The Juror (1996)
| Theatrical Performance | ||
| Domestic Box Office | $22,730,924 | Details |
| OpusData ID: 23090100 More info... | ||
| Further financial details... | ||
Metrics
| Opening Weekend: | $8,411,178 (37.0% of total gross) |
| Legs: | 2.70 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Production Budget: | $44,000,000 (worldwide box office is 0.5 times production budget) |
| Theater counts: | 2,205 opening theaters/2,205 max. theaters, 3.5 weeks average run per theater |
| Infl. Adj. Dom. BO | $58,164,412 |
Movie Details
| Domestic Releases: | February 2nd, 1996 (Wide) by Sony Pictures |
| Video Release: | July 9th, 1996 by Sony Pictures Home Entertainment |
| MPA Rating: | R for violence, language and sexuality |
| Running Time: | 118 minutes |
| Geographical setting: | Guatemala |
| Plot point: | Blackmail, Faked Suicide, Mafia, No Honor Among Thieves, Relationships Gone Wrong, Single Parent, Stalker, Tricked into a Relationship |
| Subgenre: | Erotic Thriller |
| Source: | Based on Fiction Book/Short Story |
| Genre: | Thriller/Suspense |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production Countries: | United States |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 1996 | 2 | $8,411,178 | 2,205 | $3,815 | $8,411,178 | 1 | |
| Feb 9, 1996 | 4 | $4,418,710 | -47% | 2,205 | $2,004 | $15,131,768 | 2 |
| Feb 16, 1996 | 11 | $3,106,954 | -30% | 1,844 | $1,685 | $19,669,670 | 3 |
| Feb 23, 1996 | 16 | $1,021,106 | -67% | 765 | $1,335 | $21,276,232 | 4 |
| Mar 1, 1996 | 26 | $352,016 | -66% | 400 | $880 | $21,817,319 | 5 |
| Mar 8, 1996 | 37 | $113,258 | -68% | 220 | $515 | $22,005,550 | 6 |
| Mar 15, 1996 | 50 | $52,863 | -53% | 142 | $372 | $22,079,985 | 7 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 1996 | 2 | $10,713,058 | 2,205 | $4,859 | $10,713,058 | 1 | |
| Feb 9, 1996 | 4 | $5,849,658 | -45% | 2,205 | $2,653 | $16,562,716 | 2 |
| Feb 16, 1996 | 11 | $3,692,410 | -37% | 1,844 | $2,002 | $20,255,126 | 3 |
| Feb 23, 1996 | 17 | $1,210,177 | -67% | 765 | $1,582 | $21,465,303 | 4 |
| Mar 1, 1996 | 26 | $426,989 | -65% | 400 | $1,067 | $21,892,292 | 5 |
| Mar 8, 1996 | 37 | $134,830 | -68% | 220 | $613 | $22,027,122 | 6 |
Leading
| Demi Moore | Annie Laird | |
| Alec Baldwin | Teacher |
Supporting
| James Gandolfini | Eddie | |
| Lindsay Crouse | Tallow | |
| Joseph Gordon-Levitt | Oliver Laird | |
| Anne Heche | Juliet | |
| Matt Craven | Boone | |
| Michael Constantine | Judge Weitzel |
Production and Technical Credits
| Brian Gibson | Director | |
| Ted Tally | Screenwriter | |
| George Dawes Green | Story Creator | |
| Irwin Winkler | Producer | |
| Jamie Anderson | Cinematographer | |
| Robert M. Reitano* | Editor | |
| James Newton Howard | 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.
Metrics
| Opening Weekend: | $8,411,178 (37.0% of total gross) |
| Legs: | 2.70 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Production Budget: | $44,000,000 (worldwide box office is 0.5 times production budget) |
| Theater counts: | 2,205 opening theaters/2,205 max. theaters, 3.5 weeks average run per theater |
| Infl. Adj. Dom. BO | $58,164,412 |
Movie Details
| Domestic Releases: | February 2nd, 1996 (Wide) by Sony Pictures |
| Video Release: | July 9th, 1996 by Sony Pictures Home Entertainment |
| MPA Rating: | R for violence, language and sexuality |
| Running Time: | 118 minutes |
| Geographical setting: | Guatemala |
| Plot point: | Blackmail, Faked Suicide, Mafia, No Honor Among Thieves, Relationships Gone Wrong, Single Parent, Stalker, Tricked into a Relationship |
| Subgenre: | Erotic Thriller |
| Source: | Based on Fiction Book/Short Story |
| Genre: | Thriller/Suspense |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production Countries: | United States |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 1996 | 2 | $8,411,178 | 2,205 | $3,815 | $8,411,178 | 1 | |
| Feb 9, 1996 | 4 | $4,418,710 | -47% | 2,205 | $2,004 | $15,131,768 | 2 |
| Feb 16, 1996 | 11 | $3,106,954 | -30% | 1,844 | $1,685 | $19,669,670 | 3 |
| Feb 23, 1996 | 16 | $1,021,106 | -67% | 765 | $1,335 | $21,276,232 | 4 |
| Mar 1, 1996 | 26 | $352,016 | -66% | 400 | $880 | $21,817,319 | 5 |
| Mar 8, 1996 | 37 | $113,258 | -68% | 220 | $515 | $22,005,550 | 6 |
| Mar 15, 1996 | 50 | $52,863 | -53% | 142 | $372 | $22,079,985 | 7 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 1996 | 2 | $10,713,058 | 2,205 | $4,859 | $10,713,058 | 1 | |
| Feb 9, 1996 | 4 | $5,849,658 | -45% | 2,205 | $2,653 | $16,562,716 | 2 |
| Feb 16, 1996 | 11 | $3,692,410 | -37% | 1,844 | $2,002 | $20,255,126 | 3 |
| Feb 23, 1996 | 17 | $1,210,177 | -67% | 765 | $1,582 | $21,465,303 | 4 |
| Mar 1, 1996 | 26 | $426,989 | -65% | 400 | $1,067 | $21,892,292 | 5 |
| Mar 8, 1996 | 37 | $134,830 | -68% | 220 | $613 | $22,027,122 | 6 |
Leading
| Demi Moore | Annie Laird | |
| Alec Baldwin | Teacher |
Supporting
| James Gandolfini | Eddie | |
| Lindsay Crouse | Tallow | |
| Joseph Gordon-Levitt | Oliver Laird | |
| Anne Heche | Juliet | |
| Matt Craven | Boone | |
| Michael Constantine | Judge Weitzel |
Production and Technical Credits
| Brian Gibson | Director | |
| Ted Tally | Screenwriter | |
| George Dawes Green | Story Creator | |
| Irwin Winkler | Producer | |
| Jamie Anderson | Cinematographer | |
| Robert M. Reitano* | Editor | |
| James Newton Howard | 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.