Russia (CIS) Box Office for Collateral Beauty (2016)

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Collateral Beauty
Theatrical Performance (US$)
Russia (CIS) Box Office $3,670,067Details
Worldwide Box Office $85,309,093Details
Home Market Performance
North America DVD Sales $2,185,469 Details
North America Blu-ray Sales $1,081,388 Details
Total North America Video Sales $3,266,857
Further financial details...

  1. Summary
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Synopsis

When a successful New York advertising executive suffers a great tragedy he retreats from life. While his concerned friends try desperately to reconnect with him, he seeks answers from the universe by writing letters to Love, Time and Death. But it’s not until his notes bring unexpected personal responses that he begins to understand how these constants interlock in a life fully lived, and how even the deepest loss can reveal moments of meaning and beauty.

Metrics

Movie Details

Production Budget:$36,000,000
Russia (CIS) Releases: December 16th, 2016 (Wide)
Video Release: February 28th, 2017 by Warner Home Video
MPAA Rating: PG-13 for thematic elements and brief strong language.
(Rating bulletin 2446 (Cert #50724), 10/12/2016)
Running Time: 96 minutes
Keywords: Set in New York City, Advertising and Marketing, Death of a Son or Daughter, Depression, Ensemble, Romantic Drama, Romance, Cancer, Dysfunctional Family, Infidelity, Terminal Illness, Unconventional Pregnancies
Source:Original Screenplay
Genre:Drama
Production Method:Live Action
Creative Type:Contemporary Fiction
Production/Financing Companies: PalmStar Media, Likely Story, New Line Cinema, Village Roadshow Productions, RatPac Entertainment, Dune Entertainment, Anonymous Content, Overbrook Entertainment
Production Countries: United States
Languages: English

Home Market Releases for March 14th, 2017

March 15th, 2017

The Love Witch

There are a few Oscar-nominated films on this week’s list. However, it was still hard to come up with a Pick of the Week release. Most of them were like Elle with great reviews and weak extras. The DVD for Drunk History: Season Four has more than two hours of extras, but I admit it is an acquired taste. Fortunately, we do have a clear winner: The Love Witch on Blu-ray. More...

Home Market Releases for February 28th, 2017

February 28th, 2017

Moonlight

It is not a particularly long list of new releases this week, but there are several that are must haves. This includes Doctor Strange, which was named Pick of the Week last week. Other contenders for that title include The Gate on Blu-ray, The Raid: Collection on Blu-ray, and Moonlight on Blu-ray. In the end, it wasn’t too hard to select Moonlight as Pick of the Week. However, The Gate does earn Puck of the Week for Best Canadian Release. More...

Weekend Wrap-Up: Rogue One has Apocalyptic Opening of $155.08 million

December 19th, 2016

Rogue One: A Star Wars Story

As expected, Rogue One: A Star Wars Story dominated the weekend box office chart with $155.08 million. This is well over twice as much as every other release combined. It is nearly twice as much as last weekend’s total box office. This helped the box office grow by 154%, reaching $211 million. Sadly, this was over $100 million or 32% lower than the same weekend last year when The Force Awakens dominated the chart. The year-over-year decline can be best summed up as within expectations. 2016 is still ahead of 2015 by a massive amount at $10.47 billion to $9.96 billion, but that will change as we see more numbers for Rogue One come in. On a more big picture look, Disney became the first studio ever to hit $7 billion worldwide in one year. They now have the record for biggest yearly domestic box office and biggest yearly worldwide box office, while it is just $160 million away from the international record as well. More...

Friday Estimates: Rogue One’s $71.07 Million Opening Day Sets Stage for $150 Million Debut

December 17th, 2016

Rogue One: A Star Wars Story

There’s a lot of great news coming out of Friday. For starters, Rogue One: A Star Wars Story earned $70.07 million. This means its previews were 41% of its opening day figure, compared to 48% for The Force Awakens. I was expecting Rogue One to bounce back a little bit from its previews, but not this much. If Rogue One merely maintains The Force Awakens’ internal multiplier, it will earn $148 million over the weekend. There are some positive factors and some negative factors. For example, not all schools are closed on Monday, so it won’t be able to hold onto its box office numbers on Sunday, at least not as well as The Force Awakens did. However, its prospects improved from the afternoon shows to the evening shows and that shows word-of-mouth is strong. This makes sense, as its reviews have settled at 84% positive and it scored an A from CinemaScore. An opening weekend of $150 million is certainly within reach; our model is predicting $151 million. Disney is predicting a more cautious $145 million to $150 million. More...

Thursday Night Previews: Rogue’s Previews are One Half of Force Awakens at $29 million

December 16th, 2016

Rogue One: A Star Wars Story

Rogue One: A Star Wars Story earned a massive $29 million in previews on Thursday, easily topping the $25 million Civil War made earlier this year. It also topped Batman v Superman, which earned $27.7 million, which was the previous yearly record for preview. However, while it topped the yearly chart in that regard, it was barely more than half of the $57 million The Force Awakens managed this time last year. The film’s slightly weaker reviews could lead to shorter legs. However, I think the massive hype surrounding The Force Awakens made it more front-loaded than Rogue One will be, at least during its opening weekend. I’m still going with just over $140 million during its opening weekend, but maybe $141 million is more likely now. I am a little less bullish than most and an opening north of $150 million would not be shocking. More...

Weekend Predictions: Will Rogue Awaken the Box Office?

December 15th, 2016

Rogue One: A Star Wars Story

It is a deceptively busy weekend, as there are two wide releases, Rogue One: A Star Wars Story and Collateral Beauty, and two films that are “expanding wide”, Manchester by the Sea and La La Land. However, while that looks like a lot, in reality Rogue One: A Star Wars Story is the only film most people are talking about. In fact, it is going to dominate the box office to such a degree that its only real competition is The Force Awakens, which opened this weekend last year. Unfortunately for Rogue One, there’s almost no chance it will match The Force Awakens. In fact, there’s almost no chance the entire box office will match the $247.97 million The Force Awakens opened with. 2016 is going to get crushed in the year-over-year comparison. That said, 2016 has a nearly $460 million lead over 2015, so has long as Rogue One tops $100 million over the weekend, it should be enough to keep 2016 ahead in terms of raw box office numbers. More...

2016 Preview: December

December 1st, 2016

Rogue One: A Star Wars Story

November was good, but not great. Fortunately, 2016 had a large enough lead going into November that the month only needed to be good. In fact, it could have been mediocre and 2016 would have still had an excellent shot to end the year above 2015. As for December, it’s a race between Star Wars and Star Wars. Almost no one thinks Rogue One is going to match The Force Awakens, but if Rogue One earns just half of what The Force Awakens managed, then 2016 will come out on top in the year-over-year comparison. There are only two other films with a better than 50/50 chance of hitting $100 million, Passengers and Sing. Either one could earn second place for the month, but Passengers will likely start faster. Last December, the only other film to earn more than $100 million was Daddy’s Home, which earned just a hair over $150 million. There’s a chance both Passengers and Sing will earn more than $150 million, which would be a boon to the box office. However, Star Wars: The Force Awakens was just too strong last year and it would take a miracle for 2016 to have a stronger December. That said, it would take a complete collapse for 2016 not to top 2015 in raw dollars. The growth might not be enough to keep pace with ticket price inflation, on the other hand. 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
2016/12/16 3 $1,466,347   843 $1,739   $1,466,347 1
2016/12/23 4 $614,619 -58% 806 $763   $2,625,266 2
2016/12/30 9 $125,857 -80% 216 $583   $3,003,645 3
2017/01/06 12 $111,057 -12% 57 $1,948   $3,440,144 4
2017/01/13 16 $40,760 -63% 31 $1,315   $3,503,690 5

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 1/13/2017 $343,000 0 0 0 $1,048,737 1/1/2019
Australia 1/13/2017 $643,561 207 207 559 $1,388,741 2/6/2017
Brazil 1/27/2017 $685,000 255 255 255 $2,191,942 6/26/2018
Bulgaria 12/16/2016 $17,887 0 0 0 $81,403 2/26/2019
Colombia 1/13/2017 $471,000 0 0 0 $471,000 12/20/2018
Czech Republic 12/23/2016 $20,964 57 57 134 $126,151 1/1/2019
France 12/23/2016 $472,349 0 0 0 $2,224,713 8/17/2018
Germany 1/20/2017 $613,000 245 245 245 $613,000 1/24/2017
Hong Kong 12/30/2016 $404,000 36 36 36 $404,000 1/4/2017
Italy 1/4/2017 $3,017,168 0 0 0 $9,967,558 2/16/2017
Japan 2/24/2017 $550,169 0 0 0 $550,169 6/30/2018
Lithuania 1/6/2017 $25,350 69 69 142 $82,130 2/21/2017
Mexico 12/16/2016 $1,321,448 0 0 0 $5,700,000 2/6/2017
Netherlands 12/16/2016 $264,605 92 94 525 $1,602,119 2/2/2017
New Zealand 1/13/2017 $116,044 82 82 158 $252,930 1/23/2017
North America 12/16/2016 $7,102,085 3,528 3,528 11,425 $31,016,021
Poland 12/30/2016 $189,010 0 0 0 $1,080,856 1/1/2019
Portugal 12/23/2016 $48,980 61 63 276 $474,949 3/2/2017
Russia (CIS) 12/16/2016 $1,466,347 843 843 1953 $3,670,067 12/31/2018
Slovakia 12/16/2016 $40,636 54 54 151 $199,826 2/10/2017
Slovenia 12/30/2016 $7,319 15 15 44 $29,717 2/6/2017
South Korea 3/5/2017 $331 1 1 1 $331 3/13/2017
Spain 12/23/2016 $646,313 284 294 1363 $3,957,974 2/24/2017
Turkey 12/23/2016 $96,583 72 72 181 $254,117 2/26/2019
United Kingdom 12/30/2016 $1,453,174 408 408 778 $2,800,000 2/6/2017
 
Rest of World $15,120,642
 
Worldwide Total$85,309,093 2/26/2019

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.

Lead Ensemble Members

Will Smith    Howard
Edward Norton    Whit
Keira Knightley    Amy
Michael Peña    Simon
Naomie Harris    Madeline
Jacob Latimore    Raffi
Kate Winslet    Claire
Helen Mirren    Brigitte

Supporting Cast

Ann Dowd    Sally Price
Liza Colon-Zayas    Trevor’s Mom
Natalie Gold    Adam’s Mom
Kylie Rogers    Allison
Shirley Rumierk    Simon’s Wife
Alyssa Cheatham    Olivia
Benjamin Snyder    Sally’s Grandson
Mary Beth Peil    Whit’s Mother
Andy Taylor    Father with Photo
Michael Cumpsty    Chairman of the Board
Jonathan Rivera Morales    Monster (Mexican Commercial)
Joseph Castillo-Midyett*    Teacher (Mexican Commercial)
Bryan Terrell Clark*    Homeless A capella Singer
Marcus Paul James    Homeless A capella Singer
Mykal Kilgore    Homeless A capella Singer
Jimmy Palumbo    Super
Elia Monte Brown    Support Group Member
Crystal Anne Dickinson    Support Group Member
Suzy Jane Hunt    Support Group Member
Andres Munar    Support Group Member
Claire Glassford    Junior Executive
Harriett D. Foy    Board Member
Maureen Mueller    Board Member
Steven Hauck    Board Member
Robert Toshi Chan    Board Member
Willie C. Carpenter    Board Member

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

Production and Technical Credits

David Frankel    Director
Allan Loeb    Screenwriter
Michael Sugar    Producer
Bard Dorros    Producer
Allan Loeb    Producer
Anthony Bergman    Producer
Kevin Frakes    Producer
Toby Emmerich    Executive Producer
Richard Brener    Executive Producer
Michael Disco    Executive Producer
Steven Mnuchin    Executive Producer
Michael Bederman    Executive Producer
Ankur Rungta    Executive Producer
Peter Cron    Executive Producer
Steven Pearl    Executive Producer
Bruce Berman    Executive Producer
Beth Mickle    Production Designer
Andrew Marcus    Editor
Theodore Shapiro    Composer
Maryse Alberti    Director of Photography
Julia Michels    Music Supervisor
Dana Sano    Music Supervisor
Leah Katznelson    Costume Designer
Jeanne McCarthy    Casting Director
Rori Bergman    Casting Director
Michael Bederman    Unit Production Manager
Stephen Lee Davis    First Assistant Director
Deanna Kelly    Second Assistant Director
Josh Mack    Associate Producer
Lindsay Feldman    Production Supervisor
Scott Dougan    Art Director
Kara Zeigon    Set Decorator
Danny Michael    Sound Mixer
Jack Deutchman    Post-Production Supervisor
Alec Styborski    Assistant Editor
Michael Barry    Re-recording Mixer
Paul Urmson    Re-recording Mixer
Lidia Tamplenizza    Supervising Sound Editor
Paul Urmson    Supervising Sound Editor
Nancy Allen    Music Editor
Wyatt Sprague    Sound Effects Editor
Matthew Haasch    Foley Mixer
Ronnie Kupferwasser    Location Manager
Jessica Lichtner    Script Supervisor
Kate Edwards    Costume Supervisor
Louise McCarthy    Make up
Joanna McCarthy    Make up
Angel De Angelis    Hairstylist
Steve Kirshoff    Special Effects Supervisor
John Stifanich    Special Effects Coordinator
Pat A. Badia    Special Effects Foreman
Dustin Riedman    Special Effects
David Marulanda    Special Effects
Leslie Woo    Casting Associate
Dana Katz    Casting Associate
Hannah Caruso    Casting Assistant
Chris Fogel    Score Recordist
Chris Fogel    Score Mixer

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