Winchester (2018)
| Theatrical Performance | ||
| Domestic Box Office | $25,091,816 | Details |
| International Box Office | $20,868,439 | Details |
| Worldwide Box Office | $45,960,255 | |
| Domestic Physical Disc Sales | ||
| DVD Sales (estimated) | $2,546,022 | |
| Blu-ray Sales (estimated) | $1,809,957 | |
| Total | $4,355,979 | |
| OpusData ID: 267020100 More info... | ||
| Further financial details... | ||
Synopsis
On an isolated stretch of land 50 miles outside of San Francisco sits the most haunted house in the world. Built by Sarah Winchester, heiress to the Winchester fortune, it is a house that knows no end. Constructed in an incessant twenty-four hour a day, seven day a week mania for decades, it stands seven stories tall and contains hundreds of rooms. To the outsider it looks like a monstrous monument to a disturbed woman’s madness. But Sarah is not building for herself, for her niece or for the brilliant Doctor Eric Price whom she has summoned to the house. She is building a prison, an asylum for hundreds of vengeful ghosts, and the most terrifying among them have a score to settle with the Winchesters…
Metrics
| Opening Weekend: | $9,307,626 (37.1% of total gross) |
| Legs: | 2.70 (domestic box office/biggest weekend) |
| Domestic Share: | 54.6% (domestic box office/worldwide) |
| Production Budget: | $3,500,000 (worldwide box office is 13.1 times production budget) |
| Theater counts: | 2,480 opening theaters/2,480 max. theaters, 3.4 weeks average run per theater |
| Infl. Adj. Dom. BO | $32,941,619 |
Movie Details
| Domestic Releases: | February 2nd, 2018 (Wide) by CBS Films |
| International Releases: | February 2nd, 2018 (Wide) (United Kingdom)
February 9th, 2018 (Wide) (Netherlands) February 9th, 2018 (Wide) (Poland) February 23rd, 2018 (Wide) (Australia) February 24th, 2018 (Wide), released as La vedova Winchester (Italy) ... Show all releases |
| Video Release: | April 17th, 2018 by Lionsgate Home Entertainment |
| MPA Rating: | PG-13 for violence, disturbing images, drug content, some sexual material and thematic elements. (Rating bulletin 2507 (Cert #51318), 12/20/2017) |
| Running Time: | 99 minutes |
| Cast, crew, or production detail: | Family Affair |
| Geographical setting: | California, San Francisco |
| Plot point: | Addiction, Death of a Son or Daughter, Death of a Spouse or Fiancée / Fiancé, Friendly Ghost, Haunted House, Psychics, Suicide, Widow/Widower |
| Social setting: | Supernatural |
| Source material: | Inspired by a True Story |
| Subgenre: | Supernatural Horror |
| Time period setting: | 1800s |
| Source: | Based on Real Life Events |
| Genre: | Horror |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | CBS Films, Eclipse Films, Screen Australia, Screen Queensland, Film Victoria, Blacklab, Imagination Design Works |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 2018 | 3 | $9,307,626 | 2,480 | $3,753 | $9,307,626 | 1 | |
| Feb 9, 2018 | 7 | $5,211,217 | -44% | 2,480 | $2,101 | $17,338,575 | 2 |
| Feb 16, 2018 | 9 | $2,205,695 | -58% | 1,479 | $1,491 | $21,835,874 | 3 |
| Feb 23, 2018 | 17 | $929,450 | -58% | 852 | $1,091 | $23,735,224 | 4 |
| Mar 2, 2018 | 19 | $516,392 | -44% | 576 | $897 | $24,545,230 | 5 |
| Mar 9, 2018 | 31 | $167,629 | -68% | 261 | $642 | $24,871,652 | 6 |
| Mar 16, 2018 | 42 | $50,076 | -70% | 91 | $550 | $24,987,223 | 7 |
| Mar 23, 2018 | 41 | $56,273 | +12% | 90 | $625 | $25,060,919 | 8 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Feb 2, 2018 | 1 | $3,622,125 | 2,480 | $1,461 | $3,622,125 | 1 | ||
| Feb 3, 2018 | 3 | $4,136,849 | +14% | 2,480 | $1,668 | $7,758,974 | 2 | |
| Feb 4, 2018 | 3 | $1,548,652 | -63% | 2,480 | $624 | $9,307,626 | 3 | |
| Feb 5, 2018 | 3 | $696,786 | -55% | 2,480 | $281 | $10,004,412 | 4 | |
| Feb 6, 2018 | 3 | $959,605 | +38% | 2,480 | $387 | $10,964,017 | 5 | |
| Feb 7, 2018 | 4 | $603,399 | -37% | 2,480 | $243 | $11,567,416 | 6 | |
| Feb 8, 2018 | 4 | $559,942 | -7% | 2,480 | $226 | $12,127,358 | 7 | |
| Feb 9, 2018 | 7 | $1,386,162 | +148% | -62% | 2,480 | $559 | $13,513,520 | 8 |
| Feb 10, 2018 | 7 | $2,369,286 | +71% | -43% | 2,480 | $955 | $15,882,806 | 9 |
| Feb 11, 2018 | 7 | $1,455,769 | -39% | -6% | 2,480 | $587 | $17,338,575 | 10 |
| Feb 12, 2018 | 7 | $424,855 | -71% | -39% | 2,480 | $171 | $17,763,430 | 11 |
| Feb 13, 2018 | 7 | $528,030 | +24% | -45% | 2,480 | $213 | $18,291,460 | 12 |
| Feb 14, 2018 | 6 | $1,021,253 | +93% | +69% | 2,480 | $412 | $19,312,713 | 13 |
| Feb 15, 2018 | 6 | $317,466 | -69% | -43% | 2,480 | $128 | $19,630,179 | 14 |
| Feb 16, 2018 | 10 | $572,403 | +80% | -59% | 1,479 | $387 | $20,202,582 | 15 |
| Feb 17, 2018 | 9 | $927,932 | +62% | -61% | 1,479 | $627 | $21,130,514 | 16 |
| Feb 18, 2018 | 9 | $705,360 | -24% | -52% | 1,479 | $477 | $21,835,874 | 17 |
| Feb 19, 2018 | 10 | $413,461 | -41% | -3% | 1,479 | $280 | $22,249,335 | 18 |
| Feb 20, 2018 | 9 | $235,553 | -43% | -55% | 1,479 | $159 | $22,484,888 | 19 |
| Feb 21, 2018 | 10 | $176,980 | -25% | -83% | 1,479 | $120 | $22,661,868 | 20 |
| Feb 22, 2018 | 13 | $143,906 | -19% | -55% | 1,479 | $97 | $22,805,774 | 21 |
| Feb 23, 2018 | 14 | $262,233 | +82% | -54% | 852 | $308 | $23,068,007 | 22 |
| Feb 24, 2018 | - | $432,494 | +65% | -53% | 852 | $508 | $23,500,501 | 23 |
| Feb 25, 2018 | - | $234,723 | -46% | -67% | 852 | $275 | $23,735,224 | 24 |
| Feb 26, 2018 | - | $74,126 | -68% | -82% | 852 | $87 | $23,809,350 | 25 |
| Feb 27, 2018 | - | $93,609 | +26% | -60% | 852 | $110 | $23,902,959 | 26 |
| Feb 28, 2018 | - | $67,838 | -28% | -62% | 852 | $80 | $23,970,797 | 27 |
| Mar 1, 2018 | - | $58,041 | -14% | -60% | 852 | $68 | $24,028,838 | 28 |
| Mar 2, 2018 | - | $137,855 | +138% | -47% | 576 | $239 | $24,166,693 | 29 |
| Mar 3, 2018 | - | $245,115 | +78% | -43% | 576 | $426 | $24,411,808 | 30 |
| Mar 4, 2018 | - | $133,422 | -46% | -43% | 576 | $232 | $24,545,230 | 31 |
| Mar 5, 2018 | - | $38,531 | -71% | -48% | 576 | $67 | $24,583,761 | 32 |
| Mar 6, 2018 | - | $51,081 | +33% | -45% | 576 | $89 | $24,634,842 | 33 |
| Mar 7, 2018 | - | $40,144 | -21% | -41% | 576 | $70 | $24,674,986 | 34 |
| Mar 8, 2018 | - | $29,037 | -28% | -50% | 576 | $50 | $24,704,023 | 35 |
| Mar 9, 2018 | - | $47,071 | +62% | -66% | 261 | $180 | $24,751,094 | 36 |
| Mar 10, 2018 | - | $77,488 | +65% | -68% | 261 | $297 | $24,828,582 | 37 |
| Mar 11, 2018 | - | $43,070 | -44% | -68% | 261 | $165 | $24,871,652 | 38 |
| Mar 12, 2018 | - | $14,892 | -65% | -61% | 261 | $57 | $24,886,544 | 39 |
| Mar 13, 2018 | - | $20,586 | +38% | -60% | 261 | $79 | $24,907,130 | 40 |
| Mar 14, 2018 | - | $15,946 | -23% | -60% | 261 | $61 | $24,923,076 | 41 |
| Mar 15, 2018 | - | $14,071 | -12% | -52% | 261 | $54 | $24,937,147 | 42 |
| Mar 16, 2018 | - | $15,705 | +12% | -67% | 91 | $173 | $24,952,852 | 43 |
| Mar 17, 2018 | - | $23,631 | +50% | -70% | 91 | $260 | $24,976,483 | 44 |
| Mar 18, 2018 | - | $10,740 | -55% | -75% | 91 | $118 | $24,987,223 | 45 |
| Mar 19, 2018 | - | $4,024 | -63% | -73% | 91 | $44 | $24,991,247 | 46 |
| Mar 20, 2018 | - | $4,760 | +18% | -77% | 91 | $52 | $24,996,007 | 47 |
| Mar 21, 2018 | - | $4,034 | -15% | -75% | 91 | $44 | $25,000,041 | 48 |
| Mar 22, 2018 | - | $4,605 | +14% | -67% | 91 | $51 | $25,004,646 | 49 |
| Mar 23, 2018 | - | $14,918 | +224% | -5% | 90 | $166 | $25,019,564 | 50 |
| Mar 24, 2018 | - | $24,417 | +64% | +3% | 90 | $271 | $25,043,981 | 51 |
| Mar 25, 2018 | - | $16,938 | -31% | +58% | 90 | $188 | $25,060,919 | 52 |
| Mar 26, 2018 | - | $7,018 | -59% | +74% | 90 | $78 | $25,067,937 | 53 |
| Mar 27, 2018 | - | $8,054 | +15% | +69% | 90 | $89 | $25,075,991 | 54 |
| Mar 28, 2018 | - | $6,924 | -14% | +72% | 90 | $77 | $25,082,915 | 55 |
| Mar 29, 2018 | - | $8,901 | +29% | +93% | 90 | $99 | $25,091,816 | 56 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 2018 | 3 | $12,127,358 | 2,480 | $4,890 | $12,127,358 | 1 | |
| Feb 9, 2018 | 7 | $7,502,821 | -38% | 2,480 | $3,025 | $19,630,179 | 2 |
| Feb 16, 2018 | 9 | $3,175,595 | -58% | 1,479 | $2,147 | $22,805,774 | 3 |
| Feb 23, 2018 | 17 | $1,223,064 | -61% | 852 | $1,436 | $24,028,838 | 4 |
| Mar 2, 2018 | 20 | $675,185 | -45% | 576 | $1,172 | $24,704,023 | 5 |
| Mar 9, 2018 | 33 | $233,124 | -65% | 261 | $893 | $24,937,147 | 6 |
| Mar 16, 2018 | 46 | $67,499 | -71% | 91 | $742 | $25,004,646 | 7 |
| Mar 23, 2018 | 42 | $87,170 | +29% | 90 | $969 | $25,091,816 | 8 |
Top International Territories
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens/Theaters |
Maximum Screens/Theaters |
Theatrical Engagements |
Total Box Office |
Report Date |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Argentina | 3/2/2018 | $258,953 | 0 | 0 | 0 | $1,005,302 | 1/1/2019 | |||
| Australia | 2/23/2018 | $309,541 | 206 | 206 | 524 | $663,000 | 3/26/2018 | |||
| Brazil | 3/2/2018 | $1,169,253 | 0 | 0 | 0 | $2,971,319 | 6/14/2018 | |||
| Czech Republic | 3/2/2018 | $107,055 | 86 | 86 | 237 | $351,192 | 1/1/2019 | |||
| Italy | 2/24/2018 | $839,048 | 0 | 0 | 0 | $1,664,140 | 3/14/2018 | |||
| Lithuania | 4/27/2018 | $11,017 | 70 | 70 | 100 | $21,912 | 5/18/2018 | |||
| Mexico | 3/9/2018 | $1,421,878 | 0 | 0 | 0 | $4,122,724 | 4/2/2018 | |||
| Netherlands | 2/9/2018 | $141,899 | 61 | 63 | 225 | $497,676 | 3/5/2018 | |||
| New Zealand | 3/2/2018 | $44,035 | 50 | 52 | 130 | $98,581 | 4/9/2018 | |||
| Poland | 2/9/2018 | $193,423 | 0 | 0 | 0 | $712,691 | 1/1/2019 | |||
| Portugal | 4/13/2018 | $86,010 | 39 | 39 | 125 | $204,239 | 6/1/2018 | |||
| Russia (CIS) | 4/5/2018 | $463,808 | 639 | 639 | 1,346 | $923,827 | 2/26/2019 | |||
| Slovakia | 3/2/2018 | $58,538 | 58 | 58 | 130 | $155,142 | 3/27/2018 | |||
| South Korea | 9/19/2019 | $0 | 0 | 2 | 2 | $24,739 | 10/9/2019 | |||
| Spain | 3/9/2018 | $725,499 | 250 | 250 | 1,039 | $2,216,195 | 4/19/2018 | |||
| Turkey | 4/20/2018 | $24,301 | 60 | 60 | 83 | $49,126 | 2/26/2019 | |||
| United Kingdom | 2/2/2018 | $527,688 | 336 | 336 | 336 | $527,688 | 4/4/2026 | |||
| Rest of World | $4,658,946 | |||||||||
| International Total | $20,868,439 | 4/4/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Helen Mirren | Sarah Winchester |
Supporting
| Jason Clarke | Dr. Eric Price | |
| Sarah Snook | Marion Marriott | |
| Finn Scicluna-O’Prey | Henry Marriott | |
| Emm Wiseman | Nancy | |
| Alana Fagan | Partially Dressed Lady #1 | |
| Rebecca Makar | Partially Dressed Lady #2 | |
| Tyler Coppin | Arthur Gates | |
| Michael Carman | Frank | |
| Angus Sampson | John Hansen | |
| Alice Chaston | Clara | |
| Eamon Farren | Ben Block | |
| Laura Brent | Ruby Price | |
| Adam Bowes | Farmer Amputee | |
| Bruce Spence | Augustine | |
| Phoenix Suhrou-DiMarco | Native American Child | |
| Jayden Irving | Carpenter #1 | |
| Rosco Campbell | Carpenter #2 | |
| Puven Pather | Carpenter #3 | |
| Tom Heath | Wiry Carpenter | |
| Curtis Bock | Harry Block | |
| Andy de Lore | James Block | |
| Graham Jahne | Innocent Man #1 | |
| Hayden Stewart | Innocent Man #2 | |
| Chris Anderson | Innocent Man #3 | |
| Laura Sutton | Innocent Woman | |
| Robert Shook | Police Officer #1 | |
| Richard Anastasios | Police Officer #2 | |
| Will Jones | Police Officer #3 | |
| Luke David Maizey | Police Officer #4 | |
| James Baldwin | Police Officer #5 | |
| Neil Solomano | Police Officer #6 | |
| Amos Ciza | Slave Ghost | |
| Red Horse Rivera | Chief Little Fawn | |
| Timothy Brown | Ghost #1 | |
| Kym Lannin | Ghost #2 - Union Soldier | |
| Christian Rhodes-Wolfe | Ghost #3-Union Soldier | |
| Albert Trajstman | Ghost #4-Sheriff | |
| Xavier Gerard Ludovic Gouault | Ghost #5-Police Officer | |
| Gawi Deng | Ghost #6-Confederate Soldier | |
| Ryuhei Tsukamoto | Ghost #7-Rail Worker | |
| Shane Holloway | Ghost #8-Cowboy | |
| Michael Boyd | Ghost #9-Sheriff | |
| Elisa Abascal | Ghost #10-Mexican Woman | |
| Akosua Sabet | Ghost #11-Cotton Picker | |
| Stephanie Beall | Ghost #12-1895 Wealthy Lady | |
| Clancy Fraser | Ghost #13-Prostitute | |
| Chris Homa | Ghost #14-Farmer’s Wife | |
| Rose Juan | Ghost #15-Maid |
Production and Technical Credits
| Michael Spierig | Director | |
| Peter Spierig | Director | |
| Michael Spierig | Screenwriter | |
| Peter Spierig | Screenwriter | |
| Tom Vaughan | Screenwriter | |
| Tim McGahan | Producer | |
| Brett Tomberlin | Producer | |
| Benedict Carver | Executive Producer | |
| Daniel Diamond | Executive Producer | |
| Tobin Armbrust | Executive Producer | |
| Andrew Trapani | Executive Producer | |
| Brian Gilbert | Executive Producer | |
| Michael Burton | Executive Producer | |
| Bryce Menzies | Executive Producer | |
| Marc Schipper | Executive Producer | |
| Simon Oakes | Executive Producer | |
| Antonio Lianos | Executive Producer | |
| Ben Nott | Director of Photography | |
| Matthew Putland | Production Designer | |
| Matt Villa | Editor | |
| Wendy Cork | Costume Designer | |
| Steve Boyle | Special Make-up Effects | |
| Peter Spierig | Composer | |
| Maura Fay | Casting Director | |
| Leigh Pickford | Casting Director | |
| Chris Anderson | Stunt Coordinator | |
| Yvonne Collins | Line Producer | |
| Angelique Badenoch | Production Manager | |
| Jamie Leslie | First Assistant Director | |
| Janie Parker | Art Director | |
| Jeff Betancourt | Additional Editor | |
| Angella McPherson | Second Assistant Director | |
| Carmel Torcasio | Script Supervisor | |
| Stephen Brett | Location Manager | |
| Michael Bell | Set Designer | |
| Douglas Pierce | Set Designer | |
| Vanessa Cerne | Set Decorator | |
| Peter Stubbs | Special Effects Supervisor | |
| Rachel Nott | Costume Supervisor | |
| Michael Davies | Costume Supervisor | |
| Lynn Wheeler | Make-up and Hair Designer | |
| Henry Karjalainen | Post-Production Supervisor | |
| Courtney Lee Bowden | First Assistant Editor/VFX Editor | |
| Daniel Newfield | First Assistant Editor | |
| Shannon Longville | Assistant Editor | |
| Paul Pirola | Sound Supervisor | |
| Pete Smith | Re-recording Mixer | |
| Paul Pirola | Re-recording Mixer | |
| Hayden Collow | Sound Designer | |
| Andrew Neil | Sound Effects Editor | |
| Frank Lipson | Sound Effects Editor | |
| Tom Heuzenroeder | Sound Effects Editor | |
| Joe Dzuban | Sound Effects Editor | |
| Andrew Moore | Sound Effects Editor | |
| Peter Miller | Sound Effects Editor | |
| Rangi Sutton | Visual Effects Supervisor | |
| Kasia Rymar | Visual Effects Producer | |
| Flavia Riley | Visual Effects Producer | |
| Kristie Godden | Visual Effects Producer | |
| Christian Scallan* | Music Editor | |
| Laura Katz | Music Supervisor | |
| Tim Hegarty | Executive Music Producer | |
| Tara Finegan | Executive Music Producer |
Cast and crew with above-the-line roles are marked in bold. The line marks the division between above-the-line and below-the-line roles.
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.
Synopsis
On an isolated stretch of land 50 miles outside of San Francisco sits the most haunted house in the world. Built by Sarah Winchester, heiress to the Winchester fortune, it is a house that knows no end. Constructed in an incessant twenty-four hour a day, seven day a week mania for decades, it stands seven stories tall and contains hundreds of rooms. To the outsider it looks like a monstrous monument to a disturbed woman’s madness. But Sarah is not building for herself, for her niece or for the brilliant Doctor Eric Price whom she has summoned to the house. She is building a prison, an asylum for hundreds of vengeful ghosts, and the most terrifying among them have a score to settle with the Winchesters…
Metrics
| Opening Weekend: | $9,307,626 (37.1% of total gross) |
| Legs: | 2.70 (domestic box office/biggest weekend) |
| Domestic Share: | 54.6% (domestic box office/worldwide) |
| Production Budget: | $3,500,000 (worldwide box office is 13.1 times production budget) |
| Theater counts: | 2,480 opening theaters/2,480 max. theaters, 3.4 weeks average run per theater |
| Infl. Adj. Dom. BO | $32,941,619 |
Movie Details
| Domestic Releases: | February 2nd, 2018 (Wide) by CBS Films |
| International Releases: | February 2nd, 2018 (Wide) (United Kingdom)
February 9th, 2018 (Wide) (Netherlands) February 9th, 2018 (Wide) (Poland) February 23rd, 2018 (Wide) (Australia) February 24th, 2018 (Wide), released as La vedova Winchester (Italy) ... Show all releases |
| Video Release: | April 17th, 2018 by Lionsgate Home Entertainment |
| MPA Rating: | PG-13 for violence, disturbing images, drug content, some sexual material and thematic elements. (Rating bulletin 2507 (Cert #51318), 12/20/2017) |
| Running Time: | 99 minutes |
| Cast, crew, or production detail: | Family Affair |
| Geographical setting: | California, San Francisco |
| Plot point: | Addiction, Death of a Son or Daughter, Death of a Spouse or Fiancée / Fiancé, Friendly Ghost, Haunted House, Psychics, Suicide, Widow/Widower |
| Social setting: | Supernatural |
| Source material: | Inspired by a True Story |
| Subgenre: | Supernatural Horror |
| Time period setting: | 1800s |
| Source: | Based on Real Life Events |
| Genre: | Horror |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | CBS Films, Eclipse Films, Screen Australia, Screen Queensland, Film Victoria, Blacklab, Imagination Design Works |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 2018 | 3 | $9,307,626 | 2,480 | $3,753 | $9,307,626 | 1 | |
| Feb 9, 2018 | 7 | $5,211,217 | -44% | 2,480 | $2,101 | $17,338,575 | 2 |
| Feb 16, 2018 | 9 | $2,205,695 | -58% | 1,479 | $1,491 | $21,835,874 | 3 |
| Feb 23, 2018 | 17 | $929,450 | -58% | 852 | $1,091 | $23,735,224 | 4 |
| Mar 2, 2018 | 19 | $516,392 | -44% | 576 | $897 | $24,545,230 | 5 |
| Mar 9, 2018 | 31 | $167,629 | -68% | 261 | $642 | $24,871,652 | 6 |
| Mar 16, 2018 | 42 | $50,076 | -70% | 91 | $550 | $24,987,223 | 7 |
| Mar 23, 2018 | 41 | $56,273 | +12% | 90 | $625 | $25,060,919 | 8 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Feb 2, 2018 | 1 | $3,622,125 | 2,480 | $1,461 | $3,622,125 | 1 | ||
| Feb 3, 2018 | 3 | $4,136,849 | +14% | 2,480 | $1,668 | $7,758,974 | 2 | |
| Feb 4, 2018 | 3 | $1,548,652 | -63% | 2,480 | $624 | $9,307,626 | 3 | |
| Feb 5, 2018 | 3 | $696,786 | -55% | 2,480 | $281 | $10,004,412 | 4 | |
| Feb 6, 2018 | 3 | $959,605 | +38% | 2,480 | $387 | $10,964,017 | 5 | |
| Feb 7, 2018 | 4 | $603,399 | -37% | 2,480 | $243 | $11,567,416 | 6 | |
| Feb 8, 2018 | 4 | $559,942 | -7% | 2,480 | $226 | $12,127,358 | 7 | |
| Feb 9, 2018 | 7 | $1,386,162 | +148% | -62% | 2,480 | $559 | $13,513,520 | 8 |
| Feb 10, 2018 | 7 | $2,369,286 | +71% | -43% | 2,480 | $955 | $15,882,806 | 9 |
| Feb 11, 2018 | 7 | $1,455,769 | -39% | -6% | 2,480 | $587 | $17,338,575 | 10 |
| Feb 12, 2018 | 7 | $424,855 | -71% | -39% | 2,480 | $171 | $17,763,430 | 11 |
| Feb 13, 2018 | 7 | $528,030 | +24% | -45% | 2,480 | $213 | $18,291,460 | 12 |
| Feb 14, 2018 | 6 | $1,021,253 | +93% | +69% | 2,480 | $412 | $19,312,713 | 13 |
| Feb 15, 2018 | 6 | $317,466 | -69% | -43% | 2,480 | $128 | $19,630,179 | 14 |
| Feb 16, 2018 | 10 | $572,403 | +80% | -59% | 1,479 | $387 | $20,202,582 | 15 |
| Feb 17, 2018 | 9 | $927,932 | +62% | -61% | 1,479 | $627 | $21,130,514 | 16 |
| Feb 18, 2018 | 9 | $705,360 | -24% | -52% | 1,479 | $477 | $21,835,874 | 17 |
| Feb 19, 2018 | 10 | $413,461 | -41% | -3% | 1,479 | $280 | $22,249,335 | 18 |
| Feb 20, 2018 | 9 | $235,553 | -43% | -55% | 1,479 | $159 | $22,484,888 | 19 |
| Feb 21, 2018 | 10 | $176,980 | -25% | -83% | 1,479 | $120 | $22,661,868 | 20 |
| Feb 22, 2018 | 13 | $143,906 | -19% | -55% | 1,479 | $97 | $22,805,774 | 21 |
| Feb 23, 2018 | 14 | $262,233 | +82% | -54% | 852 | $308 | $23,068,007 | 22 |
| Feb 24, 2018 | - | $432,494 | +65% | -53% | 852 | $508 | $23,500,501 | 23 |
| Feb 25, 2018 | - | $234,723 | -46% | -67% | 852 | $275 | $23,735,224 | 24 |
| Feb 26, 2018 | - | $74,126 | -68% | -82% | 852 | $87 | $23,809,350 | 25 |
| Feb 27, 2018 | - | $93,609 | +26% | -60% | 852 | $110 | $23,902,959 | 26 |
| Feb 28, 2018 | - | $67,838 | -28% | -62% | 852 | $80 | $23,970,797 | 27 |
| Mar 1, 2018 | - | $58,041 | -14% | -60% | 852 | $68 | $24,028,838 | 28 |
| Mar 2, 2018 | - | $137,855 | +138% | -47% | 576 | $239 | $24,166,693 | 29 |
| Mar 3, 2018 | - | $245,115 | +78% | -43% | 576 | $426 | $24,411,808 | 30 |
| Mar 4, 2018 | - | $133,422 | -46% | -43% | 576 | $232 | $24,545,230 | 31 |
| Mar 5, 2018 | - | $38,531 | -71% | -48% | 576 | $67 | $24,583,761 | 32 |
| Mar 6, 2018 | - | $51,081 | +33% | -45% | 576 | $89 | $24,634,842 | 33 |
| Mar 7, 2018 | - | $40,144 | -21% | -41% | 576 | $70 | $24,674,986 | 34 |
| Mar 8, 2018 | - | $29,037 | -28% | -50% | 576 | $50 | $24,704,023 | 35 |
| Mar 9, 2018 | - | $47,071 | +62% | -66% | 261 | $180 | $24,751,094 | 36 |
| Mar 10, 2018 | - | $77,488 | +65% | -68% | 261 | $297 | $24,828,582 | 37 |
| Mar 11, 2018 | - | $43,070 | -44% | -68% | 261 | $165 | $24,871,652 | 38 |
| Mar 12, 2018 | - | $14,892 | -65% | -61% | 261 | $57 | $24,886,544 | 39 |
| Mar 13, 2018 | - | $20,586 | +38% | -60% | 261 | $79 | $24,907,130 | 40 |
| Mar 14, 2018 | - | $15,946 | -23% | -60% | 261 | $61 | $24,923,076 | 41 |
| Mar 15, 2018 | - | $14,071 | -12% | -52% | 261 | $54 | $24,937,147 | 42 |
| Mar 16, 2018 | - | $15,705 | +12% | -67% | 91 | $173 | $24,952,852 | 43 |
| Mar 17, 2018 | - | $23,631 | +50% | -70% | 91 | $260 | $24,976,483 | 44 |
| Mar 18, 2018 | - | $10,740 | -55% | -75% | 91 | $118 | $24,987,223 | 45 |
| Mar 19, 2018 | - | $4,024 | -63% | -73% | 91 | $44 | $24,991,247 | 46 |
| Mar 20, 2018 | - | $4,760 | +18% | -77% | 91 | $52 | $24,996,007 | 47 |
| Mar 21, 2018 | - | $4,034 | -15% | -75% | 91 | $44 | $25,000,041 | 48 |
| Mar 22, 2018 | - | $4,605 | +14% | -67% | 91 | $51 | $25,004,646 | 49 |
| Mar 23, 2018 | - | $14,918 | +224% | -5% | 90 | $166 | $25,019,564 | 50 |
| Mar 24, 2018 | - | $24,417 | +64% | +3% | 90 | $271 | $25,043,981 | 51 |
| Mar 25, 2018 | - | $16,938 | -31% | +58% | 90 | $188 | $25,060,919 | 52 |
| Mar 26, 2018 | - | $7,018 | -59% | +74% | 90 | $78 | $25,067,937 | 53 |
| Mar 27, 2018 | - | $8,054 | +15% | +69% | 90 | $89 | $25,075,991 | 54 |
| Mar 28, 2018 | - | $6,924 | -14% | +72% | 90 | $77 | $25,082,915 | 55 |
| Mar 29, 2018 | - | $8,901 | +29% | +93% | 90 | $99 | $25,091,816 | 56 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 2018 | 3 | $12,127,358 | 2,480 | $4,890 | $12,127,358 | 1 | |
| Feb 9, 2018 | 7 | $7,502,821 | -38% | 2,480 | $3,025 | $19,630,179 | 2 |
| Feb 16, 2018 | 9 | $3,175,595 | -58% | 1,479 | $2,147 | $22,805,774 | 3 |
| Feb 23, 2018 | 17 | $1,223,064 | -61% | 852 | $1,436 | $24,028,838 | 4 |
| Mar 2, 2018 | 20 | $675,185 | -45% | 576 | $1,172 | $24,704,023 | 5 |
| Mar 9, 2018 | 33 | $233,124 | -65% | 261 | $893 | $24,937,147 | 6 |
| Mar 16, 2018 | 46 | $67,499 | -71% | 91 | $742 | $25,004,646 | 7 |
| Mar 23, 2018 | 42 | $87,170 | +29% | 90 | $969 | $25,091,816 | 8 |
Top International Territories
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens/Theaters |
Maximum Screens/Theaters |
Theatrical Engagements |
Total Box Office |
Report Date |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Argentina | 3/2/2018 | $258,953 | 0 | 0 | 0 | $1,005,302 | 1/1/2019 | |||
| Australia | 2/23/2018 | $309,541 | 206 | 206 | 524 | $663,000 | 3/26/2018 | |||
| Brazil | 3/2/2018 | $1,169,253 | 0 | 0 | 0 | $2,971,319 | 6/14/2018 | |||
| Czech Republic | 3/2/2018 | $107,055 | 86 | 86 | 237 | $351,192 | 1/1/2019 | |||
| Italy | 2/24/2018 | $839,048 | 0 | 0 | 0 | $1,664,140 | 3/14/2018 | |||
| Lithuania | 4/27/2018 | $11,017 | 70 | 70 | 100 | $21,912 | 5/18/2018 | |||
| Mexico | 3/9/2018 | $1,421,878 | 0 | 0 | 0 | $4,122,724 | 4/2/2018 | |||
| Netherlands | 2/9/2018 | $141,899 | 61 | 63 | 225 | $497,676 | 3/5/2018 | |||
| New Zealand | 3/2/2018 | $44,035 | 50 | 52 | 130 | $98,581 | 4/9/2018 | |||
| Poland | 2/9/2018 | $193,423 | 0 | 0 | 0 | $712,691 | 1/1/2019 | |||
| Portugal | 4/13/2018 | $86,010 | 39 | 39 | 125 | $204,239 | 6/1/2018 | |||
| Russia (CIS) | 4/5/2018 | $463,808 | 639 | 639 | 1,346 | $923,827 | 2/26/2019 | |||
| Slovakia | 3/2/2018 | $58,538 | 58 | 58 | 130 | $155,142 | 3/27/2018 | |||
| South Korea | 9/19/2019 | $0 | 0 | 2 | 2 | $24,739 | 10/9/2019 | |||
| Spain | 3/9/2018 | $725,499 | 250 | 250 | 1,039 | $2,216,195 | 4/19/2018 | |||
| Turkey | 4/20/2018 | $24,301 | 60 | 60 | 83 | $49,126 | 2/26/2019 | |||
| United Kingdom | 2/2/2018 | $527,688 | 336 | 336 | 336 | $527,688 | 4/4/2026 | |||
| Rest of World | $4,658,946 | |||||||||
| International Total | $20,868,439 | 4/4/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Helen Mirren | Sarah Winchester |
Supporting
| Jason Clarke | Dr. Eric Price | |
| Sarah Snook | Marion Marriott | |
| Finn Scicluna-O’Prey | Henry Marriott | |
| Emm Wiseman | Nancy | |
| Alana Fagan | Partially Dressed Lady #1 | |
| Rebecca Makar | Partially Dressed Lady #2 | |
| Tyler Coppin | Arthur Gates | |
| Michael Carman | Frank | |
| Angus Sampson | John Hansen | |
| Alice Chaston | Clara | |
| Eamon Farren | Ben Block | |
| Laura Brent | Ruby Price | |
| Adam Bowes | Farmer Amputee | |
| Bruce Spence | Augustine | |
| Phoenix Suhrou-DiMarco | Native American Child | |
| Jayden Irving | Carpenter #1 | |
| Rosco Campbell | Carpenter #2 | |
| Puven Pather | Carpenter #3 | |
| Tom Heath | Wiry Carpenter | |
| Curtis Bock | Harry Block | |
| Andy de Lore | James Block | |
| Graham Jahne | Innocent Man #1 | |
| Hayden Stewart | Innocent Man #2 | |
| Chris Anderson | Innocent Man #3 | |
| Laura Sutton | Innocent Woman | |
| Robert Shook | Police Officer #1 | |
| Richard Anastasios | Police Officer #2 | |
| Will Jones | Police Officer #3 | |
| Luke David Maizey | Police Officer #4 | |
| James Baldwin | Police Officer #5 | |
| Neil Solomano | Police Officer #6 | |
| Amos Ciza | Slave Ghost | |
| Red Horse Rivera | Chief Little Fawn | |
| Timothy Brown | Ghost #1 | |
| Kym Lannin | Ghost #2 - Union Soldier | |
| Christian Rhodes-Wolfe | Ghost #3-Union Soldier | |
| Albert Trajstman | Ghost #4-Sheriff | |
| Xavier Gerard Ludovic Gouault | Ghost #5-Police Officer | |
| Gawi Deng | Ghost #6-Confederate Soldier | |
| Ryuhei Tsukamoto | Ghost #7-Rail Worker | |
| Shane Holloway | Ghost #8-Cowboy | |
| Michael Boyd | Ghost #9-Sheriff | |
| Elisa Abascal | Ghost #10-Mexican Woman | |
| Akosua Sabet | Ghost #11-Cotton Picker | |
| Stephanie Beall | Ghost #12-1895 Wealthy Lady | |
| Clancy Fraser | Ghost #13-Prostitute | |
| Chris Homa | Ghost #14-Farmer’s Wife | |
| Rose Juan | Ghost #15-Maid |
Production and Technical Credits
| Michael Spierig | Director | |
| Peter Spierig | Director | |
| Michael Spierig | Screenwriter | |
| Peter Spierig | Screenwriter | |
| Tom Vaughan | Screenwriter | |
| Tim McGahan | Producer | |
| Brett Tomberlin | Producer | |
| Benedict Carver | Executive Producer | |
| Daniel Diamond | Executive Producer | |
| Tobin Armbrust | Executive Producer | |
| Andrew Trapani | Executive Producer | |
| Brian Gilbert | Executive Producer | |
| Michael Burton | Executive Producer | |
| Bryce Menzies | Executive Producer | |
| Marc Schipper | Executive Producer | |
| Simon Oakes | Executive Producer | |
| Antonio Lianos | Executive Producer | |
| Ben Nott | Director of Photography | |
| Matthew Putland | Production Designer | |
| Matt Villa | Editor | |
| Wendy Cork | Costume Designer | |
| Steve Boyle | Special Make-up Effects | |
| Peter Spierig | Composer | |
| Maura Fay | Casting Director | |
| Leigh Pickford | Casting Director | |
| Chris Anderson | Stunt Coordinator | |
| Yvonne Collins | Line Producer | |
| Angelique Badenoch | Production Manager | |
| Jamie Leslie | First Assistant Director | |
| Janie Parker | Art Director | |
| Jeff Betancourt | Additional Editor | |
| Angella McPherson | Second Assistant Director | |
| Carmel Torcasio | Script Supervisor | |
| Stephen Brett | Location Manager | |
| Michael Bell | Set Designer | |
| Douglas Pierce | Set Designer | |
| Vanessa Cerne | Set Decorator | |
| Peter Stubbs | Special Effects Supervisor | |
| Rachel Nott | Costume Supervisor | |
| Michael Davies | Costume Supervisor | |
| Lynn Wheeler | Make-up and Hair Designer | |
| Henry Karjalainen | Post-Production Supervisor | |
| Courtney Lee Bowden | First Assistant Editor/VFX Editor | |
| Daniel Newfield | First Assistant Editor | |
| Shannon Longville | Assistant Editor | |
| Paul Pirola | Sound Supervisor | |
| Pete Smith | Re-recording Mixer | |
| Paul Pirola | Re-recording Mixer | |
| Hayden Collow | Sound Designer | |
| Andrew Neil | Sound Effects Editor | |
| Frank Lipson | Sound Effects Editor | |
| Tom Heuzenroeder | Sound Effects Editor | |
| Joe Dzuban | Sound Effects Editor | |
| Andrew Moore | Sound Effects Editor | |
| Peter Miller | Sound Effects Editor | |
| Rangi Sutton | Visual Effects Supervisor | |
| Kasia Rymar | Visual Effects Producer | |
| Flavia Riley | Visual Effects Producer | |
| Kristie Godden | Visual Effects Producer | |
| Christian Scallan* | Music Editor | |
| Laura Katz | Music Supervisor | |
| Tim Hegarty | Executive Music Producer | |
| Tara Finegan | Executive Music Producer |
Cast and crew with above-the-line roles are marked in bold. The line marks the division between above-the-line and below-the-line roles.
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.