duel (£325,523); #1 No Time To Die £8,404,165 3rd week 776 screens down 45% (43.9% of top 10)
Up 250.3% 2020; (£1,406,296); Saint Maud (£263,433); Akira (Re: 2020) (£201,124); Kajillionaire (£44,275); Hocus Pocus (Re: 2020) (£20,491); #1 Tenet £296,049 7th week 53% drop 355 screens.
Down 49.4% 2019; (£16,790,890); Abominable (£2,141,256); Gemini Man (£1,718,511); #1 Joker £9,766,608 2nd week 22% drop 673 screens (37.34% of top 10)
Down 50.3% 2018: (£17,103,615); First Man (£2,415,330); Smallfoot (£2,324,189); Cliff Richard Live: 60th Anniversary Tour (£1,123,885); Bad Times at the El Royale (£491,878); #1 A Star is Born £3,083,089 2nd week 1st #1 612 screens (18.1% of top 10)
Down 29.7% 2017: (£12,090,714); The LEGO Ninjago Movie (£3,642,038); The Snowman (£1,377,909); The Ritual (£424,352); Loving Vincent (£274,036); The Party (£234,985); Die Zauberflote – Met Opera 2017 (£213,605); #1 The LEGO Ninjago Movie £3,642,038 1st week 613 screens (30.1% of the top 10)
Down 43% 2016: (£14,897,205); Inferno (£2,970,027); Storks (£2,247,038); Miss Saigon: 25th Anniversary Performance (£2,033,031); American Honey (£175,383); The Golden Age – Bolshoi 2016 (£86,854); #1 The Girl on the Train £3,412,472 2nd 630 screens 51% drop (22.9% of the top 10)
Down 1.7% 2015; (£9,148,818); Sicario (£1,596,734); The Walk (£795,115); Regression (£214,742); Giselle – Bolshoi 2015 (£128,875); #1 The Martian £3,854,809 2nd week 582 screens 41% drop (42.1% of top 10)
Down 23.3% 2014: (£11,071,974); The Maze Runner (£2,041,229); Annabelle (£1,939,963); One Direction: Where We Are – The Concert Film (£1,021,527); 71 (£205,116); Effie Gray (£67,339); Alexander And The Terrible, Horrible, No Good, Very Bad Day (£20,689); The Calling (£8,112); #1 Gone Girl £3,064,545 2nd week 563 screens 25% drop (27.7% of top 10)
Up 69.9% 2013: (£5,001,792); The Fifth Estate (£502,495); Le Weekend (£324,488); Machete Kills (£165,586); Baggage Claim (£156,159); Romeo and Juliet (£137,448); #1 Prisoners £968,990 3rd week 449 screens 12% drop (19.3% of top 10)
Down 9.2% 2012: (£9,355,419); Hotel Transylvania (£1,734,231); Ruby Sparks (£299,382); On the Road (£218,738); #1 Taken 2 £3,743,046 2nd week 510 screens 49% drop (40.1%)
Down 15.6% 2011; (£10,065,543); The Three Musketeers (£1,461,251); Real Steel (£1,337,491); Footloose (£460,271); Dolphin Tale (£429,140); #1 Johnny English Reborn £3,072,542 2nd week 38% drop 521 screens (30.53% of top 10)
Down 15.3% 2010; (£10,027,140); Despicable Me (£3,664,376); The Social Network (£2,486,454); Vampire Sucks (£1,089,339); #1 Despicable Me £3,664,376522 screens 1st week (36.54%)
Down 27.7% 2009; (£11,750,437); Up (£6,411,836); Zombieland (£1,240,984); Love Happens (£559,724); Halloween II (£522,661); #1 Up £6,411,836 1st week 511 screens (54.5% of top 10)
Up 53.6% 2008; (£5,542,578); The House Bunny (£894,188); Mirrors (£834,092); City of Ember (£496,909); Nights in Rodanthe (£193,318); Gomorrah (£171,348); The Mutant Chronicles (£74,788); #1 The House Bunny £894,188 1st week 346 screens (16.1% of top 10)
Down 0.6% 2007: (£8,548,001); Ratatouille (£4,444,384); Resident Evil 3 (£931,991); Black Sheep (£246,135); The Invasion (£232,994); Mr. Brooks (£169,664); The Nanny Diaries (£101,794); #1 Ratatouille £4,444,384 1st week 503 screens (51.9% of top 10)
Down 8.9% 2006; (£9,304,316); Open Season (£1,666,750); History Boys (£794,672); Texas Chainsaw Massacre: The Beginning (£669,760); Stick It (£131,043); #1 The Departed £1,957,646 2nd week 1st #1 364 screens 14% drop (21.1% of top 10)
Down 39.9% 2005: (£13,473,346); Wallace and Gromit: The Curse of the Were-Rabbit (£9,374,932); Lord of War (£723,406); Domino (£481,409); #1 Wallace and Gromit: The Curse of the Were-Rabbit £9,374,932 1st week 501 screens (69.6% of top 10)
Up 21,1% 2004; (£7,015,008); Bride and Prejudice (£1,667,616); Resident Evil: Apocalypse (£801,171); Man On Fire (£656,466); #1 Bride and Prejudice £1,667,616 1st week 376 screens (23.7% of top 10)
Down 33.9% 2003 (£12,858,833); Cabin Fever (£1,056,338); Kill Bill (£162,857) (platform) (£152,793); #1 Finding Nemo £7,381,962 2nd week 1st #1 453 screens (57.4% of top 10)
Down 8.2% from 2002: (£9,258,248); Red Dragon (£3,180,493); Clockstoppers (£196,802); #1 Red Dragon £3,180,493 1st week 428 screens (34.3% of top 10)
Down 7.9% from 2001 (£9,219,269); American Pie 2 (£5,508,709); The Pledge (£142,100); Atlantis (£79,695) (platform) #1 American Pie 2 £5,508,709 1st week 1st week 420 screens (59.7% of top 10)
Next week: 2025 (£7,088,486); Gabby’s Dollhouse: The Movie (£1,901,289); The Black Phone 2 (£1,100,233); Roofman (£679,368); Good Fortune (£306,776); After The Hunt (£207,821); #1 Gabby’s Dollhouse: The Movie £1,901,289 1st week 604 screens (26.82% of top 10)
US Box Office
- Other Mummy – Universal Pictures
Opened $27.8m; received poor reviews (20% Rotten Tomatoes) and D+ CinemaScore.
Took $3.5m from Thursday previews; Insidious: Out of the Further $3m; M3GAN $2.75m; Obsession $2.6m.
760th biggest opening between Back to the Future Part II and Hairspray (close to The Invisible Man, Mama, The Final Destination and Black Phone 2).
Its Jessica Chastain’s 6th biggest opening after It: Chapter Two $91m; The Martian $54.3m; Interstellar $47.5m; X-Men: Dark Phoenix $32.8m and Mama $28.4m.
Was expected to open with $20m-$25m; buzz had been strong for months after the trailered terrified The Odyssey audiences, as it starts like a very different film and audiences did not expect what it turned into. After the reaction to the trailer Other Mommy was seen as a potential surprise hit, while it opened bigger than expected, it will drop heavily in its second weekend.
Audiences was surprisingly 51% male to 49% female with the largest audience 18- to 24-38%.
Other Mommy opened 62% bigger than Obsession opened $17.19m but with poor reviews and poor word of mouth it will be very front-loaded and not get anywhere near Obsessions $263.45 total and $522.19m worldwide.
Opened $17.6m internationally from 51 territories and $45.2m worldwide; UK $2.6m; Italy $2.2m; Mexico $1.9m; Australia $1.1m; Spain $1m.
- The Social Reckoning – Sony Pictures
Opened $5.01m; received mixed reviews (58% Rotten Tomatoes) and B+ CinemaScore.
Took $650k from Thursday previews; The Social Network $350k; The Drama $1.7m; Ford v Ferrari $2.3m; Hustlers $2.5m; Digger $1.2m
2010’s The Social Network opened $22.45m taking $96.96m and $224.92m worldwide; winning four Oscars including Best adapted screenplay for Aaron Sorkin and since has been seen as one of the best films of the 2010s.
Last year Jeremy Allen White and Jeremy Strong also starred in Springsteen: Deliver Me from Nowhere opening with a similar $8.88m taking $22.63m and $45.24m worldwide; both actors have starred in hugely popular TV shows The Bear and Succession but have not been able to repeat that success in cinemas.
But it was expected to open with $25m as it only played in the big cities on the left and right coast and Chicago. While exactly 16 years later The Social Reckoning was only expected to open with $7m-$8m highlighting how the market for adult dramas has fallen out over the last decade; Aaron Sorkin’s 2020 film he Trial of the Chicago 7 was due to have a cinema release but was sold to Netflix. While 2017’s Molly’s Game opened $2.34m taking $28.78m and $59.28m worldwide.
Audience was 28% 25-34 and with The Social Network it played strongest on the east/west coast and main cities.
The Social Reckoning had a budget of $30m compared to The Social Network $40m; Sony have called it a “companion piece” rather than a sequel to The Social Network.
Opened $3.5m internationally from 4,100 screens in 29 territories.
- Verity – MGM
Dropped 62.5% in its second weekend $12m and $54.38m
Anne Hathaway’s recent The End of Oak Street dropped 58.3% $8.75m and $37.71m of $121.48m WW and The Devil Wears Prada 2 dropped 45.8% $41.6m and $143.44m of $220.55m and $693.2m worldwide.
The fourth Colleen Hoover adaptation after
2026’s Reminders of Him dropped 55.5% $8m and $33.17m of $48.55m and $89.27m worldwide
2025’s Regretting You dropped 42.9% $7.81m and $27.25m of $48.85m and $90.45m worldwide
2024’s It Ends with Us dropped 52.4% $23.8m and $97.59m of $148.51m and $351.44m worldwide
While The Housemaid dropped 19.5% (Christmas) $15.3m and $46.32m of $126.43m and $400.48m.
While October female adult thrillers
2014’s Gone Girl dropped 29.6% $26.4m and $77.88m of $167.75m and $370.89m worldwide
2016’s The Girl On the Train dropped 50.1% $12.24 and $46.83m of $75.39m and $173.18m worldwide
And other recent female adult trillers
2022’s Do not Worry Darling dropped 64.6% $6.84m and $32.35m of $45.3m and $87.6m worldwide
2022’s Where the Crawdads Sing dropped 40% $10.35m and $38.35m of $90.23m and $144.35m WW
Over the last decade Netflix became the home of female-targeted thrillers but then came the huge success of The Housemaid early this year.
Reminders of Him took $7.1m internationally from 65 territories (5,091 screens) and $54m worldwide; Germany $5m; UK $3.3m; Australia $2.4m
It Ends With Us took $33.1m from 52 territories internationally $82.2m total and $182.6m worldwide; UK $14.6m; Australia $9.3m; Mexico $7.6m; Brazil $6.5m; Germany $4.5m; France $2.1m; Saudi Arabia $2.1m.
2022’s Where the Crawdads Sing dropped 40% $10.35m and $38.35m of $90.23m and $144.35m worldwide
Took $18.6m internationally from 43 territories $60.1m total and $113.9m worldwide; UK $9.7m; Germany $7.2m; Brazil $7m; Australia $5.8m.
Hard to compare with The Housemaid as it had a staggered international opening in December/January.
- Digger – Warner Bros
Dropped 60% in its second weekend $3.2m and $14.43m
The lowest Tom Cruise second weekend since 2007’s Lions for Lambs dropping 56.8% $2.89m and $11.58m taking $15m and $64.81m worldwide; he made the film while he was co-head of United Artists; Lion For Lambs was his first film.
Tom Cruise 53 films have taken $14bn worldwide over the last 45 years, but he has struggled with original films over the last 22 years 2013’s Oblivion took $89.1m and $286.16m worldwide was his biggest original film since 2005’s War of the World remake took $234.28m and $603.87m worldwide. Have to go back to Minority Report, The Last Samurai and Collateral over 20 years ago.
Tom Cruise is the ultimate showman all of his films generate huge media coverage bur when his tried something different like Lions For Lambs, Valkyrie, Rock of Ages, Jack Reacher, Edge of Tomorrow, The Mummy and American Made, his fans do not go to see them in the cinema.
Digger’s failure is similar to why The Social Reckoning failed, as they were both films audiences weren’t expected from their trailers and marketing campaigns, audiences react very negatively when that happens, far worse than if it was simply just a terrible film without any expectation attached.
Many directors have come out in support of Digger.
including
Guillermo del Toro who described the media coverage on social media as “petty,” praising the movie as “daring, bold and cinematically complex”. He adamantly urged audiences to see it in theatres, noting that it delivers a true theatrical-screen experience.
Alfonso Cuarón shared poor reviews of historical past masterpieces like 2001: A Space Odyssey, Blade Runner, The Shining, and Metropolis. Showing how heavily panned classics often grow in popularity over time.
Ben Affleck compared the public celebration of its box office failure to “high-school bullying”. He warned that cheering for original studio flops only discourages major risk-taking in Hollywood.
When it was announced Tom Cruise would star in the Alejandro G. Iñárritu film many believed as Leonardo DiCaprio finally won Best Actor Oscar for The Revenant, Tom Cruise would finally win a Best Actor Oscar after being previously nominated four times. The difference is Leonardo DiCaprio was close to winning Oscars many times over the last decade due to the wide mix of films he has starred in. While Tom Cruise was last nominated for Oscar in 1999 for Magnolia. At that time, he was making a wide mix of original Oscar worthy films. The Color of Money, Rain Man, Born on the Fourth of July, A Few Good Men, The Firm, Jerry Maguire, and Magnolia.
There are many issues wit the film from the confusing trailers that were trying to be clever, to the twist that polarised audiences as much as 2017’s Mother! Directed by Darren Aronofsky starring Jennifer Lawrence dropped 56.3% $3.29m and $13.45m of $17.8m and $44.51m worldwide.
Alejandro G. Iñárritu earlier films
2001’s Amores perros opened on a limited release to a maximum of 187 screens taking $5.4m and $20.9m worldwide
2003’s 21 Grams opened $1.22m (after 6 weeks on platform) taking $44.13m and $60.42m worldwide
2006’s Babel opened $5.55m (after 2 weeks on platform) taking $34.3m and $135.33m worldwide
2014’s Birdman opened on staggered platform release so impossible to make direct comparison as it did not get to its widest point on release to its 20th week in 1,213 screens almost a third of the screens Digger opened; Birdman took $42.34m and $103.21m worldwide
2015’s The Revenant opened $39.82m (after 2 weeks on platform) taking $183.63m and $532.95m WW
Last year One Battle After Another dropped 50% $11m and $42.62m of $72.91m and $213.21m worldwide, despite winning several Oscars including Best Picture it’s still lost about $100m, as its budget was between $130m+ and marketing spend another $75m. it was similarly the case with started at $125m but increased to between $160m-$180m due to production delays. (it probably cost that much for the play Fossil Fools to be performed in a post-apocalyptic world) Digger needed to take about $350m worldwide to be profitable, as Tom Cruise gets first dollar gross, but will reportedly lose about $245m.
Despite starring in 14 films over the last 15 years his fans cannot see him as anything other than the last action hero Ethan Hunt and Maverick.
Took $6.4m international from 74 territories and $35.3m worldwide; Australia $550,589; Italy $599,691; UAE $355,455
- Resident Evil – Sony Pictures
Dropped 32.1% in its fourth weekend $8.56m and $138.73m
478th biggest fourth weekend between The Pelican Brief and Rush Hour 3 (close to The Silence of the Lambs, Kong: Skull Island, Smile and The Last Samurai).
2025’s Weapons dropped 32% $10.47m and $132.65m of $151.57m and $270.07m worldwide
2022’s Barbarian dropped 41.6% $2.82m and $33.11m of $40.84m and $45.35m worldwide
The earlier Resident Evil films played far stronger internationally taking in the US and $1.28bn worldwide.
Horror films have taken over $1.3bn in 2026 more than $1.163bn in 2017, the first billion-dollar year for horror, and 82% of $1.426bn in 2025.
Took $54.3m international from 67 territories in 38,150+ screens and $320.2m total worldwide; China $40.6m; UK $17m; Mexico $11.8m; Australia $8.5m; France $8.5m; Germany $7.3m; Spain $7.1m; Japan $3.6m
- Heart of the Beast – Paramount Pictures
Dropped 31.6% in its third weekend $7.43m and $50m.
Its Brad Pitt’s first film since last year’s F1 dropped 54,.8% $25.78m and $109.28m of $189.64m and $634.14m worldwide.
Brad Pitt starred in David Ayer’s Fury in 2014 dropped 34% $8.81m and $60.15m taking $85.81m and $211.81m worldwide.
2020’s The Call of the Wind dropped 49.4% $6.76m and $57.24m of $62.34m and $111.16m worldwide
2022’s Dog dropped 39.8% $6.11m and $40.08m of $61.77m and $84.55m
2014’s Lone Survivor dropped 41.5% $12.9m and $93.91m of $125.09m and $154.8m worldwide
Heart of the Beast was expected to perform strong in the US, but Brad Pitt and the strong reviews and positive word of mouth helped it hold well internationally. Animal rescue films have been hugely popular in cinemas for decades, Disney made many of these films in the 90s including 1993’s Homeward Bound: The Incredible Journey taking $41.83m/$130m and 1991’s White Fang taking $34.79m/$105m. These films were much lower budgeted than Heart of the Beast $45m.
Took $21m from 66 territories and $132.82m worldwide; France $10.2m; Mexico $7.2m; UK $7.2m; Spain $3.6m; Australia $3.3m
Heart of the Beast has overtaken The Call of the Wind worldwide, but its box office was affected by COVID as it opened a month before the first lockdown and it was the first 20th Century Fox film released under 290th Century Studio label.
UK Box Office Top 10
Box Office Preview
After Spider-Man Brand New Day was #1 for 6 weeks running it will be the sixth weekend running with a new #1.
It’s a weekend that any of the three new releases could opening #1 as they are all likely to open similarly.
Animated fantasy comedy Forgotten Island received positive reviews, but disappointed in the US last month, opens ahead of half-term next week, with Shaun The Sheep: The Beast Of Mossy Bottom dropping off, it could open similar to last year’s Gabby’s Dollhouse: The Movie (£1,901,289).
While action-comedy Street Fighter based on the Capcom video game is likely to open similar to Mortal Kombat II (£1,607,520 taking £3,256,212). Capcom’s Resident Evil is currently performing strongly at the box office, but Street Fighter will play to a younger audience.
There have been two previous films based on Street Fighter, the 1995 film starring Jean-Claude Van Damme and 2009’s Street Fighter: The Legend of Chun-Li, both were critical and box office flops. As with Resident Evil its targetting GenZ as those older have endured the 1995 film and were tired watching the trailer, so its target audience is similar to that who saw Five Nights at Freddy’s and Mortal Kombat II.
Survival thriller starring Austin Abrams, Josh Brolin and Elisabeth Shue and directed by Brian Duffield, based on the 2023 novel by Daniel Kraus. There have been many similar extreme single location survival films including 2010’s 127 Hours (opened £2,168,570 taking £7,705,020), 2004’s Open Water (opened £1,970,176 taking £4,818,915)
The director Brian Duffield previously directed 2023’s No One Will Save You about a home invasion with an alien twice was released straight to streaming on Hulu. Could play similar to more recent Cocaine Bear in 2023 opening £1,581,128 taking £5,202,386.
Verity will likely drop about 50% in its third weekend taking about £1m #4 with Other Mommy dropping about 60% in its second weekend taking £700k-£900k #5
The Social Reckoning and The Uprising will drop heavily in their second weekends
Coming Soon
- Primetime – A24
Psychological thriller starring Robert Pattinson, Merritt Wever, Phoebe Bridgers and directed by Lance Oppenheim based on reality television series To Catch a Predator, on Luke Dittrich’s 2007 Esquire article Tonight on Dateline This Man Will Die.
Had its world premiere at the Venice Film Festival and opened in the US in September receiving positive reviews. As Catch a Predator is not as well known in the UK its very much about Robert Pattinson star that will bring in audiences.
It has been compared to 2014’s Nightcrawler (opened £1,003,822 taking £2,777,529) and 2016’s Money Monster opened £820,829 taking £2,387,743. But Robert Pattinson attracted a wider audience to Primetime in the US.
- Wicker – Black Bear
Romantic fantasy comedy starring Olivia Colman, Alexander Skarsgård, Elizabeth Debicki, Richard E. Grant, and Peter Dinklage and directed by Alex Huston Fischer and Eleanor Wilson, based on the short story The Wicker Husband by Ursula Wills-Jones.
Received world premiere at Sundance Film Festival receiving positive reviews with Variety calling it something between Bicentennial Man and The Shape of Water, while the falling in love with man-made of willow has the modern-day version of people marrying their AI Chatbot and 2007’s Lars and the Real Girl.
The cast including Celebrity Traitor Richard E. Grant will see Wicker receiving strong media coverage but will probably be too quirky for mainstream audiences.
- I Love Boosters – Universal Pictures
Crime comedy starring ensemble cast Keke Palmer, Naomi Ackie, Will Poulter, Don Cheadle, and Demi Moore and directed by Boots Riley; the film premiered at the SXSW in March and was released in the US in May receiving positive reviews.
It is likely to have a limited release and struggle to find an audience.
- Everest: The Other Side – Walt Disney
Documentary directed by Elizabeth Chai Vasarhelyi and Jimmy Chin (Free Solo); had its world premiere at the Venice Film Festival receiving positive reviews and will have a limited release including IMAX cinemas before being released on Disney+.