Paraguay Box Office for Bridget Jones’s Baby (2016)

← Go to main Bridget Jones’s Baby page

Bridget Jones’s Baby
Theatrical Performance (US$)
Paraguay Box Office $9,000Details
Worldwide Box Office $207,298,383Details
Home Market Performance
North America DVD Sales $3,098,021 Details
North America Blu-ray Sales $1,600,061 Details
Total North America Video Sales $4,698,082
Further financial details...

  1. Summary
  2. News
  3. Box Office
  4. Worldwide
  5. Full Financials
  6. Cast & Crew
  7. Trailer

Synopsis

After breaking up with Mark Darcy, Bridget Jones's “happily ever after” hasn't quite gone according to plan. Fortysomething and single again, she decides to focus on her job as top news producer and surround herself with old friends and new. For once, Bridget has everything completely under control. What could possibly go wrong? Then her love life takes a turn and Bridget meets a dashing American named Jack, the suitor who is everything Mr. Darcy is not. In an unlikely twist she finds herself pregnant, but with one hitch…she can only be fifty percent sure of the identity of her baby's father.

Metrics

Movie Details

Production Budget:$35,000,000
Paraguay Releases: November 18th, 2016 (Wide)
Video Release: November 29th, 2016 by Miramax Video
MPAA Rating: R for language, sex references and some nudity.
(Rating bulletin 2429 (Cert #50510), 6/15/2016)
Running Time: 122 minutes
Franchise: Bridget Jones
Keywords: Delayed Sequel, Sequels Without Their Original Stars, Set in London, Relationships Gone Wrong, Unexpected Pregnancy, Romance
Source:Based on Fiction Book/Short Story
Genre:Romantic Comedy
Production Method:Live Action
Creative Type:Contemporary Fiction
Production/Financing Companies: Universal Pictures, Miramax Films, StudioCanal, Working Title Films, Perfect World Pictures
Production Countries: United Kingdom, United States
Languages: English

Home Market Releases for December 13th, 2016

December 12th, 2016

The Twilight Zone

This is a strange week on the home market. We have one of the biggest domestic hits of the year, Suicide Squad, but it is one of the worst movies I’ve seen this year. (Granted, I’ve done fewer reviews this year and skipped a lot of terrible looking movies, like Independence Day: Resurgence, Warcraft, Gods of Egypt, Allegiant... Ben Hur, The Huntsman, The Legend of Tarzan. I could keep going. Wow! It was a bad year for $100 million movies.) After Suicide Squad, the next biggest release according to Amazon is the Chicago Cubs 2016 World Series Collector's Edition Blu-ray. That’s a huge drop in sales. As far as quality is concerned, I have to give a shout out to that World Series Blu-ray. Real fans want full games and this one provides them. On the other hand, I personally find baseball boring to watch. Unfortunately, there’s no one release that stands out as an obvious Pick of the Week, but instead we have a lot of releases that are close, but wouldn’t be close enough during a good week. The Twilight Zone: The Complete Series on Blu-ray is the best, assuming you didn’t grab the individual seasons when they came out. More...

Home Market Releases for November 29th, 2016

November 28th, 2016

Don’t Breathe

Last week was the week of Black Friday / Cyber Monday, so the massive sales scared away top-notch releases. This week is the week after Black Friday / Cyber Monday and the new releases are even worse. There are a few midlevel releases, like Don’t Breathe or Pete’s Dragon, but the the size of the release quickly drops from there. Fortunately, both of those releases are very good and on even really busy weeks would be contenders for Pick of the Week. It was a close pick between the two, but in the end, I went with Don’t Breathe as Pick of the Week. More...

International Box Office: Peregrine Takes Down its Prey with $42.5 million

October 12th, 2016

Miss Peregrine’s Home for Peculiar Children

Miss Peregrine’s Home for Peculiar Children remained the top draw internationally with $42.5 million in 75 markets for totals of $94.0 million internationally and $145.2 million worldwide. The film took top spot in Russia with an opening weekend of $6.63 million on 1,185 screens. It also earned first place in France with $5.5 million. Its biggest market overall is South Korea, where it as pulled in $14.38 million, including $4.94 million on 899 screens this past weekend. More...

International Box Office: Peculiar Powers Its Way to the Top with $37.4 million

October 5th, 2016

Miss Peregrine’s Home for Peculiar Children

Miss Peregrine’s Home for Peculiar Children debuted in first place internationally with $37.4 million in 59 markets. The film’s biggest market was South Korea, where it earned second place with $4.43 million on 810 screens over the weekend for a total of $5.30 million. It also earned $4.43 million in 558 theaters in the U.K., which was also enough for second place in that market. The film had nearly identical results in both Mexico ($3.61 million) and in Australia ($3.07 million). The film cost $110 million to make, so it will need to make about $250 million internationally to have any real chance of breaking even in the short term. It is too soon to tell if that will happen. We will need to see more results from other markets, and more importantly, we will need to see the film’s legs as well. More...

International Box Office: Bridget Jones Celebrates Second Weekend on Top with $22.1 million

September 29th, 2016

Bridget Jones’s Baby

Bridget Jones’s Baby remained in first place with $22.1 million on 5,092 screens in 47 markets for totals of $67.42 million internationally and $84.01 million worldwide. At this pace, the film will have no trouble getting to $100 million internationally and perhaps $150 million worldwide. That's enough to pay for its $35 million production budget and perhaps all of its advertising budget as well. The film’s best new opening of the week was Italy, where it managed second place with $1.9 million on 421 screens. Its biggest market overall was the U.K. where it remained in first place with $8.39 million in 648 theaters for a two-week total of $27.59 million. It is now the biggest September release of all time in that market, topping Calendar Girls’ 13-year old record. More...

Weekend Wrap-Up: Magnificent Wins Weekend with $34.70 million, but Box Office Slump Continues

September 27th, 2016

The Magnificent Seven

Is it time to panic? Not yet, but we are definitely getting concerned. The overall box office was soft due to the weaker than expected openings of The Magnificent Seven and Storks. Neither bombed exactly, but they weren’t particular strong either. The overall box office rose 16% from last weekend, but was down 25% from this weekend last year. Ouch. You usually only see that large a change in the year-over-year comparison when there is a misalignment in holidays. Year-to-date, 2016’s lead over 2015 dropped to 6.3% or $490 million at $8.35 billion to $7.86 billion. More...

Weekend Predictions: Will the New Releases be Magnificent?

September 22nd, 2016

The Magnificent Seven

It is a perfect weekend at the box office, as there are only two wide releases and there are almost no crossover audiences between them. The Magnificent Seven is a remake of a remake and its solid, but not spectacular. Storks is a digitally animated kids movie that is earning mixed reviews, but that’s fine for a kids movie. Those two movies will likely earn more than the rest of the box office combined pulls in. This is both good news and bad news, as it is a combination of their strength and the rest of the box office’s weakness that is the cause. This weekend last year, Hotel Transylvania 2 debuted with $48 million, which is the record for a September weekend. I think The Magnificent Seven will top that, while Storks will double the second place film, The Intern. Unfortunately, last year there were three other films that earned more than $10 million, while this year there will be only one. 2016 is better on top, but 2015 had better depth. Perhaps 2016 will still come out ahead in the year-over-year comparison, but I don't think it will quite make it. More...

International Box Office: Bridget Jones’s Baby Bounces its way to Top Spot with $29.00 million

September 22nd, 2016

Bridget Jones’s Baby

Bridget Jones’s Baby struggled when it opened in theaters here, but it earned first place internationally with $29.00 million on 4,866 screens in 39 markets. It opened in its native U.K. with $10.53 million. This is a record opening in the U.K. for its production company, genre, and for the month of September. It is also more than it made here during its opening weekend, despite the U.K. market being five or six times smaller than the domestic market. The film also earned first place in Australia with $2.76 million on 483 screens over the weekend for a total opening of $3.68 million. This is also much better than its debut here, albeit not by as large a margin. The film cost $35 million to make and it has already made more than that worldwide. If it has legs, it will top $100 million internationally, which will be enough to cover its production budget, while it should ensure profitability, eventually. More...

Weekend Estimates: Sully Beats Trio of New Releases

September 18th, 2016

Sully

As expected, this weekend’s three new wide releases couldn’t budge Sully from the top of the chart with the Tom Hanks/Clint Eastwood drama down a very respectable 37% in its second weekend to $22 million, for a total of $70.5 million to date. Two films, Blair Witch and Bridget Jones’s Baby both had aspirations to challenge Sully for the title, but had to settle for second and third place. More...

Friday Estimates: New Releases Get Snowed Under by Sully’s $6.57 million Haul

September 17th, 2016

Snowden

Friday was terrible for new releases and Sully will have no trouble repeating on top of the chart this weekend. The film earned $6.57 million on Friday, which is less than a 50% decline from its opening Friday. It might not quite get to $22 million as predicted, but even if it doesn’t, it should come close enough to be considered a victory. This is great news, because it is the only September release so far that has done well enough to call it a box office success. More...

Thursday Night Previews: Blair Witch Spooks the Box Office with $765,000

September 16th, 2016

Blair Witch

Blair Witch led the way during Thursday’s previews with $765,000. This is well short of the horror films we had during the summer, including The Shallows at $1.33 million and Lights Out at $1.8 million. Then again, it isn’t really fair to compare previews during summer when a lot of the target audience doesn’t have to go to school the next day. Unfortunately, there are not a lot of horror films that come out in September and previews like this have only been ubiquitous for the past few years. I think it is a good sign, but I’m not sure. Maybe if moviegoers like it more than critics do, the film will be a hit. More...

Weekend Predictions: Baby vs. Witch

September 15th, 2016

Bridget Jones’s Baby

There are three wide releases this week, plus another that could sneak into the top ten. Two of the three new releases, Blair Witch and Bridget Jones’s Baby, are expected to do well. On the other hand, Snowden is only going to reach the top five due to the lack of competition. Meanwhile, Hillsong: Let Hope Rise is a faith-based concert film. It could reach the top five, or it could miss the Mendoza Line. There’s no way to predict its box office potential. Despite the number of new releases, Sully is expected to remain in top spot thanks to its reviews and target demographic. This weekend last year, Maze Runner: The Scorch Trials led the way with just over $30 million. It is likely no film will make that this year, while the depth is a mixed bag, so it looks like 2016 will lose in the year-over-year comparison. More...

Contest: Bewitching Prizes

September 9th, 2016

Blair Witch

Like this week, there are four wide releases coming out next week, but not all are expected to open truly wide. Of these film, Blair Witch is the only one that is expected to do well during the weekend, although Bridget Jones’s Baby should have better legs. Since we care about opening weekends more than end results, Blair Witch is clearly the better choice for the target film in this week's Box Office Prediction contest. In order to win, one must simply predict the opening weekend box office number for Blair Witch.

Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going over, will win a Frankenprize consisting of a previously reviewed full-season TV on DVD release, two previously reviewed movies, or three single-disc kids DVDs. Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going under, will also win a Frankenprize consisting of a previously reviewed full-season TV on DVD release, two previously reviewed movies, or three single-disc kids DVDs. Finally, we will be choosing an entrant from the group of people who haven't won, or haven't won recently, and they will win the final Frankenprize, as described above.

Entries must be received by 10 a.m., Pacific Time on Friday to be eligible, so don't delay! More...

2016 Preview: September

September 1st, 2016

The Magnificent Seven

August continued to pad 2016’s lead over 2015 in the year-over-year comparison. It managed this feat almost entirely due to Suicide Squad, which is on pace to hit $300 million. The next best film was Sausage Party, which might make $100 million, if it gets a push over the top. September won’t be as strong as that. This is no surprise, as the month is one of the biggest dumping grounds on the calendar. That said, studios have been working to make the end of the month a lot more productive and there are a few potential hits. The biggest of these is The Magnificent Seven, which is expected to crack $100 million, maybe even $150 million. Meanwhile, Sully and Storks both have a limited chance at $100 million. Last September, the biggest release of the month was Hotel Transylvania 2 with pulled in $169.70 million. I don’t think The Magnificent Seven will match that, so we might need a surprise $100 million hit for 2016 to come out on top. More...

Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.

Weekend Box Office Performance

DateRankGross% ChangeScreensPer ScreenTotal GrossWeek
2016/11/18 - $9,000   10 $900   $9,000 1

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 11/4/2016 $206,815 115 163 348 $543,818 11/30/2018
Australia 9/9/2016 $926,727 288 483 2470 $13,300,239 3/1/2021
Austria 10/21/2016 $400,000 78 78 78 $1,200,000 11/7/2016
Belgium 10/14/2016 $575,106 82 82 545 $2,227,531 12/29/2016
Brazil 9/29/2016 $574,013 238 238 694 $1,723,850 11/15/2016
Bulgaria 9/15/2016 $26,831 0 0 0 $167,748 2/26/2019
Chile 10/6/2016 $17,099 37 44 158 $504,879 12/31/2018
China 1/3/2017 $227,905 0 32 60 $730,871 8/27/2018
Colombia 10/28/2016 $74,425 65 65 77 $115,621 12/31/2018
Croatia 9/15/2016 $84,864 32 32 108 $254,453 12/31/2018
Czech Republic 9/15/2016 $421,475 117 117 613 $2,154,688 12/31/2018
Denmark 9/15/2016 $747,935 103 103 536 $3,255,268 12/6/2016
Finland 9/16/2016 $446,332 109 109 682 $2,557,472 1/11/2017
France 10/7/2016 $3,986,266 0 559 559 $14,168,100 8/17/2018
Germany 10/21/2016 $3,500,000 603 603 603 $10,112,870 8/19/2018
Greece 9/15/2016 $133,047 78 78 180 $337,100 10/25/2016
Hong Kong 9/15/2016 $444,319 43 43 125 $1,043,506 11/1/2016
Hungary 9/15/2016 $315,274 64 72 413 $1,579,709 12/31/2018
Indonesia 10/21/2016 $106,000 80 80 80 $106,000 12/20/2018
Israel 9/15/2016 $149,302 31 31 151 $611,006 12/31/2018
Italy 9/22/2016 $1,836,256 421 527 1410 $6,399,602 11/1/2016
Japan 10/28/2016 $687,219 0 0 0 $3,890,252 11/22/2016
Lithuania 9/16/2016 $43,494 131 131 410 $227,516 11/23/2016
Malaysia 9/29/2016 $34,771 20 20 62 $91,946 10/25/2016
Mexico 9/16/2016 $785,475 349 349 889 $2,188,941 12/21/2016
Netherlands 9/15/2016 $1,162,841 135 136 1646 $11,558,743 2/15/2017
New Zealand 9/16/2016 $269,610 71 114 839 $2,486,627 12/13/2016
North America 9/16/2016 $8,571,785 2,927 2,930 9,521 $24,139,805
Norway 9/16/2016 $1,013,949 157 157 590 $4,237,929 12/29/2016
Panama 9/15/2016 $231,872 21 21 49 $579,860 12/31/2018
Paraguay 11/18/2016 $9,000 10 10 10 $9,000 12/31/2018
Peru 9/15/2016 $243,040 69 69 167 $767,080 12/31/2018
Philippines 9/14/2016 $123,633 95 95 109 $172,266 12/31/2018
Poland 9/16/2016 $1,143,116 152 180 1207 $6,100,904 1/1/2019
Portugal 9/15/2016 $170,025 69 78 287 $583,848 11/17/2016
Russia (CIS) 9/15/2016 $1,356,530 900 900 2791 $3,531,783 12/31/2018
Singapore 9/15/2016 $177,319 34 34 102 $489,315 11/15/2016
Slovakia 9/16/2016 $166,606 70 70 280 $610,390 1/12/2017
Slovenia 9/15/2016 $70,156 12 12 120 $311,344 12/6/2016
South Africa 9/16/2016 $153,603 83 83 391 $719,234 11/15/2016
South Korea 9/6/2016 $11,149 0 509 1509 $5,696,058 9/10/2018
Spain 9/16/2016 $1,607,265 409 460 2038 $5,910,419 11/29/2016
Sweden 9/16/2016 $839,130 194 194 829 $4,995,923 1/11/2017
Switzerland 9/22/2016 $19,327 4 87 484 $2,751,031 1/11/2017
Switzerland (German Speaking) 10/21/2016 $389,000 55 55 55 $389,000 10/24/2016
Taiwan 9/16/2016 $339,558 85 85 225 $684,627 10/18/2016
Thailand 9/22/2016 $126,780 43 43 99 $309,830 10/18/2016
Turkey 9/16/2016 $93,835 175 175 424 $417,093 2/26/2019
United Kingdom 9/16/2016 $10,617,983 641 648 5070 $60,301,115 2/1/2017
Venezuela 10/7/2016 $0 0 39 68 $52,173 11/15/2016
 
Worldwide Total$207,298,383 3/1/2021

Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at research@the-numbers.com.

Leading Cast

Renée Zellweger    Bridget Jones
Colin Firth    Mark
Patrick Dempsey    Jack

Supporting Cast

Jim Broadbent    Dad
Gemma Jones    Mum
Emma Thompson    Dr. Rawlings
Sally Phillips    Shazzer
Julian Rhind-Tutt    Fergus
Shirley Henderson    Jude
Ben Willbond    Giles
Paul Bentall    Minister
Agni Scott    Camilla
Katia Elizarova    Glamorous Looking Woman
Tom Rosenthal    Josh - Researcher
Beattie Edmondson    Laura (Young Assistant)
Laura Checkley    Susan - Floor Manager
Sarah Solemani    Miranda
Joanna Scanlan    Cathy - Makeup Lady
Neil Pearson    Richard Finch
Erron Gordon    Hard News Studio Director
Laura Pearce    Hard News Studio PA
John Webb    Hard News Studio Vision Mixer
Patrick Malahide    George Wilkins
Kate O'Flynn    Alice
James Callis    Tom
Will Firth    Dreadlocked Guy
Rafferty Railton    Spike
Abigail Kimber    Ruby
Amy Jayne    Poppy
Adam Leese    Photographer
Darren Boyd    Jeremy
Jessica Hynes    Magda
Dolly Wells    Woney
Alana Hood    Ginny
George Barnden    Boy One
Freddie Barnden    Boy Two
Cameron Lane    Boy Three
Harmon Joseph    Milo
Enzo Cilenti    Gianni
Ben Ashenden    Pierce
Kasia Koleczek    Girl Band Member 2
Aiste Gramantaite    Girl Band Member 1
Maria Alexe    Girl Band Member 3
Souad Faress    Judge
Nick Mohammed    Ariyaratna
David Forest    Graham
Maitland Chandler    Edward
Dominic Coleman    Village Hall Photographer
Celia Imrie    Una
Debra Gillett    Daisy
Chooye Bay    Studio Guest
Bruce Wang    General Lu Tong
Cathy Murphy    Cashier
Ashley McGuire    Midwife
Janet Henfrey    Mavis Enderbury
Richard Rycroft    Election Official
David Crow    Wedding Minister
Shirley Dixon    Mrs. Darcy
Donald Douglas    Admiral Darcy
James Faulkner    Uncle Geoffrey

Cameos

Ed Sheeran    Himself

For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.

Production and Technical Credits

Sharon Maguire    Director
Emma Thompson    Screenwriter
Helen Fielding    Screenwriter
Dan Mazer    Screenwriter
Helen Fielding    Based of the Characters and Story by
Tim Bevan    Producer
Eric Fellner    Producer
Debra Hayward    Producer
Amelia Granger    Executive Producer
Liza Chasin    Executive Producer
Helen Fielding    Executive Producer
Jane Robertson    Co-Producer
Andrew Dunn    Director of Photography
John Paul Kelly    Production Designer
Melanie Ann Oliver    Editor
Jan Sewell    Make-up and Hair Designer
Steven Noble    Costume Designer
Nina Gold    Casting Director
Nick Angel    Music Supervisor
Craig Armstrong    Composer
Harriet Spencer    Associate Producer
Glenn Freemantle    Sound Designer
Glenn Freemantle    Supervising Sound Editor
Matthew Penry-Davey    First Assistant Director
Richard May    Production Manager
Rashad Omar    Sound Mixer
Camilla Stephenson    Supervising Location Manager
Sue Hills    Script Supervisor
David Hindle    Supervising Art Director
Ann Lynch    Post-Production Supervisor
Alex Anstey    First Assistant Editor
John Warhurst    Music Editor
Brendan Nicholson    Re-recording Mixer
Adam Scrivener    Re-recording Mixer
Finlay Bradbury    Location Manager
Cat Ho    Location Manager
Helene Lenszner    Location Manager
Alex Gladstone    Location Manager
Jonathan Houlding    Art Director
Emma MacDevitt    Art Director
Sara Wan    Set Decorator
Nick Moore    Additional Editor
David Freeman    Additional Editor
Tania Chant    Costume Supervisor
Chris Reynolds    Special Effects Supervisor
Lauren Evans    Additional Casting-Casting Associate
Mark Heslop    Sound Effects Editor
Niv Adiri    Sound Effects Editor
Eilam Hoffman    Sound Effects Editor
Rob Malone    Sound Effects Editor
Alistair Hawkins    Sound Effects Editor
Patch Morrison    Sound Effects Editor
Emilie O’Connor    Supervising Dialogue/ADR Editor
Nina Hartstone    Dialogue Editor
Glen Gathard    Foley Mixer
Tim Caplan    Visual Effects Executive Producer
Adam Gascoyne    Visual Effects Executive Producer
Simon Hughes    Visual Effects Supervisor
Noga Alon Stein    Visual Effects Producer
Emma Ford    Score Supervisor

The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.