Portugal Box Office for Countdown (2019)

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Countdown
Theatrical Performance (US$)
Portugal Box Office $250,242Details
Worldwide Box Office $42,176,201Details
Further financial details...

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

Synopsis

When a young nurse downloads an app that claims to predict exactly when a person is going to die, it tells her she only has three days to live. With time ticking away and death closing in, she must find a way to save her life before time runs out.

Metrics

Movie Details

Production Budget:$6,500,000
Portugal Releases: November 8th, 2019 (Wide)
Video Release: January 7th, 2020 by Universal Home Entertainment
MPAA Rating: PG-13 for terror, violence, bloody images, suggestive material, language and thematic elements.
(Rating bulletin 2598 (Cert #52409), 10/2/2019)
Running Time: 90 minutes
Keywords: Slasher Horror, Internet, Predicted Death
Source:Original Screenplay
Genre:Horror
Production Method:Live Action
Creative Type:Contemporary Fiction
Production/Financing Companies: Boies/Schiller, Two Grown Men Productions, Wrigley Pictures, STX Films
Production Countries: United States
Languages: English

Home Market Releases for January 21st, 2020

January 21st, 2020

Pain & Glory

It’s an odd week for the home market, as there are four wide releases coming out this week, which is more than most weeks. However, none of them were $100 million hits domestically, so it feels slow on top. That said, The Addams Family did come close to that mark and Zombieland: Double Tap was a solid midlevel hit. As for high quality releases, Jay And Silent Bob Reboot will very likely please fans of the franchise, but I’m unsure about its ability draw in newcomers. Finally, the Pain & Glory is the best of the best and only the lack of substantial extras prevents it from winning Pick of the Week with ease. Zombieland: Double Tap has much better extras, so it a contender for Pick of the Week as well. Pain & Glory does win, but it is relatively close. More...

Weekend Wrap-Up: Dark Fate Might have Terminated the Franchise

November 5th, 2019

Terminator: Dark Fate

It was a bad weekend at the box office, with Terminator: Dark Fate missing expectations by a significant degree. Harriet was able to beat expectations, but it wasn’t enough to truly compensate. Furthermore, Arctic Dogs and Motherless Brooklyn were practically non-factors at the box office. The box office did grow 9.5% from last weekend reaching $115 million. More importantly, this was 21% lower than this weekend last year. 2019’s deficit grew to 5.6% or $540 million and is now behind 2018’s pace by $9.15 billion to $9.70 billion. It is important to point out that while 2019 is being crushed by 2018, it is still on pace to be the second largest box office of all time, while its ticket sales are better than 2017’s pace, so as disappointing as the year as been so far, there are still reasons to celebrate. More...

Weekend Wrap-Up: Maleficent Holds Off Joker for Top Spot

October 28th, 2019

Maleficent: Mistress of Evil

It was a super close race for top spot on the weekend box office chart with Maleficent: Mistress of Evil and Joker neck-and-neck. In fact, they changed positions over the weekend and even reversed positions from the weekend estimates. Both of these films topped expectations by a small degree, as did most of the new releases. Unfortunately, this wasn’t enough, as the box office fell 24% from last weekend to $105 million. This is also lower than the same weekend last year, but by a tiny 0.7% margin. I’m not going to get upset about a decline this small, but it does mean 2019 has fallen further behind 2018’s pace with the deficit growing to $520 million / 5.4% at $9.00 billion to $9.52 billion. More...

Weekend Estimates: Joker Wrestles First Place from Maleficent, Probably

October 27th, 2019

Joker

Joker is returning to first place on the weekend chart with $18.9 million, which is a tiny bit ahead of expectations. However, it is in a close enough race with Maleficent: Mistress of Evil that the pair could switch places when the final numbers show up tomorrow and I wouldn’t be too surprised. Internationally, the film is earning an estimated $47.8 million on 14,000 screens in 79 markets for totals of $571.5 million internationally and $849.1 million worldwide. It is now the highest-grossing R-rated film of all time worldwide, and is on pace to become the first R-rated film to reach $1 billion globally. More...

Friday Estimates: Joker Returns to the Top

October 26th, 2019

Joker

Joker wasn’t gone from top spot for long, as it earned first place on Friday with $5.46 million, putting it on pace for close to $19 million over the weekend. This is very close to our prediction, but it is ranking better, due to marginally-weaker-than-expected competition. It also reportedly became the highest grossing R-rated movie of all time, at least worldwide. It is not going to catch up to The Passion of the Christ domestically. More...

Thursday Night Previews: Black and Blue in the Green

October 25th, 2019

Black and Blue

Black and Blue had the best previews on Thursday with $675,000. I was not expecting the film to have the best previews last night, nor was I expecting it to earn this much. Additionally, its reviews are have improved and are now mixed, in fact, they are currently exactly 50% positive, so it could surprise and top $10 million during its opening weekend. Just over $8 million is more likely, but this is still a solid debut for this time of year. More...

Weekend Predictions: Halloween Scares Away Wide Releases

October 25th, 2019

Black and Blue

The final weekend before Halloween is rarely a good time to release a film and the paltry selection of new releases on this list shows this year will be no different. The Current War: Director’s Cut is the only film earning good reviews, but it is opening in the fewest theaters by far. Countdown has the worst reviews, but it is a horror film opening just before Halloween, so its opening weekend could be okay. Black and Blue is in the middle in terms of reviews, theater count, and box office chances. Sadly, it is very likely all three films will open below $10 million over the weekend. There’s a slim chance none of them open in the top five. By comparison, this weekend last year saw only one wide release, Hunter Killer, which bombed. This year will be much better in terms of new releases, but none of the holdovers will match Halloween on top. 2019 does have much better depth, so I think we will get a small win in the year-over-year comparison. More...

2019 Preview: October

October 1st, 2019

Joker

September ended on a bit of a weak note, but overall the month was excellent helping 2019 gain some ground on 2018. Can October continue this trend? There are certainly some potential box office hits coming out this month, starting with Joker, which opens the first weekend of the month and should be the biggest hit of the month. Maleficent: Mistress of Evil is aiming for $150 million and should be a hit, even if it doesn’t match the original at the box office. There are also a handful of films with an outside shot at getting to $100 million and I wouldn’t be shocked if one of them made it to that milestone. Meanwhile, last October, Venom broke records during its opening weekend, while A Star is Born had stellar legs helping both earn more than $200 million domestically. I don’t think the top two films will be able to match that this year, but we do have better depth, for the most part, so perhaps 2019 will continue its winning ways and close ground, at least by a little bit. More...

Countdown Trailer

September 16th, 2019

Horror movie starring Elizabeth Lail opens October 25 ... Full Movie Details. 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
2019/11/08 7 $60,086   34 $1,767   $60,086 1
2019/11/15 9 $50,361 -16% 34 $1,481   $126,538 2
2019/11/22 9 $30,481 -39% 25 $1,219   $168,981 3
2019/11/29 8 $17,044 -44% 16 $1,065   $193,129 4
2019/12/06 10 $9,783 -43% 12 $815   $211,254 5
2019/12/13 13 $5,800 -41% 7 $829   $222,260 6
2019/12/20 15 $6,762 +17% 8 $845   $230,793 7
2019/12/27 19 $6,278 -7% 5 $1,256   $241,256 8
2020/01/03 24 $3,922 -38% 4 $981   $246,990 9
2020/01/10 26 $2,352 -40% 3 $784   $249,049 10
2020/01/17 30 $1,304 -45% 2 $652   $250,242 11

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 1/17/2020 $0 0 28 33 $119,629 2/29/2020
Australia 11/22/2019 $94,215 98 98 210 $203,808 12/17/2019
Brazil 2/28/2020 $193,663 305 305 428 $351,478 3/14/2020
Bulgaria 10/25/2019 $16,372 0 0 0 $102,853 11/28/2019
Czech Republic 11/1/2019 $122,451 75 75 216 $367,045 10/19/2022
France 11/14/2019 $980,000 0 243 905 $3,149,695 1/3/2020
Germany 1/31/2020 $583,764 0 3 9 $2,545,604 6/7/2021
Hong Kong 11/22/2019 $0 0 0 0 $289,554 1/5/2020
Italy 11/21/2019 $424,896 0 3 3 $758,612 12/28/2019
Lithuania 10/25/2019 $26,620 9 9 31 $113,646 11/29/2019
Mexico 1/31/2020 $423,504 0 0 0 $423,504 10/19/2022
Middle East Region 10/25/2019 $455,000 31 31 31 $455,000 10/27/2019
Netherlands 10/25/2019 $130,232 61 62 303 $614,645 10/19/2022
North America 10/25/2019 $8,865,082 2,675 2,675 9,038 $25,621,766 11/10/2020
Portugal 11/8/2019 $60,086 34 34 150 $250,242 10/19/2022
Romania 10/25/2019 $96,644 50 50 222 $433,286 10/19/2022
Russia (CIS) 11/21/2019 $228,073 581 581 1042 $405,012 10/19/2022
Slovakia 11/22/2019 $59,151 54 54 133 $145,441 10/19/2022
South Korea 12/12/2019 $298,148 210 210 289 $526,433 1/2/2020
United Kingdom 10/25/2019 $501,634 357 357 662 $1,347,524 11/6/2019
 
Rest of World $3,951,424
 
Worldwide Total$42,176,201 10/19/2022

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

Elizabeth Lail    Quinn

Supporting Cast

Jordan Calloway    Matt Monroe
Talitha Bateman    Jordan Harris
Tichina Arnold    Nurse Amy
P.J. Byrne    Father John
Peter Facinelli    Dr. Sullivan
Dillon Lane    Evan
Matt Letscher    Charlie
Valente Rodriguez    Father David
Tom Segura    Derek
Anne Winters    Courtney
Charlie McDermott    Scott
Lana McKissack    Rachel
Louisa Abernathy    Mrs. Talbot
Jonny Berryman    Jeff
Cornell Adams    Dave
John Bishop    Gerry
Allen Zwolle    Patient
Chuck Filipov    Roberto
Jeannie Elise Mai    Allie
Ramsay Philips    Glenn
Britt Rentschler    Rosie
Candice Daniels    ER Nurse
Marisela Zumbado    Kate
Nathan Moore    Jack
Anne McCarthy (Actress)    Evan’s Mom
Christina Pazsitzky    Krissy
Brian Tran    Waiter
Alexander Dominguez    Joe
Lisa Linke    Margot
Andrea Anders    Jamie
John Barbolla    Pickup Driver
Samantha Hanratty*    Vlogger
Lora Lee    Terrified Woman
Kevin William Paul    Youtuber

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

Production and Technical Credits

Justin Dec    Director
Justin Dec    Screenwriter
Zack Schille    Producer
John Morris    Producer
Sean Anders    Producer
John Rickard    Producer
Robert Simonds    Executive Producer
Adam Fogelson    Executive Producer
Gregory Plotkin    Executive Producer
Tyler Zacharia    Executive Producer
Matthew Medlin    Executive Producer
Alex Boies    Executive Producer
Maxime Alexandre    Director of Photography
Clayton Hartley    Production Designer
Brad Wilhite    Editor
Abby O'Sullivan    Costume Designer
Danny Bensi    Composer
Saunder Jurriaans    Composer
Jason Markey    Music Supervisor
Max Jacoby    Co-Producer
Devin Andre    Co-Producer
Nicolas Harvard    Co-Producer
Rich Delia    Casting Director
Matthew Medlin    Unit Production Manager
Nicolas Harvard    First Assistant Director
Cyndi Cutter Martin*    Second Assistant Director
Marc Scizak    Stunt Coordinator
Harrison Hartley    Art Director
Jon Bush    Set Decorator
Melissa Brockman    Visual Effects Producer
Sean McCormack    Supervising Sound Editor
Joel Dougherty    Re-recording Mixer
Jane Goldsmith    Script Supervisor
Thomas Curley    Sound Mixer
Jeremy D. Hays*    Special Effects Coordinator
Jay Traynor    Location Manager
Deborah Goldstein    Costume Supervisor
Tami Lane    Make up
Erica Preus    Make up
Stacy Schneiderman    Hairstylist
Anna Milhouse    Hairstylist
May Nejati    Production Supervisor
Yaminah McKessey    Post-Production Supervisor
Gene Lewis Jr    First Assistant Editor
Hector Gika    Sound Designer
Michael Payne    Sound Effects Editor
Laura Atkinson    Dialogue Editor
Jamie Famularo    Foley Editor
Adam Shaw    Foley Editor
Alex Jongbloed    Foley Editor
Brendan Croxon    Foley Mixer
Jason Coleman    Foley Mixer
Phil McGowan    Score Mixer
James Newberry    Additional Music
Trey Toy    Additional Music
Chase Deso    Additional Music
Mary Parker    Music Editor

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