The AI Doc: Or How I Became an Apocaloptimist (2026)
| Theatrical Performance | ||
| Domestic Box Office | $1,271,825 | Details |
| OpusData ID: 782950100 More info... | ||
| Further financial details... | ||
Synopsis
A father-to-be is on a quest to understand the world his child is about to inherit. As he grapples with the explosive risks and revolutionary potential of AI, director, Daniel Roher turns to the leading voices shaping and challenging the rise of AI. What emerges is an inspiring call to attention: a real-time exploration of forces advancing faster than ever. Through in-depth conversations with the leading voices in AI, audiences will be confronted with a stark wake-up call that explores the existential dangers and extraordinary promise of this rapidly rising technology.
Metrics
| Opening Weekend: | $646,020 (50.8% of total gross) |
| Legs: | 1.97 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 786 opening theaters/786 max. theaters, 2.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $1,271,825 |
Movie Details
| Domestic Releases: | March 27th, 2026 (Wide) by Focus Features |
| International Releases: | March 27th, 2026 (Limited) (New Zealand)
March 27th, 2026 (Limited) (Uruguay) May 14th, 2026 (Limited) (Australia) |
| Video Release: | April 14th, 2026 by Universal Home Entertainment |
| MPA Rating: | PG-13 for language. (Rating bulletin 2925 (cert #55810), 2/25/2026) |
| Running Time: | 104 minutes |
| Cast, crew, or production detail: | Directing Yourself |
| Plot point: | Artificial Intelligence, New Parents |
| Subgenre: | Social and Cultural Documentary |
| Source: | Based on Real Life Events |
| Genre: | Documentary |
| Production Method: | Live Action |
| Creative Type: | Factual |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 27, 2026 | 12 | $646,020 | 786 | $822 | $646,020 | 1 | |
| Apr 3, 2026 | - | $254,565 | -61% | 786 | $324 | $1,175,935 | 2 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Mar 27, 2026 | 11 | $257,090 | 786 | $327 | $257,090 | 1 | ||
| Mar 28, 2026 | 12 | $245,525 | -4% | 786 | $312 | $502,615 | 2 | |
| Mar 29, 2026 | 13 | $143,405 | -42% | 786 | $182 | $646,020 | 3 | |
| Mar 30, 2026 | 13 | $67,460 | -53% | 786 | $86 | $713,480 | 4 | |
| Mar 31, 2026 | 11 | $94,165 | +40% | 786 | $120 | $807,645 | 5 | |
| Apr 1, 2026 | 11 | $62,830 | -33% | 786 | $80 | $870,475 | 6 | |
| Apr 2, 2026 | 11 | $50,895 | -19% | 786 | $65 | $921,370 | 7 | |
| Apr 3, 2026 | - | $57,025 | +12% | -78% | 786 | $73 | $978,395 | 8 |
| Apr 4, 2026 | - | $138,220 | +142% | -44% | 786 | $176 | $1,116,615 | 9 |
| Apr 5, 2026 | - | $59,320 | -57% | -59% | 786 | $75 | $1,175,935 | 10 |
| Apr 6, 2026 | - | $20,185 | -66% | -70% | 786 | $26 | $1,196,120 | 11 |
| Apr 7, 2026 | - | $30,905 | +53% | -67% | 786 | $39 | $1,227,025 | 12 |
| Apr 8, 2026 | - | $24,140 | -22% | -62% | 786 | $31 | $1,251,165 | 13 |
| Apr 9, 2026 | - | $20,660 | -14% | -59% | 786 | $26 | $1,271,825 | 14 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 27, 2026 | 13 | $921,370 | 786 | $1,172 | $921,370 | 1 | |
| Apr 3, 2026 | 15 | $350,455 | -62% | 786 | $446 | $1,271,825 | 2 |
Documentary Subject
| Daniel Roher | Himself |
Production and Technical Credits
| Daniel Roher | Director | |
| Charlie Tyrell | Director | |
| Daniel Kwan | Producer | |
| Jonathan Wang | Producer | |
| Shane Boris | Producer | |
| Diane Becker | Producer | |
| Ted Tremper | Producer | |
| Jenni Morello | Cinematographer | |
| Lowell A. Meyer | Cinematographer | |
| Davis Coombe | Editor | |
| Daysha Broadway | Editor | |
| Marius de Vries | Composer | |
| Matt Robertson | Composer |
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
A father-to-be is on a quest to understand the world his child is about to inherit. As he grapples with the explosive risks and revolutionary potential of AI, director, Daniel Roher turns to the leading voices shaping and challenging the rise of AI. What emerges is an inspiring call to attention: a real-time exploration of forces advancing faster than ever. Through in-depth conversations with the leading voices in AI, audiences will be confronted with a stark wake-up call that explores the existential dangers and extraordinary promise of this rapidly rising technology.
Metrics
| Opening Weekend: | $646,020 (50.8% of total gross) |
| Legs: | 1.97 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 786 opening theaters/786 max. theaters, 2.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $1,271,825 |
Movie Details
| Domestic Releases: | March 27th, 2026 (Wide) by Focus Features |
| International Releases: | March 27th, 2026 (Limited) (New Zealand)
March 27th, 2026 (Limited) (Uruguay) May 14th, 2026 (Limited) (Australia) |
| Video Release: | April 14th, 2026 by Universal Home Entertainment |
| MPA Rating: | PG-13 for language. (Rating bulletin 2925 (cert #55810), 2/25/2026) |
| Running Time: | 104 minutes |
| Cast, crew, or production detail: | Directing Yourself |
| Plot point: | Artificial Intelligence, New Parents |
| Subgenre: | Social and Cultural Documentary |
| Source: | Based on Real Life Events |
| Genre: | Documentary |
| Production Method: | Live Action |
| Creative Type: | Factual |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 27, 2026 | 12 | $646,020 | 786 | $822 | $646,020 | 1 | |
| Apr 3, 2026 | - | $254,565 | -61% | 786 | $324 | $1,175,935 | 2 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Mar 27, 2026 | 11 | $257,090 | 786 | $327 | $257,090 | 1 | ||
| Mar 28, 2026 | 12 | $245,525 | -4% | 786 | $312 | $502,615 | 2 | |
| Mar 29, 2026 | 13 | $143,405 | -42% | 786 | $182 | $646,020 | 3 | |
| Mar 30, 2026 | 13 | $67,460 | -53% | 786 | $86 | $713,480 | 4 | |
| Mar 31, 2026 | 11 | $94,165 | +40% | 786 | $120 | $807,645 | 5 | |
| Apr 1, 2026 | 11 | $62,830 | -33% | 786 | $80 | $870,475 | 6 | |
| Apr 2, 2026 | 11 | $50,895 | -19% | 786 | $65 | $921,370 | 7 | |
| Apr 3, 2026 | - | $57,025 | +12% | -78% | 786 | $73 | $978,395 | 8 |
| Apr 4, 2026 | - | $138,220 | +142% | -44% | 786 | $176 | $1,116,615 | 9 |
| Apr 5, 2026 | - | $59,320 | -57% | -59% | 786 | $75 | $1,175,935 | 10 |
| Apr 6, 2026 | - | $20,185 | -66% | -70% | 786 | $26 | $1,196,120 | 11 |
| Apr 7, 2026 | - | $30,905 | +53% | -67% | 786 | $39 | $1,227,025 | 12 |
| Apr 8, 2026 | - | $24,140 | -22% | -62% | 786 | $31 | $1,251,165 | 13 |
| Apr 9, 2026 | - | $20,660 | -14% | -59% | 786 | $26 | $1,271,825 | 14 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 27, 2026 | 13 | $921,370 | 786 | $1,172 | $921,370 | 1 | |
| Apr 3, 2026 | 15 | $350,455 | -62% | 786 | $446 | $1,271,825 | 2 |
Documentary Subject
| Daniel Roher | Himself |
Production and Technical Credits
| Daniel Roher | Director | |
| Charlie Tyrell | Director | |
| Daniel Kwan | Producer | |
| Jonathan Wang | Producer | |
| Shane Boris | Producer | |
| Diane Becker | Producer | |
| Ted Tremper | Producer | |
| Jenni Morello | Cinematographer | |
| Lowell A. Meyer | Cinematographer | |
| Davis Coombe | Editor | |
| Daysha Broadway | Editor | |
| Marius de Vries | Composer | |
| Matt Robertson | Composer |
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.