Russia (CIS) Box Office for ВЕЛИКИЙ УРАВНИТЕЛЬ 2 (2018)

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The Equalizer 2
Theatrical Performance (US$)
Russia (CIS) Box Office $3,392,667Details
Worldwide Box Office $190,376,181Details
Home Market Performance
North America DVD Sales $13,148,093 Details
North America Blu-ray Sales $12,932,479 Details
Total North America Video Sales $26,080,572
Further financial details...

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

Synopsis

Robert McCall serves an unflinching justice for the exploited and oppressed—but how far will he go when that is someone he loves?

Metrics

Movie Details

Production Budget:$77,000,000
Russia (CIS) Releases: September 6th, 2018 (Wide), released as ВЕЛИКИЙ УРАВНИТЕЛЬ 2
Video Release: November 13th, 2018 by Sony Pictures Home Entertainment
MPAA Rating: R for brutal violence throughout, language, and some drug content.
(Rating bulletin 2534 (Cert #51432), 7/4/2018)
Running Time: 129 minutes
Franchise: The Equalizer
Keywords: Death of a Best Friend, Revenge, IMAX: DMR
Source:Based on TV
Genre:Action
Production Method:Live Action
Creative Type:Contemporary Fiction
Production/Financing Companies: Columbia Pictures, Escape Artists, Zhiv, Mace Neufeld
Production Countries: United States
Languages: English

Home Market Releases for December 11th, 2018

December 11th, 2018

Collette

There isn’t a huge number of releases on this week’s list home market release report. The Equalizer 2 is the biggest, but it is far from the best. As for the best, there are some Pick of the Week contenders, including Colette, My Neighbor Totoro and A Simple Favor. My Neighbor Totoro is worth owning, but it is a triple-dip at this point, maybe more. A Simple Favor is coming out on VOD this week. This leaves Colette’s DVD or Blu-ray Combo Pack as the Pick of the Week. More...

Home Market Releases for November 13th, 2018

November 14th, 2018

Incredibles 2

There are not many big releases on this week’s list. The Meg is the biggest, but not the best. As for the best, I’m going with Pixar Short Film Collection: Volume Three on Blu-ray. More...

Weekend Wrap-Up: Fallout Continues its Mission

August 7th, 2018

Mission: Impossible—Fallout

Mission: Impossible—Fallout remained on top of the weekend box office chart thanks in part to a stronger than expected hold and in part to weaker than expected competition. Christopher Robin was the only new release to make any real noise opening in second place with $24.59 million, while The Spy Who Dumped Me opened with less than half of that. Overall, the box office earned $139 million, 11% lower than last weekend. More importantly, this was 14% higher than this weekend last year. 2018 extended its lead over 2017 to just under $600 million or 8.7% at $7.46 billion to $6.86 billion. More...

Weekend Wrap-Up: July Ends on an Impossibly Good Weekend

July 30th, 2018

Mission: Impossible—Fallout

Mission: Impossible—Fallout was easily the biggest hit of the weekend earning more than the rest of the top five combined. Its opening weekend of $61.24 million was the best in the franchise, but it wasn’t enough to prevent the overall box office from dropping 9.3% from last weekend earning $156 million. This is 8.0% higher than the same weekend last year, which is the more important result. 2018 is now ahead of 2017 by a margin of 8.5% or $570 million at $7.23 billion to $6.66 billion. More...

Weekend Estimates: Impossible Tops Chart with Franchise Best $61.5 million Debut

July 29th, 2018

Mission: Impossible—Fallout

Mission: Impossible—Fallout dominated the weekend box office chart with $61.5 million over the weekend. This is the best opening in the franchise, unless you take inflation into account. Assuming the film can have the same legs as Rogue Nation, it will be able to top $200 million domestically. The film’s reviews and its A from CinemaScore, and the nearly total lack of quality competition in August, make that seem likely; however, I think we should wait a week before predicting a final box office tally. Internationally, the film made $92 million in 36 markets, which is close to 20% higher than Rogue Nation’s debuts in those markets, which should be enough to keep Paramount happy. Although given the studio’s struggles in the past few years, if the film was just marginally profitable, it would have been reason for Paramount to celebrate. More...

Friday Estimates: Fallout on top Friday with Franchise Record

July 28th, 2018

Mission: Impossible—Fallout

Mission: Impossible—Fallout earned $23.0 million on Friday, putting it on pace for an opening weekend of $58 million, according to Paramount. This is the fastest start in the franchise; although given the age of the franchise and the ticket price inflation, that’s much less impressive. The film’s reviews are among the best we’ve seen from a wide release this year, while it earned an A from CinemaScore, so its legs should be long. That said, this is weaker than we predicted. I really thought the reviews would translate into more ticket sales. More...

Thursday Night Previews: Fallout Rises to the Top

July 27th, 2018

Mission: Impossible—Fallout

Mission: Impossible—Fallout had the best previews in the franchise with $6 million; although that’s a bit of a backhanded compliment, as only Rogue Nation is new enough to be part of the preview era of Hollywood releases. That film pulled in $4 million during its previews; however, it also opened three years ago when previews were not as lucrative, so it is not a good comparison. On the other hand, The Equalizer 2 is a solid comparison as both are action sequels. If the two films have the same legs, then Fallout will open with nearly $70 million. Its reviews strongly suggest it will have better legs, but the long-running franchise suggests slighly longer legs. Overally, I’m still happy with our $67 million prediction and I expect the film to earn a little more than that, but be close enough to call it a victory. More...

Weekend Predictions: Can Teen Titans do the Impossible?

July 26th, 2018

Mamma Mia: Here We Go Again!

The last weekend of the month has two wide releases, both of which are earning stellar reviews. Mission: Impossible—Fallout is the sixth film in the franchise. It wasn’t that long ago where a sixth installment in a franchise would be impressive. Teen Titans Go! To the Movie is the first big screen appearance for most of these characters. There should also be three, maybe four other films with $10 million or more during the weekend. 2018 won’t need that depth to win in the year-over-year comparison, as this weekend last year was pretty weak, so the month should end on a winning note. More...

Theater Averages: Eighth Grade Repeats a Grade

July 25th, 2018

Eighth Grade

Eighth Grade remained on top of the theater average chart with an average of $24,975 in 33 theaters over the weekend. McQueen and Blindspotting were right behind with averages of $24,718 and $24,024 in 4 and 14 theaters respectively. The re-release of Wanda opened with $10,679 in one theater. The two wide releases of the week were next with The Equalizer 2 and Mamma Mia: Here We Go Again! in a virtual tie at $10,629 and $10,537 respectively. More...

Weekend Wrap-Up: Equalizer 2 Also has no Equal

July 23rd, 2018

The Equalizer 2

The Equalizer 2 was the surprise winner at the weekend box office chart with $36.01 million over the weekend, which put it just ahead of the $34.95 million earned by Mamma Mia: Here We Go Again! The overall box office topped expectations with $171 million, up 2.7% from last week. This is 5.1% lower than the same weekend last year, but this is better than expected. Also, 2018 is still ahead of 2017 by a sizable margin of $560 million / 8.8% at $6.98 billion to $6.42 billion. Again, if 2018 just maintains the raw dollar margin for the rest of the year, it will be a reason to celebrate. More...

Weekend Estimates: Equalizer more than Equals Mamma Mia

July 22nd, 2018

The Equalizer 2

In a shocking turn of events, The Equalizer 2 overtook Mamma Mia: Here We Go Again! over the weekend with $35.83 million. This is better than predicted and is better than the original managed. Its reviews are not great, but it earned an A from CinemaScore and it is aimed at a more mature target audience, so it should have better than average legs. We will have a better picture this time next week. Internationally, the film managed $3.3 million on 704 screens in 11 markets, including $2.2 million in Australia. The film first didn’t do great internationally, so while this is a 30% improvement, it is still nothing special. More...

Friday Estimates: Mamma Mia is Here to Stay

July 21st, 2018

Mamma Mia: Here We Go Again!

Mamma Mia: Here We Go Again! had a stellar opening earning $14.28 million on Friday, which is enough to put it on pace for nearly $40 million opening. That’s on the very high end of expectations and more than enough to be considered a hit. With strong reviews and an A minus from CinemaScore, the film should have good legs. It won’t have as good legs as the original did, but $100 million is an easy goal after this opening. More...

Thursday Night Previews: Equalizer nearly Equals Mamma Mia

July 20th, 2018

The Equalizer 2

Mamma Mia: Here We Go Again! pulled in $3.4 million during its previews on Thursday, which is a figure that is nearly impossible to judge. There simply are not enough live-action musicals released to compare to. The vast majority if those that do come out come out at Christmas time, so it is a poor comparison. Rock of Ages is the closest both in terms of style (Both films are Jukebox Musicals.) and release dates, but that film came out before midnight shows became standard. I’ve seen some compare it to Pitch Perfect 2, but that was a sequel and that messes with the comparisons. That said, $3.4 million is still a good amount. The reviews suggest good legs and a $35 million opening is likely, which is a little better than predicted, by a little bit. More...

Weekend Predictions: Will Mamma Mia have an Encore on Top?

July 19th, 2018

Mamma Mia: Here We Go Again!

At the beginning of the month, I didn’t have relatively high hopes for this weekend; I thought it could put up a fight in the year-over-year comparison, but would ultimately lose. That has changed and not for the better. Mamma Mia: Here We Go Again! is still widely expected to earn first place over the weekend, but it might not do well enough to finish with $100 million domestically. The Equalizer 2 won’t match its predecessor, not with the amount of action films struggling in theaters. Finally, Unfriended: Dark Web is opening in barely more than 1,500 theaters and it is going nowhere. Hotel Transylvania 3: Summer Vacation should have a good hold, but I’m not sure about any of the rest. This weekend last year, Dunkirk opened with just over $50 million and five other films earned $10 million or more over the weekend. There’s no way 2018 will match that. I don’t even think it will be close. More...

2018 Preview: July

July 1st, 2018

Ant-Man and the Wasp

June was amazing, with two absolute monster hits and a solid $100 million hit. By the end of the month, 2018’s lead over 2017 will be well over $500 million, or close to 10%. Even if 2018 only managed to maintain this lead in terms of raw numbers for the rest of the year, it will be a massive jump at the box office. As for July, there are a couple of potential monster hits, Ant-Man and the Wasp and Mission: Impossible—Fallout, plus four potential $100 million hits. Last July, there was only one monster hit, Spider-Man: Homecoming, and three $100 million hits. I don’t think 2018 will match 2017 at the top, but 2018 appears to have more depth and that should put it a little ahead over the full month. More...

The Equalizer 2 Trailer

June 22nd, 2018

Thriller starring Denzel Washington, directed by Antoine Fuqua opens July 20 ... 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
2018/09/07 1 $1,602,516   909 $1,763   $1,602,516 1
2018/09/14 2 $645,523 -60% 1,044 $618   $2,893,121 2
2018/09/21 8 $164,995 -74% 580 $284   $3,371,604 3
2018/09/28 16 $41,788 -75% 165 $253   $3,535,144 4
2018/10/05 - $2,945 -93% 56 $53   $3,391,202 5
2018/10/12 - $356 -88% 31 $11   $3,392,667 6

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 8/23/2018 $264,622 127 128 300 $490,779 1/1/2019
Aruba 7/19/2018 $9,856 7 7 21 $44,995 1/1/2019
Australia 7/20/2018 $2,221,038 303 303 1423 $6,333,114 10/2/2018
Austria 8/17/2018 $180,671 71 74 390 $1,039,241 11/13/2018
Bahrain 8/16/2018 $202,932 10 10 36 $695,135 11/20/2018
Belgium 8/15/2018 $321,740 50 56 345 $1,155,267 10/16/2018
Bolivia 8/9/2018 $28,267 25 25 49 $70,380 1/1/2019
Brazil 8/16/2018 $1,290,126 532 532 1628 $3,330,104 10/9/2018
Bulgaria 8/17/2018 $44,741 67 67 166 $202,278 2/26/2019
Cambodia 7/19/2018 $13,933 59 59 89 $27,318 1/1/2019
Central America 8/30/2018 $0 0 122 194 $888,362 10/2/2018
Chile 8/16/2018 $124,217 61 61 170 $325,066 1/1/2019
Colombia 8/23/2018 $326,006 188 188 369 $685,163 1/1/2019
Croatia 8/16/2018 $68,989 60 60 166 $249,067 1/1/2019
Curacao 7/19/2018 $14,148 7 7 24 $67,872 1/1/2019
Czech Republic 8/16/2018 $67,868 95 95 197 $186,068 1/1/2019
Denmark 8/16/2018 $243,525 65 65 233 $740,488 10/10/2018
Dominican Republic 8/9/2018 $59,921 33 33 149 $255,831 1/1/2019
East Africa 8/17/2018 $4,022 2 2 7 $12,441 9/19/2018
Ecuador 8/17/2018 $120,562 48 48 169 $390,659 1/1/2019
Egypt 8/15/2018 $72,136 14 14 43 $165,911 1/1/2019
Estonia 7/20/2018 $23,582 15 15 47 $90,513 8/28/2018
Finland 8/17/2018 $47,624 53 53 137 $151,378 9/25/2018
France 8/15/2018 $2,195,920 406 415 2243 $6,887,956 10/9/2018
Germany 8/16/2018 $1,808,700 494 647 3880 $8,296,071 11/6/2018
Ghana 8/10/2018 $7,441 4 4 26 $29,354 1/1/2019
Greece 9/13/2018 $142,699 112 112 209 $422,015 10/23/2018
Hong Kong 9/13/2018 $226,438 108 108 190 $469,686 10/16/2018
Hungary 8/16/2018 $139,179 46 60 236 $518,482 1/1/2019
Iceland 7/18/2018 $21,252 7 8 25 $84,540 1/1/2019
India 9/21/2018 $210,115 471 471 474 $305,323 10/2/2018
Indonesia 8/15/2018 $1,417,550 499 499 882 $2,343,445 1/1/2019
Iraq 8/16/2018 $28,263 8 9 29 $117,566 1/1/2019
Israel 8/9/2018 $172,517 40 40 122 $468,259 1/1/2019
Italy 9/13/2018 $692,597 0 30 41 $1,718,040 10/16/2018
Jamaica 7/18/2018 $37,822 5 5 21 $192,019 1/1/2019
Japan 10/5/2018 $768,341 207 207 912 $3,303,789 12/23/2018
Jordan 8/16/2018 $51,600 5 5 23 $169,206 1/1/2019
Kenya 8/10/2018 $31,337 23 23 87 $108,283 1/1/2019
Kuwait 8/16/2018 $522,359 21 21 65 $1,280,561 1/1/2019
Latvia 7/20/2018 $7,350 8 8 31 $47,294 1/1/2019
Lebanon 8/16/2018 $91,220 17 18 64 $311,895 1/1/2019
Lithuania 7/20/2018 $21,120 99 99 261 $89,523 8/22/2018
Malaysia 8/30/2018 $561,642 247 247 675 $1,190,903 11/6/2018
Mexico 8/17/2018 $1,385,063 0 655 740 $3,720,418 10/2/2018
Middle East Region 9/6/2018 $89,672 2 2 4 $204,634 9/19/2018
Netherlands 8/17/2018 $797,804 98 102 635 $3,193,536 10/23/2018
New Zealand 7/20/2018 $207,554 72 72 290 $598,212 9/11/2018
Nigeria 8/10/2018 $56,534 34 35 182 $212,171 1/1/2019
North America 7/20/2018 $36,011,640 3,388 3,388 18,066 $102,084,362 9/18/2019
Norway 8/17/2018 $164,411 141 141 314 $441,449 10/10/2018
Oman 8/16/2018 $144,608 15 15 43 $381,548 1/1/2019
Pakistan 7/20/2018 $16,402 28 28 32 $25,698 1/1/2019
Paraguay 8/23/2018 $14,703 21 21 38 $29,950 1/1/2019
Peru 8/9/2018 $235,900 113 113 195 $496,409 1/1/2019
Philippines 8/29/2018 $564,136 205 205 266 $777,005 1/1/2019
Poland 8/31/2018 $217,017 117 117 392 $644,849 1/1/2019
Portugal 7/19/2018 $163,649 63 73 248 $726,486 9/19/2018
Qatar 8/16/2018 $275,109 21 21 52 $574,552 1/1/2019
Romania 7/20/2018 $189,968 75 75 383 $698,116 1/1/2019
Russia (CIS) 9/6/2018 $1,602,516 909 1044 2785 $3,392,667 1/1/2019
Serbia and Montenegro 8/9/2018 $15,764 26 26 107 $74,883 1/1/2019
Singapore 8/30/2018 $273,142 46 46 110 $512,091 10/10/2018
Slovakia 8/16/2018 $62,454 66 66 127 $164,595 9/25/2018
Slovenia 8/30/2018 $24,148 13 13 44 $55,199 10/2/2018
South Africa 8/24/2018 $220,651 104 107 532 $917,717 10/23/2018
Spain 8/10/2018 $958,673 366 366 1805 $4,170,814 10/16/2018
Suriname 7/20/2018 $1,274 1 1 6 $7,331 1/1/2019
Sweden 8/24/2018 $341,760 115 115 328 $974,213 10/23/2018
Switzerland 8/15/2018 $269,180 89 89 368 $1,017,667 12/11/2018
Syria 8/16/2018 $5,630 1 2 3 $14,568 1/1/2019
Taiwan 8/30/2018 $836,291 120 120 373 $2,265,986 10/9/2018
Thailand 8/30/2018 $359,398 156 156 306 $917,144 10/10/2018
Trinidad 7/18/2018 $117,092 22 22 88 $440,631 1/1/2019
Turkey 8/22/2018 $117,347 299 299 796 $477,259 2/26/2019
Ukraine 9/6/2018 $231,351 284 284 629 $431,509 1/1/2019
United Arab Emirates 8/16/2018 $1,224,184 100 100 260 $3,264,428 11/20/2018
United Kingdom 9/14/2018 $2,522,611 493 497 1965 $9,588,072 10/23/2018
Uruguay 8/16/2018 $29,935 23 25 75 $94,505 1/1/2019
Venezuela 8/24/2018 $0 0 50 200 $181,676 12/6/2018
Vietnam 8/24/2018 $159,127 165 165 333 $352,144 1/1/2019
 
Rest of World $300,047
 
Worldwide Total$190,376,181 9/18/2019

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.

Leading Cast

Denzel Washington    Robert McCall

Supporting Cast

Pedro Pascal    Dave York
Ashton Sanders    Miles
Bill Pullman    Brian Plummer
Melissa Leo    Susan Plummer
Orson Bean    Sam Rubinstein
Jonathan Scarfe    Resnick
Sakina Jaffrey    Fatima
Kazy Tauginas    Ari
Garrett A. Golden    Kovac
Adam Karst    Turkish Father
Alican Barlas    Dining Car Porter
Rhys Cote    Nine Year Old Braelick Girl
Tamara Hickey    Grace Braelick
Ken Baltin    Grace Braelick’s Lawyer
Colin Allen    Bookstore Nerd
Antoine de Lartigue    Mr. Calbert
Abigail Marlowe    Jana Calbert
Jim Loutzenhiser    Interpol Agent
Alessandra Rosenfeld    Lyft Girls (8 Years)
Lillie Dickens    Lyft Girls (8 Years)
Rex Baning    Lyft Boy (8 Years)
Lance Williams    Junior (Wall Street)
Caroline Day    Amy
Rory Benjamin Smith    Hart Schaffer (Co-Op)
Ted Arcidi    Big Ernie
Rutherford Cius    Miles’ Buddy
Wesley Pereira    Miles’ Buddy
David Carrasquillo    Miles’ Buddy
Nathaniel Chaney    Miles’ Buddy
Jermaine T Holt    Twitchy Dude
Drew Cooper    Jolly
Jay Hieron    Harried Man
Naheem Garcia    Israel & Rose Horowitz Residence Director
Gloria Papert    Magda (Sam’s Sister)
Phil Tavares    State Trooper
Tim Doherty    State Trooper
C.J. Stuart    Belgian Backpacker
Donald Cerrone    Belgian Backpacker
Karen Strong    Carol York
Marley Dauphin    Molly York
Elena Teresa Capaldi    Alice York
Penelope de la Rosa    Student
Miguel Nascimento    Lyft Passenger Young Soldier
Max McNamara    Lyft Passenger Interview Man
Gerry Pucci    Lyft Passenger Alcoholic
Phyllis Kay    Grandmother on the Train
Johnny Hernandez    Valet
Lance Norris    Hotel Guest

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

Production and Technical Credits

Antoine Fuqua    Director
Richard Wenk    Screenwriter
Michael Sloan    Story based on the Television Series created by
Richard Lindheim    Story based on the Television Series created by
Antoine Fuqua    Producer
Jason Blumenthal    Producer
Todd Black    Producer
Denzel Washington    Producer
Steve Tisch    Producer
Mace Neufeld    Producer
Michael Sloan    Producer
Alex Siskin    Producer
Tony Eldridge    Producer
Molly Allen    Executive Producer
David Bloomfield    Executive Producer
Oliver Wood    Director of Photography
Naomi Shohan    Production Designer
Conrad Buff    Editor
Mary Vernieu    Casting Director
Lindsay Graham-Ahanonu*    Casting Director
Harry Gregson-Williams    Composer
Jabari Ali    Music Supervisor
Jenny Gering    Costume Designer
Sean Devereaux    Visual Effects Supervisor
Kat Samick    Co-Producer
Richard Wenk    Co-Producer
Jeff Dashnaw    Stunt Coordinator
J.J. Dashnaw    Stunt Coordinator
Haley Sweet    Unit Production Manager
Donald L. Sparks    First Assistant Director
Karen Davis    Second Assistant Director
Éric Bruneau    Visual Effects Producer
Brian Drewes    Visual Effects Producer
Thomas Frohling    Art Director
Lauren Rosenbloom    Art Director
David Schlesinger    Set Decorator
Dug Rotstein    Script Supervisor
Gail Fitzgibbons    Costume Supervisor
Liz Bernstrom    Make up
Julie LeShane    Make up
David Dupuis    Special Make-up Effects
Frank Barbosa    Hairstylist
Elizabeth Cecchini    Hairstylist
Edward Tise    Sound Mixer
Jeremy Hays    Special Effects Coordinator
Mark Fitzgerald    Location Manager
Jeffrey D. McDonald    Set Designer
Anthony Raymond    Set Designer
Jane Wuu    Set Designer
Jeff Dashnaw    Second Unit Director
Carole Kenneally    First Assistant Editor
Brit Delillo    Assistant Editor
Steve Pederson    Re-recording Mixer
Daniel J. Leahy    Re-recording Mixer
Mandell Winter    Supervising Sound Editor
David Esparza    Supervising Sound Editor
Julie Feiner    Dialogue Editor
Bernard Weiser    Dialogue Editor
Casey Genton    Sound Effects Editor
Nerses Gezalyan    Foley Mixer
Mark Jan Wlodarkiewicz    Music Editor
Paul Thomason    Music Editor
Dennis Sands    Score Recordist
Al Clay    Score Mixer
Stephanie Economou    Additional Music

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