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Australia Box Office for It Comes At Night (2017)

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It Comes at Night
Theatrical Performance (US$)
Australia Box Office $320,185Details
Worldwide Box Office $19,720,203Details
Home Market Performance
North America DVD Sales $662,889 Details
North America Blu-ray Sales $463,497 Details
Total North America Video Sales $1,126,386
Further financial details...

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


Imagine the end of the world—now imagine something worse. Secure within a desolate home as an unnatural threat terrorizes the world, the tenuous domestic order a man has established with his wife and son is put to the ultimate test with the arrival of a desperate young family seeking refuge. Despite the best intentions of both families, paranoia and mistrust boil over as the horrors outside creep ever-closer, awakening something hidden and monstrous within him as he learns that the protection of his family comes at the cost of his soul.


Movie Details

Production Budget:$5,000,000
Australia Releases: July 7th, 2017 (Wide), released as It Comes At Night
Video Release: August 29th, 2017 by A24
MPAA Rating: R for violence, disturbing images, and language.
(Rating bulletin 2473 (Cert #50950), 4/26/2017)
Running Time: 91 minutes
Keywords: Cabin in the Woods, Supernatural, Post Apocalypse, Paranoia, Isolation Horror
Source:Original Screenplay
Production Method:Live Action
Creative Type:Contemporary Fiction
Production Companies: Animal Kingdom
Production Countries: United States

Home Market Releases for September 12th, 2017

September 13th, 2017


Apparently it is Halloween, because there are a lot of horror titles on this week’s list. Some of them are good, some are not. As for Pick of the Week contenders, there are a few of them. If you have kids, then Captain Underpants: The First Epic Movie on DVD, Blu-ray Combo Pack, or 4K Ultra Combo Pack is your best bet. If you are a fan of Sci-fi, then go with the final season for Orphan Black. However, in the end I went with Phenomena on Blu-ray. You can also buy the movie from the Official Site in a Steelbox with soundtrack and pamphlet. More...

Home Market Releases for August 29th, 2017

August 29th, 2017

My Cousin Rachel

It’s one of those weeks that are deceptively busy. The biggest new release of the week is Wonder Woman, but it is only coming out on Video on Demand. The biggest overall release is the The Lion King franchise on separate Blu-ray releases, but it’s at least a double-dip on Blu-ray. I think a triple-dip on Blu-ray. If it weren’t for these circumstances, they would be clear Pick of the Week contenders. Without those two movies, the next best is... My Cousin Rachel on Blu-ray. Its reviews are not quite Pick of the Week level, but it is the best of what we've got. More...

Thursday Night Previews: Apes Battle for $5 million Debut

July 14th, 2017

War for the Planet of the Apes

War for the Planet of the Apes started its box office run with $5 million in Thursday previews, which is a little lower than expected, but not tragically so. For example, Alien: Covenant earned $4.2 million during its previews on its was to a $36.16 million weekend. If War for the Planet of the Apes has the same legs, it would make $43 million this weekend. On the other hand, The Mummy earned $2.66 million pulling in $31.67 million during its opening weekend. If War for the Planet has the same legs as that film, it would earn just shy of $60 million during its opening weekend. War has much better reviews than either of those films, to it could have better legs than either of those films. That said, it is also the third installment in the reboot franchise and that tends to shrink legs. The average is just over $50 million, which sounds about right. More...

Weekend Wrap-Up: Cars 3 Crosses the Finish Line with $53.69 million

June 20th, 2017

Cars 3

As expected, Cars 3 earned first place over the weekend, but it did so with just $53.69 million, which is lower than anticipated. On the other hand, Wonder Woman remains one of the most impressive wide releases of 2017 when it comes to legs. Even if it didn’t earn another dollar, it would still have above average legs. All Eyez on Me went off to a fast start, but has a troubling internal multiplier, which doesn’t bode well for its future. Overall, the box office rose 31% from last weekend to $189 million. Unfortunately, it fell 19% from the same weekend last year and that’s more important. Fortunately, 2017 still has a sizable lead over 2016 at $5.16 billion to $5.00 billion. More...

Thursday Night Previews: The Eyez Have it earning $3.1 million

June 16th, 2017

All Eyez on Me

All Eyez on Me surprised analysts earning $3.1 million during its previews last night. This is better than The Mummy’s $2.66 million earned last weekend, while its reviews are also marginally better. Granted, its Tomatometer score is just 27% positive, so that could kill the film’s legs by Saturday, but this is still a very positive start and the movie will almost assuredly top our prediction of just under $20 million. More...

Weekend Wrap-Up: Wonder Woman is the Spider-Man of Super Heroes

June 13th, 2017

Wonder Woman

The weekend box office had a few surprises, some positive and some negative. On the positive side, Wonder Woman had the best hold for a major super hero movie since Spider-Man and is on pace for $340 million to $375 million. On the negative side were all three new releases. The Mummy finished on the low side of already low expectations, while It Comes At Night pleased critics, but not moviegoers. Meanwhile, Megan Leavey missed the Mendoza Line. Overall, the box office fell 22% from last weekend to $144 million. This is 5.7% lower than this weekend last year. Fortunately, since this time last week, 2017 expanded its lead over 2016 by about $20 million at $4.90 billion to $4.73 billion. We are almost halfway through the year, so a $175 million / 3.7% lead is solid. It isn’t impossible for that lead to evaporate, but it is enough to be cautiously optimistic about the final tally. More...

Weekend Estimates: Mummy’s $32 Million Debut No Match for Wonder Woman

June 11th, 2017

The Mummy

There are precious few crumbs of comfort to be found from Universal’s launch of The Mummy this weekend. The studio is projecting a $32.2 million opening this weekend from 4,035 theaters. That will be a fairly distant second to Wonder Woman, which is expected to earn about $57.1 million. Even the bright news—that this is Tom Cruise’s biggest global opening weekend—comes with an asterisk. More...

Friday Estimates: Wonder Woman Wows Again with $15.8 million

June 10th, 2017

Wonder Woman

At the beginning of the month, I assumed this weekend would be a close race between Wonder Woman and The Mummy. I assumed The Mummy would at least win on Friday, but that’s not the case, as Wonder Woman remains the number one box office draw. The film earned $15.8 million on Friday, which is 59% lower than its opening Friday. It should bounce back on Saturday and finish the weekend with $53 million, which is just a 49% sophomore stint drop-off. A super hero movie falling less than 50% during its second weekend of release is simply stunning. Granted, its reviews are among the best of the year, so having better than average legs was expect. That said, a 49% drop-off is still an amazing performance and should lead to more than a few movie executives to look for ways to copy its success. More...

Thursday Night Previews: Is The Mummy Dead on Arrival with $2.66 million?

June 9th, 2017

The Mummy

The Mummy started its domestic box office run last night earning $2.66 million in previews. This is well below expectations and it was already expected to struggle. To put this into perspective, it only earned approximately a quarter of what Wonder Woman managed last week and less than half of what Pirates of the Caribbean: Dead Men Tell No Tales earned the weekend before that. Add in reviews that are just 20% positive and there’s a chance the film’s word-of-mouth will kill the film’s legs by this evening. At this point, a $30 million opening could be asking too much. $25 million isn’t even a sure thing anymore. More...

Weekend Predictions: Can Mummy Bury the Competition?

June 8th, 2017

The Mummy

Last weekend was a great one at the box office with Wonder Woman earning over $100 million during its opening. This weekend isn’t expected to be nearly as potent. The biggest new release is The Mummy, which is supposed to be the start of the Dark Universe, but its reviews suggest this combined universe will be short-lived. It Comes At Night could become A24’s biggest hit, although that’s not a particularly high bar. Finally there’s Megan Leavey. It isn’t expected to open truly wide, but it only needs about $2 million to reach the top ten. This weekend last year was similar in terms of box office strength. The Conjuring 2: The Enfield Poltergeist led the way with barely more than $40 million, while there were two other new releases to top $20 million. This year’s crop of new films is nowhere near as good as that; however, the holdovers should make up the difference leaving 2017 ahead in the year-over-year comparison. More...

It Comes at Night Trailer

June 7th, 2017

Horror movie starring Joel Edgerton, Riley Keough, and Christopher Abbott opens on Friday ... Full Movie Details. More...

2017 Preview: June

June 1st, 2017

Despicable Me 3

May was a really soft month with only one unqualified hit, Guardians of the Galaxy, Vol. 2, which is climbing towards $375 million domestically. The second biggest hit of the month will be Pirates of the Caribbean: Dead Men Tell No Tales and I would be surprised if it tops $150 million by any serious margin. June looks a lot more profitable. There are five weeks and every week there is at least one film with a great shot at $100 million or more. In fact, there are four films with at least a decent shot at $200 million and we could double the number of $300 million hits released so far this year. Wonder Woman is widely expected to start the month with an explosive debut and pulling in more than $100 million during its opening weekend is more and more likely. That said, Despicable Me 3 will probably end up being the biggest hit overall with over $300 million. Meanwhile, Cars 3 and Transformers: The Last Knight are both aiming for $200 million. Last June was not particularly strong, outside of one hit. Finding Dory earned nearly $500 million domestically, while the second best film, Central Intelligence, barely earned a quarter of that. I don’t think any film will come close to Finding Dory, but there’s a lot more depth this time around and I have high hopes 2017 will extend its lead. 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% ChangeTheatersPer TheaterTotal GrossWeek
2017/07/07 10 $102,998   34 $3,029   $102,998 1
2017/07/14 12 $68,100 -34% 39 $1,746   $225,153 2
2017/07/21 20 $31,562 -54% 32 $986   $282,889 3
2017/07/28 - $13,304 -58% 21 $634   $310,348 4
2017/08/04 - $5,823 -56% 12 $485   $320,185 5

Box Office Summary Per Territory

Territory Release
Box Office
Australia 7/7/2017 $102,998 34 39 138 $320,185 8/7/2017
Brazil 6/23/2017 $77,085 0 0 0 $86,821 6/26/2018
France 6/23/2017 $401,494 0 0 0 $1,096,907 6/27/2018
Mexico 6/30/2017 $178,690 0 0 0 $178,690 7/4/2017
Netherlands 6/16/2017 $75,501 44 44 166 $290,068 7/21/2017
North America 6/9/2017 $5,988,370 2533 2533 6228 $13,985,117 4/11/2018
Poland 7/7/2017 $85,745 0 0 0 $238,346 6/3/2018
Portugal 12/29/2017 $33,547 22 23 51 $67,699 1/22/2018
Russia (CIS) 8/25/2017 $223,460 490 490 895 $394,937 9/6/2017
South Korea 10/12/2017 $0 0 225 225 $62,771 10/31/2017
Spain 7/7/2017 $250,536 258 258 615 $634,966 7/28/2017
United Kingdom 7/7/2017 $291,973 222 222 396 $634,524 7/19/2017
Rest of World $1,729,172
Worldwide Total$19,720,203 6/27/2018

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

Leading Cast


Supporting Cast

Kelvin Harrison Jr    Travis
David Pendleton    Bud
Griffin Robert Faulkner    Andrew
Christopher Abbott    Will
Carmen Ejogo    Sarah
Mikey    Stanley
Chase Joliet    Man #1
Mick O Rourke    Man #2

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

Production and Technical Credits

Trey Edward Shults    Screenwriter
David Kaplan    Producer
Andrea Roa    Producer
Chase Joliet    Associate Producer
Justin Chan    Associate Producer
Brian McOmber    Composer
Drew Daniels    Cinematographer
Karen Murphy    Production Designer
Avy Kaufman    Casting Director
Meghan Kasperlik    Costume Designer
Trey Edward Shults    Co-Editor
Matthew Hannam    Co-Editor
Naomi Munro    Art Director
Sally Levi    Set Decorator
Mary Beth Minthorn    Unit Production Manager
David Ketterer    First Assistant Director
Alice Johnson    Second Assistant Director
Drew Leary    Stunt Coordinator
Brandon Smith    Stunt Coordinator
T.J. Larson    Script Supervisor
Dimitri Kouri    Sound Mixer
Justin Stowell    Location Manager
Tommy Love    Additional Art Direction
Jessie Eden    Special Make-up Effects
Brian Schuley    Special Effects Supervisor
Kara Janeczko    Production Supervisor
Eric McNatt    Stills Photographer
Aaron Peer    Assistant Editor
Michael Sweeney    Assistant Editor
Damian Volpe    Re-recording Mixer
Mary Ellen Porto    Dialogue Editor
Tony Martinez    Dialogue Editor
Micah Blaichman    Foley Mixer
Bridget Fullan    Visual Effects by
John Bair    Visual Effects Supervisor
Vivian Connolly    Visual Effects Executive Producer
Matt Griffin    Visual Effects Producer
Katherine Miller    Music Editor
Ben Greenberg    Score Recordist
Brian McOmber    Score Recordist
Jordan Dykstra    Score Recordist
Paul Wiancko    Score Recordist

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