US Box Office Top 10 for the Week of October 12, 2026: Other Mommy Leads, New Releases and Weekend Grosses

Other Mommy is No. 1 at the domestic box office for the reporting week of October 12, 2026. The film earned $27,805,825 over the October 9–11 weekend, ahead of Verity ($12,005,559) and Resident Evil ($8,563,158), in the updated figures displayed by The Numbers. The Social Reckoning and Angel and the Badman also appeared among the top ten as new entries. The relevant chart is the latest completed Friday-through-Sunday weekend, not a seven-day earnings total for October 12–18.

This report uses a snapshot reviewed on October 13, 2026. Initial Sunday box office estimates differed from later reported amounts; rankings and grosses below are taken consistently from the updated October 9 chart rather than combining versions. Box-office data can still receive corrections, and the reporting service may update its pages after publication.

US box office top 10: October 9–11, reported in the week of October 12

Source and reporting basis: The Numbers weekend chart for October 9, 2026. These are three-day domestic weekend grosses in US dollars. “New” denotes a title shown as new on this particular weekend chart; it does not necessarily mean a film was previously unavailable anywhere or that every engagement began Friday. The chart’s domestic market is the North American theatrical market commonly described in industry reporting as “domestic,” not a strictly US-only ticket census. If comparing with another publication, check whether it covers the United States and Canada, whether its figures are estimates or reported results, and whether its timeframe is three or four days.

What changed from the previous weekend?

A new horror release took the top spot

Other Mommy debuted in first place, overtaking the prior weekend’s leader, Verity. Its $27.8 million reported opening was more than twice Verity’s approximately $12.0 million second-weekend take. That is a comparison of weekend ticket sales, not proof of profitability: production budgets, marketing costs, distribution arrangements, and theater revenue shares are separate questions.

For an example of why the distinction matters, imagine a moviegoer asking which film “won” the weekend. The opening-weekend ranking answers which movie sold the most tickets in dollar terms across the reported market. It does not answer which movie was the best-reviewed, had the most satisfied viewers, or earned the highest financial return for its studio.

Verity stayed near the top but lost momentum

Verity dropped from first to second place. The updated chart reports a decline of roughly 63% compared with its preceding weekend. A steep second-weekend fall can reflect front-loaded attendance, competition from new titles, ticketing patterns, or a combination of factors. Without admissions data and independent evidence, it would be premature to assign one explanation to this specific decline.

Resident Evil and Heart of the Beast held third and fourth

Resident Evil earned about $8.56 million and moved from second to third. Heart of the Beast brought in roughly $7.44 million and slipped from third to fourth. Both titles remained ahead of most new competition. This is particularly useful context for readers tracking holdover films: a lower rank does not necessarily imply the film disappeared from theaters, only that other titles earned more in the measured period.

The lower half showed movement, including a late ranking switch

Forgotten Island held sixth place at about $4.70 million. Primetime fell from fifth to seventh despite collecting just over $4 million. Digger moved from fourth to eighth with approximately $3.20 million. The Odyssey climbed from eleventh to ninth, earning approximately $2.15 million, while newcomer Angel and the Badman appeared at tenth with about $2.12 million in the updated chart.

The last two placements highlight why publication timing matters. Earlier Sunday estimates listed Angel and the Badman above The Odyssey, while the revised amounts reversed their order. If you encounter two seemingly conflicting top-ten lists, first inspect the timestamp and whether the data are estimated or updated. That check is more reliable than assuming a ranking was copied incorrectly.

Which new releases entered the top ten?

Three entries were designated “new” on the chart: Other Mommy, The Social Reckoning, and Angel and the Badman. Their opening-weekend grosses were substantially different, which makes them useful examples of how a top-ten appearance alone does not indicate equal commercial reach.

Other Mommy: the largest opening

Other Mommy started at No. 1 with $27,805,825 from 3,365 theaters, according to The Numbers. That gave it the weekend’s clear lead. The raw dollar figure reflects the breadth of its reported engagement as well as ticket purchases; it should not be mistaken for a worldwide total. International earnings must be added separately if the question is global box office.

The Social Reckoning: a top-five debut

The Social Reckoning entered at No. 5 with $5,018,263 from 2,606 theaters. That was a meaningful theatrical opening in ranking terms, but it remained far below Other Mommy in weekend gross. Sunday estimates placed its figure higher, another reminder that opening-weekend coverage often changes once reported grosses arrive.

Angel and the Badman: a lower-grossing wide entry

Angel and the Badman entered the revised top ten at No. 10 with $2,115,116 from 2,263 theaters. Being in thousands of theaters does not guarantee an opening comparable to a leading release; screen allocation, showtime availability, ticket demand, and other factors can differ. The numbers alone cannot establish which of those factors drove its result.

Why do box office sites sometimes disagree?

Box office charts are snapshots, not permanent statements made at a single moment. Sunday estimates are typically released before all reported earnings have been incorporated. Later reported grosses can change both dollar amounts and neighboring ranks. Publications also apply different cutoffs and may present holiday-extended results separately.

For example, the Box Office Mojo domestic weekend 41 chart includes estimates and may show a different ordering or a different total from the latest values on The Numbers. Neither a Sunday estimate nor a revised chart should be silently relabeled as the other. The approach used in this article is straightforward: specify the source, the exact October 9–11 date range, and that the listed figures were the updated values available when reviewed on October 13.

A second source of confusion is the word “week.” A weekend chart normally measures Friday, Saturday, and Sunday. A weekly chart may cover a Thursday-to-Wednesday reporting window, depending on the service. The week beginning October 12 was still underway when this article was prepared, so there is no basis for presenting October 12–18 as a completed seven-day result. Likewise, the October 9–12 holiday period should not be casually added to the three-day numbers without a consistent methodology.

What do these results say about the theatrical market?

The immediate takeaway is narrower than a prediction about the movie business: one new title, Other Mommy, substantially outgrossed the rest over this completed weekend, while the previous leader still finished second. Several returning releases declined from their prior-weekend results, and a few lower-ranked titles moved upward. These patterns describe a single weekend and cannot establish a long-term change in moviegoer taste.

If you follow box office performance professionally, compare a title’s consecutive weekends, theater count, per-theater average, cumulative domestic gross, and international results where reported. If you are simply choosing a movie to see, the box office rank is a measure of ticket revenue, not a recommendation or a quality score. Critic reviews, age ratings, screening availability, and your own interests remain more useful for picking a show.

What should readers check next?

First, return to the dated The Numbers weekend chart for October 9, 2026 if you need an updated dollar amount for a specific movie. Then check the next completed weekend rather than guessing how these movies will perform. Use the The Numbers October 2 weekend chart only for historical comparisons; it is not a substitute for the current chart. For the broader domestic weekend listing, consult Box Office Mojo domestic weekend 41 chart and compare the reporting date and estimate markers.

As of the October 13 review, the defensible summary is that Other Mommy led the October 9–11 frame, Verity remained second, and the top ten included three chart-designated new entries. Any later revision should be identified with its own date instead of being presented as if it were known at the original reporting cutoff.