Madonna: Truth or Dare (1991)
| Theatrical Performance | ||
| Domestic Box Office | $15,012,935 | Details |
| International Box Office | $14,000,000 | Details |
| Worldwide Box Office | $29,012,935 | |
| OpusData ID: 30280100 More info... | ||
| Further financial details... | ||
Metrics
| Opening Weekend: | $543,250 (3.6% of total gross) |
| Legs: | 4.44 (domestic box office/biggest weekend) |
| Domestic Share: | 51.7% (domestic box office/worldwide) |
| Theater counts: | 51 opening theaters/652 max. theaters, 3.4 weeks average run per theater |
| Infl. Adj. Dom. BO | $40,331,652 |
Movie Details
| Domestic Releases: | May 10th, 1991 (Wide) by Miramax |
| International Releases: | June 27th, 1991 (Wide) (Australia)
December 10th, 2020 (Limited) (Australia) |
| MPA Rating: | R for strong sexual dialogue and situations. |
| Running Time: | 122 minutes |
| Cast, crew, or production detail: | Voiceover/Narration |
| Plot point: | Backstage |
| Social setting: | On Tour, Pop Music |
| Subgenre: | Social and Cultural Documentary |
| Source: | Based on Real Life Events |
| Genre: | Documentary |
| Production Method: | Live Action |
| Creative Type: | Factual |
| Production Countries: | United States |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| May 10, 1991 | 17 | $543,250 | 51 | $10,652 | $543,250 | 1 | |
| May 17, 1991 | 3 | $3,380,277 | +522% | 538 | $6,283 | $4,346,490 | 2 |
| May 24, 1991 | 9 | $2,521,171 | -25% | 652 | $3,867 | $8,412,276 | 3 |
| May 31, 1991 | 11 | $1,326,556 | -47% | 649 | $2,044 | $10,411,442 | 4 |
| Jun 21, 1991 | 18 | $336,627 | 339 | $993 | $13,543,361 | 7 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| May 10, 1991 | 15 | $966,213 | 51 | $18,945 | $966,213 | 1 | |
| May 17, 1991 | 3 | $4,924,892 | +410% | 538 | $9,154 | $5,891,105 | 2 |
| May 24, 1991 | 7 | $3,193,781 | -35% | 652 | $4,898 | $9,084,886 | 3 |
Top International Territories
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens/Theaters |
Maximum Screens/Theaters |
Theatrical Engagements |
Total Box Office |
Report Date |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Australia | 6/27/1991 | $0 | 0 | 7 | 7 | $1,317 | 12/18/2020 | |||
| Rest of World | $13,998,683 | |||||||||
| International Total | $14,000,000 | 12/18/2020 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Documentary Subject
| Madonna | Herself |
Cameo
| Al Pacino | Himself |
| Antonio Banderas | Himself |
Cameo
| Kevin Costner | Himself | |
| Matt Dillon | Himself |
| Sandra Bernhard | Herself | |
| Warren Beatty | Himself | |
| Pedro Almodovar | Himself | |
| Mandy Patinkin | Himself |
Production and Technical Credits
| Alek Keshishian | Director | |
| Tim Clawson | Producer | |
| Jay Roewe | Producer | |
| Barry Alexander Brown | Editor |
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: | $543,250 (3.6% of total gross) |
| Legs: | 4.44 (domestic box office/biggest weekend) |
| Domestic Share: | 51.7% (domestic box office/worldwide) |
| Theater counts: | 51 opening theaters/652 max. theaters, 3.4 weeks average run per theater |
| Infl. Adj. Dom. BO | $40,331,652 |
Movie Details
| Domestic Releases: | May 10th, 1991 (Wide) by Miramax |
| International Releases: | June 27th, 1991 (Wide) (Australia)
December 10th, 2020 (Limited) (Australia) |
| MPA Rating: | R for strong sexual dialogue and situations. |
| Running Time: | 122 minutes |
| Cast, crew, or production detail: | Voiceover/Narration |
| Plot point: | Backstage |
| Social setting: | On Tour, Pop Music |
| Subgenre: | Social and Cultural Documentary |
| Source: | Based on Real Life Events |
| Genre: | Documentary |
| Production Method: | Live Action |
| Creative Type: | Factual |
| Production Countries: | United States |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| May 10, 1991 | 17 | $543,250 | 51 | $10,652 | $543,250 | 1 | |
| May 17, 1991 | 3 | $3,380,277 | +522% | 538 | $6,283 | $4,346,490 | 2 |
| May 24, 1991 | 9 | $2,521,171 | -25% | 652 | $3,867 | $8,412,276 | 3 |
| May 31, 1991 | 11 | $1,326,556 | -47% | 649 | $2,044 | $10,411,442 | 4 |
| Jun 21, 1991 | 18 | $336,627 | 339 | $993 | $13,543,361 | 7 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| May 10, 1991 | 15 | $966,213 | 51 | $18,945 | $966,213 | 1 | |
| May 17, 1991 | 3 | $4,924,892 | +410% | 538 | $9,154 | $5,891,105 | 2 |
| May 24, 1991 | 7 | $3,193,781 | -35% | 652 | $4,898 | $9,084,886 | 3 |
Top International Territories
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens/Theaters |
Maximum Screens/Theaters |
Theatrical Engagements |
Total Box Office |
Report Date |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Australia | 6/27/1991 | $0 | 0 | 7 | 7 | $1,317 | 12/18/2020 | |||
| Rest of World | $13,998,683 | |||||||||
| International Total | $14,000,000 | 12/18/2020 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Documentary Subject
| Madonna | Herself |
Cameo
| Al Pacino | Himself |
| Antonio Banderas | Himself |
Cameo
| Kevin Costner | Himself | |
| Matt Dillon | Himself |
| Sandra Bernhard | Herself | |
| Warren Beatty | Himself | |
| Pedro Almodovar | Himself | |
| Mandy Patinkin | Himself |
Production and Technical Credits
| Alek Keshishian | Director | |
| Tim Clawson | Producer | |
| Jay Roewe | Producer | |
| Barry Alexander Brown | Editor |
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.