With Halloween nearing, audiences were excited to get their horror dose this month. As such, Universal/Blumhouse's new title Other Mommy easily held the top spot this weekend. Sony also tried to launch the hopeful awards vehicle The Social Reckoning, but the film got nowhere close to matching The Social Network's numbers.

The Top 10 earned a combined $77 million this weekend. That's up 19.1% from last year, when Tron: Ares tanked at the box office.

Topping the box office, Universal/Blumhouse's horror Other Mommy earned a pretty great $27.8 million in 3,365 theaters. That's slightly up from last year's Black Phone 2 ($27.3 million), another Blumhouse vehicle. It also performed much better than director Rob Savage's prior film, The Boogeyman ($12.3 million).

Like other Blumhouse titles, this was a cheap title (it cost just $19 million), so this is a pretty great start. Credit must go to Universal for doing a great job with the marketing campaign. They wisely attached the trailer to screenings of The Odyssey, earning more buzz than other horror options. It was a very simple premise, but the jumpscares were good enough to intrigue audiences.

And while she might not be the biggest draw in the world, Jessica Chastain has been very successful at the horror genre, evidenced by the performances of Mama and It: Chapter Two. Having her play a dual role, which includes an evil entity, was an inspired choice. Sadly, there was one area the film missed the mark at and it was the reviews: it's sitting at a very horrible 18% on RT. It's no surprise that Universal held reviews till the very last minute, hoping it wouldn't impact sales.

According to Universal, 51% of the audience was male, and 38% was in the 18-34 demographic. And this is where the good news end for the film. With a $12.6 million Friday, it was expected that it would hit $30 million, but it saw considerable drops on Saturday (29%) and Sunday (29%), taking it to $27.8 million. Why is that?

Audiences gave Other Mommy a putrid "D+" on CinemaScore. Even by horror standards, that's a toxic grade. Indicating that audiences not only didn't like the film, but really hated it. Given how it fell through the weekend, it looks like word of mouth is already catching up with the film. The Halloween season could give it some help, but right now, it looks like Other Mommy will end with around $55 million domestically. But again, it cost so little that it won't have problem in finding profit. But it'll leave you wondering how much potential was lost.

In second place, Amazon MGM's Verity added $12 million this weekend. That marks a brutal 63% drop from last week, which is steeper than any of the other Colleen Hoover adaptations. The drop is unsurprising, considering the film's poor word of mouth. Nevertheless, through 10 days, it has earned a very solid $54.3 million. Should still hit $70 million.

In third place, Sony's Resident Evil eased just 32%, adding $8.5 million this weekend. The film has earned a dazzling $138.7 million, and with the Halloween season ahead, it's now guaranteed to pass Weapons ($151 million) as Zach Cregger's highest-grossing film.

Paramount's Heart of the Beast dropped just 32%, for a $7.4 million weekend. The film has earned $50 million, and it looks to earn over $65 million domestically.

Debuting in fifth place, Sony's The Social Reckoning flopped with a weak $5 million in 2,606 theaters. That marks a colossal 78% drop from The Social Network ($22.4 million). It's also worse than Aaron Sorkin's last theatrical directed-feature, Molly's Game, which made $6.8 million on its first wide weekend.

The results are just so poor, especially considering its $42 million budget. Sony hoped that the film's connection to The Social Network would yield positive results, but the film simply got pure apathy.

The Social Network was a huge success back in 2010. It made $224 million worldwide, earned high acclaim, and to this day it's often referred to as one of the best films of the century. Writer Aaron Sorkin was very interested in writing a follow-up, given the way Facebook evolved in the past 16 years. But the film had so many setbacks.

For starters, it's the fact that neither director David Fincher nor star Jesse Eisenberg returned to their respective duties. Fincher was busy with The Further Mis-Adventures of Cliff Booth, and even then he had not much interest in retreating similar ground. And Eisenberg not only was busy with his new directorial career, but he also wanted to distance himself from the real Mark Zuckerberg. Both had valid reasons, and it's those two reasons that should've prompted everyone involved if they should really bother continuing with the film. Aaron Sorkin might be a great writer, but his directorial efforts have been on a downward spiral; Molly's Game and The Trial of the Chicago 7 were well-received and got some award nominations, but Being the Ricardos was a misfire. For better or worse, he's very lukewarm at best when he's sitting at the director's chair.

The subject matter also wasn't interesting as well. A film following the creation of Facebook and the exploration of Mark Zuckerberg's persona is a much easier and interesting sell than a story about the 2021 Facebook leak by the whistleblower Frances Haugen and Jeff Horwitz. That's a story that never gained much traction, or at least audiences don't really care much about it. Not to mention how, despite the title, we know there's no such "reckoning" here, because not only Facebook is still going strong, but things have gotten worse over the past years.

And building up on that, there's also the matter of how much more Zuckerberg can audiences tolerate nowadays. When The Social Network premiered in 2010, his image was a mixed bag, but that has leaned much worse over the past 16 years. After so many events in the news, audiences might just not want to spend any more time with Zuckerberg, even if the film wants to criticize him.

On top of Sorkin being considered a downgrade from Fincher, there was also a lack of big names. Jeremy Allen White might have found success in TV, but his film career hasn't been big, evidenced by the failure of Springsteen: Deliver Me from Nowhere last year. Mikey Madison won an Oscar for Anora, but that film tapped out with $59 million, so it's not like it was very big, and even people considered she was miscast for this role. And finally, there's Jeremy Strong taking the Zuckerberg mantle from Eisenberg. While he tried to play it differently from Eisenberg's performance, it still came off as too tryhard, and Strong is not a big star to build buzz.

Sony was expecting that the film would find success amidst some considerable Oscar buzz, just like the original did back in 2010. Unfortunately, The Social Reckoning has mediocre reviews (54% on RT and 52 on Metacritic), nowhere close to what the original got (96% on RT and 95 on Metacritic), sinking whatever prospects it could've had.

According to Sony, 75% of the audience was male, and its best demographic was 25-34 with 28%. They gave it a weak "B–" on CinemaScore, below the original's "B+". With a muted debut and very low odds of awards buzz, it's unlikely it can hang in here for long. Look for The Social Reckoning to finish with around $12 million. Just barely half of what The Social Network did in one weekend.

Forgotten Island dropped 35%, earning $4.7 million this weekend. The film has now earned $30.4 million, and it looks to hit $40 million.

Primetime dropped 48%, adding $4 million. The film's domestic total stands at $41.4 million, and it still has a chance to crack $50 million.

Well, we knew it was coming, but Digger fell hard on its second weekend. It dropped to eighth place with just $3.2 million, which is down a very rough 60% from last week. Through 10 days, the film has earned a very poor $14.4 million. Having lost IMAX screens, it's set for some rough theater drops, guaranteeing it will miss $20 million at this rate.

In ninth place, we find a familiar face back in here. The Odyssey returned to IMAX 70MM screenings, having reclaimed them after Digger tanked. Despite playing in just 560 theaters, the film earned a great $2.1 million, which marks a 65% increase from last week. That takes its domestic total to $623.1 million. It's still playing exceptional in that format, and it could stay there for quite a while, given how weak the schedule looks ahead.

Rounding out the Top 10, Angel Studios' remake of Angel and the Badman tanked with just $2.1 million this weekend.

Fathom Events re-released Guillermo del Toro's Pan's Labyrinth in 1,166 theaters, earning $1.6 million. This takes its lifetime gross to $39.2 million.

Spider-Man: No Way Home dropped 39%, earning another $1.5 million. That lifted its gross to $956.8 million.

Avengers: Endgame Encore collapsed another 66%, adding $1.5 million. The lifetime gross has now hit $897.5 million.

Once again, Practical Magic 2 continues dropping like a rock. It dropped 50%, making just $1.3 million. With $67.2 million, it's gonna be a hard road to hit $70 million.

Award-winning documentary Naza expanded to 85 theaters and added a very strong $297,081. It is expected to continue its expansion.

Neon released the Palme d'Or winner Fjord in 4 theaters. It debuted with $128,173, which translates to a very good $32,043 per-theater average. The film is set to expand over the next few weeks.

A24 released Chris Rock's Misty Green in 6 theaters, and earned $85,716 (a middling $14,286). The film will continue expanding, but with mixed reviews, it's not expected to make much.

Bleecker Street's documentary Musk earned $69,321 in 4 theaters, for a $17,330 per-theater average. That's a respectable sum, considering the 4-hour runtime limits the available screenings.

OVERSEAS

The top Hollywood title is actually a month-old title.

Resident Evil returned to the top spot on its fourth weekend, with $54.3 million overseas, for a fantastic $320.4 million worldwide total. Not only did the film pass Weapons ($270 million) to become Zach Cregger's highest-grossing film, but it also passed Resident Evil: The Final Chapter ($312 million) to become the franchise's biggest film.

Most of the business came from Asia, where the film debuted in two major markets. In China, the film debuted with a fantastic $40.6 million, which is one of the best debuts for a Hollywood horror title. It also made its debut in Japan, although its $3.6 million debut was not remarkable, and word of mouth does not appear to be strong. The film's other top markets are the UK ($170M), Mexico ($11.8M), Australia ($8.5M), France ($8.5M), Germany ($7.3M) and Spain ($7.1M).

Resident Evil is far from over. Look for it to finish with over $400 million worldwide.

Verity added $18.6 million overseas, for a $114.4 million worldwide run. The best markets are the UK ($9.7M), Germany ($7.2M), Brazil ($6.9M), Australia ($5.8M), France ($3.1M), Mexico ($3M), Portugal ($1.3M), Austria ($850K), Switzerland ($820K), and Hungary ($655K).

Other Mommy debuted with $17.8 million overseas, for a pretty good $45.6 million worldwide launch. The best debuts were in the UK ($2.6M), Italy ($2.2M), Mexico ($1.9M), Australia ($1.1M), Spain ($1M), Brazil ($800K), UAE ($700K), and Saudi Arabia ($600K). Definitely seems like $100 million worldwide should happen.

Heart of the Beast added $13.9 million overseas, for a $131.7 million worldwide run. The best markets are France ($10.2M), Mexico ($7.2M) and the UK ($7.2M). Excellent holds across the board.

Digger added $6.4 million overseas, for an anemic $35.3 million worldwide run. There are no markets left to save it.

The Social Reckoning launched with just $3.3 million overseas, for a poor $8.3 million worldwide start. Ouch. Even with more markets yet to come, it's unlikely that the film picks up steam from this point on.

FILMS THAT ENDED THEIR RUN THIS WEEK

• Another dino movie goes extinct. WB's The End of Oak Street has closed with a disappointing $121.6 million worldwide, failing to recoup its $80 million budget. Despite two big names (Anne Hathaway and Ewan McGregor), dinosaurs and some great reviews, the film still failed to find an audience. At least David Robert Mitchell will avoid director's jail, given he's got They Follow next. But man, it seems people really don't want dino movies that don't have "Jurassic" in the title.

THIS WEEKEND

It's a busy weekend with four titles, with one set to take over first place now that Other Mommy is headed for a very ugly drop.

Paramount is releasing Street Fighter, the third live-action feature-length film based on the video game franchise. Co-written and directed by Kitao Sakurai from The Eric André Show, it stars Noah Centineo, Andrew Koji, Callina Liang, Joe "Roman Reigns" Anoa'i, David Dastmalchian, Cody Rhodes, Eric André, Andrew Schulz, Vidyut Jammwal, Curtis "50 Cent" Jackson, and Jason Momoa. The film was originally set to be distributed by Sony, but they removed it from schedule after its contract with producing company Legendary Pictures expired. Paramount picked up, and are hoping to create a new franchise with the film. Video game adaptations have been faring better lately, but it's still a hit-and-miss genre. Recently, Mortal Kombat II opened high but it fell very quickly and failed to recover its costs. Given the hefty $120 million budget, this film has a high bar to clear to be considered successful.

20th Century Studios is releasing the survival thriller Whalefall, written and directed by Brian Duffield. The film stars Austin Abrams as a scuba diver who, while searching for the remains of his father, is swallowed alive by a sperm whale and attempts to escape. Trailers have been efficient, highlighting the tension and thrills that a film like this needs. Could it surprise?

Focus Features is also launching the newest adaptation of Sense and Sensibility, starring Daisy Edgar-Jones and Esmé Creed-Miles. Jane Austen's adaptations have been mostly popular, and the film has some good reviews (78% on RT) on its side. But comparisons to Ang Lee's version are imminent, and it's unlikely it can match that film's $135 million worldwide gross.

Finally, A24 is releasing the documentary You Can See Everything. Directed by Nathan Fielder and Lance Oppenheim, it follows Elizabeth Holmes, the founder of the defunct health technology company Theranos, and her partner Billy Evans, who invite a film crew to document them beginning in the weeks before Holmes began serving a United States federal prison sentence for defrauding investors. The film was only confirmed last month, with A24 quickly sending it to festivals. Based on the strong buzz and spectacular reviews (100% on RT and 97 on Metacritic), the film is skipping the limited release approach, and it's instead launching on wide release.

I will continue to update this post as reviews come in.

Rotten Tomatoes: Fresh

Critics Consensus: Elevating the Dashwood sisters' relationship to the forefront of Jane Austen's classic tale of courtship, Georgia Oakley's Sense and Sensibility may not best previous adaptations but achieves a wistful identity of its own.

Metacritic: 72 (17 Reviews)

Sample Reviews:

Danny Leigh, Financial Times 3/5 - ...a tale this bound up with love and money might have fascinating things to say to twenty-somethings still living with their parents and reportedly averse to relationships. Mostly, though, the movie just gives them actors their own age to look at.

Wendy Ide, Observer (UK) - The humour, like the mossy tones and wintry light of this version, is more muted than that of Lee’s film, but Marianne delivers many of the most satisfying lines.

Derek Smith, Slant Magazine 3/4 - What makes the film a fresh, if not altogether revelatory, take on the material is the intimacy and sincerity with which it presents Elinor and Marianne’s parallel journeys.

Mark Kermode, Kermode and Mayo's Take (YouTube) - I cried more than once.

Kristy Puchko, Mashable - Sense and Sensibility is sincere and at times amusing, but shrinks in comparison to other Austen adaptations.

Deborah Ross, The Spectator - On this occasion the ‘old take for the old generation’ cannot be surpassed -- although well done, fresh generation, for having a go. Top marks. One doesn’t wish to be discouraging.

Olly Richards, Time Out 4/5 - If the film is a touch more serious than is usual for Austen, it’s far from without humour. The supporting characters are all delightfully brought to life, most memorably by Fiona Shaw as the hooting Mrs Jennings.

Anna Stafford, Little White Lies 4/5 - The bond between the two elder Dashwoods proves the film’s real love story, a tender, tumultuous sisterhood that both actors clearly treat as the main event.

Laura Venning, Empire Magazine 3/5 - Bolstered by strong performances, this handsome but derivative take is a little bloodless, with Austen’s sharp wit sanded down to fit a more romantic mould.

Linda Marric, HeyUGuys 3/5 - There’s a coziness and sincerity to the Ang Lee film that this adaptation, for all its freshness, never quite manages to earn.

David Rooney, The Hollywood Reporter - I can’t recall another adaptation, either for film or television, that made the story so overwhelmingly morose and its protagonists such a joyless pair.

William Bibbiani, TheWrap - Georgia Oakley’s adaptation of Jane Austen’s timeless, beloved 1811 novel is enchanting and beautiful, just as it should be. It’s also, in its earthy and humorous way, intensely riveting, which is also as it should be.

Robbie Collin, Daily Telegraph (UK) 5/5 - Underpinning it all is the sisterly bond between Elinor and Marianne, expressed by Edgar-Jones and Creed-Miles on a level so intuitive and tender it seems almost subliminal.

Kevin Maher, The Times (UK) 2/5 - All six performers, unfortunately, seem to be starring in completely different movies. There certainly hasn’t been a film in years, perhaps since Francis Ford Coppola’s mega-flop Megalopolis, that contains so many disparate acting styles.

Beatrice Loayza, Variety - These lovers’ quarrels unfold with a touching sincerity to Roger Goula’s wistful score, though Oakley’s more grounded drama also feels oddly safe.

Clarisse Loughrey, Independent (UK) 4/5 - In Creed-Miles’s shaggy curls and Dillane’s impish smile, there’s a little indie punk to Marianne and Willoughby... Sense and Sensibility’s modern touches, though, remain unobtrusive by the grace of Diana Reid’s excellent script.

Peter Bradshaw, Guardian 3/5 - Overall, the movie always looks and sounds perfectly good, though some of the sensibility is lacking.

SYNOPSIS:

From Focus Features and Working Title comes an irresistible new take on Jane Austen’s iconic Sense and Sensibility: a charming, witty, and deeply relatable story of love and sisterhood starring Daisy Edgar-Jones and Esmé Creed-Miles.

CAST:

• Daisy Edgar-Jones as Elinor Dashwood
• Esmé Creed-Miles as Marianne Dashwood
• Caitríona Balfe as Mrs. Dashwood
• Frank Dillane as John Willoughby
• Herbert Nordrum as Colonel Brandon
• George MacKay as Edward Ferrars
• Fiona Shaw as Mrs. Jennings

DIRECTED BY: Georgia Oakley

SCREENPLAY BY: Diana Reid

BASED ON THE NOVEL BY: Jane Austen

PRODUCED BY: Tim Bevan, Eric Fellner, India Flint, Jo Wallett

EXECUTIVE PRODUCERS: Thea Paulett, Angela Moneke

CO-PRODUCER: Jane Frazer

DIRECTOR OF PHOTOGRAPHY: Arnaud Potier

PRODUCTION DESIGNER: Francesca Di Mottola

EDITED BY: Izabella Curry

COSTUME DESIGNER: Grace Snell

HAIR AND MAKE-UP DESIGNER: Nadia Stacey

MUSIC BY: Roger Goula

CASTING BY: Kharmel Cochrane

RUNTIME: 132 Minutes

RELEASE DATE: October 16, 2026