Mickey 17 (2025)
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| Theatrical Performance | ||
| Domestic Box Office | $46,142,263 | Details |
| International Box Office | $87,400,000 | Details |
| Worldwide Box Office | $133,542,263 | |
| OpusData ID: 457630100 More info... | ||
| Further financial details... | ||
Synopsis
Wanting to get out of Earth, Mickey Barnes signs up to be an “expendable”: a disposable employee where after one iteration dies, a new body is regenerated with most of their memories intact. After one of his “multiples”, Mickey 17, unintentionally survives a human expedition to colonize the ice world Niflheim, he goes head to head with a new multiple, Mickey 18.
Metrics
| Opening Weekend: | $19,002,852 (41.2% of total gross) |
| Legs: | 2.43 (domestic box office/biggest weekend) |
| Domestic Share: | 34.6% (domestic box office/worldwide) |
| Production Budget: | $118,000,000 (worldwide box office is 1.1 times production budget) |
| Theater counts: | 3,807 opening theaters/3,807 max. theaters, 3.4 weeks average run per theater |
| Infl. Adj. Dom. BO | $46,142,263 |
Movie Details
| Domestic Releases: | March 7th, 2025 (Wide) by Warner Bros. March 7th, 2025 (IMAX) by Warner Bros. |
| International Releases: | February 28th, 2025 (Wide), released as Mickey 17 (미키 17) (South Korea)
March 5th, 2025 (Wide) (France) March 5th, 2025 (Wide) (Belgium) March 6th, 2025 (Wide) (Argentina) March 6th, 2025 (Wide) (Croatia) ... Show all releases |
| Video Release: | March 25th, 2025 by Warner Home Video |
| MPA Rating: | R for violent content, language throughout, sexual content and drug material. (Rating bulletin 2854 (cert #54647), 10/2/2024) |
| Running Time: | 139 minutes |
| Cast, crew, or production detail: | Same Actor, Multiple Roles |
| Filming location (country): | England, United Kingdom |
| Plot point: | Cloning, Satire |
| Social setting: | Dystopia |
| Subgenre: | Black Comedy |
| Source: | Based on Fiction Book/Short Story |
| Genre: | Black Comedy |
| Production Method: | Live Action |
| Creative Type: | Science Fiction |
| Production/Financing Companies: | Warner Bros., Plan B Entertainment, Offscreen, Kate Street Picture Company, Domain Entertainment |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 7, 2025 | 1 | $19,002,852 | 3,807 | $4,992 | $19,002,852 | 1 | |
| Mar 14, 2025 | 3 | $7,435,030 | -61% | 3,807 | $1,953 | $33,212,062 | 2 |
| Mar 21, 2025 | 5 | $3,679,656 | -51% | 2,584 | $1,424 | $40,001,210 | 3 |
| Mar 28, 2025 | 9 | $1,934,800 | -47% | 1,648 | $1,174 | $43,600,141 | 4 |
| Apr 4, 2025 | 12 | $780,058 | -60% | 643 | $1,213 | $45,223,175 | 5 |
| Apr 11, 2025 | - | $255,197 | -67% | 215 | $1,187 | $45,792,449 | 6 |
| Apr 18, 2025 | - | $100,209 | -61% | 94 | $1,066 | $46,002,053 | 7 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Mar 6, 2025 | P | $2,500,000 | 3,200 | $781 | $2,500,000 | |||
| Mar 7, 2025 | 1 | $7,726,710 | 3,807 | $2,030 | $7,726,710 | 1 | ||
| Mar 8, 2025 | 1 | $6,702,116 | -13% | 3,807 | $1,760 | $14,428,826 | 2 | |
| Mar 9, 2025 | 1 | $4,574,026 | -32% | 3,807 | $1,201 | $19,002,852 | 3 | |
| Mar 10, 2025 | 1 | $1,581,557 | -65% | 3,807 | $415 | $20,584,409 | 4 | |
| Mar 11, 2025 | 1 | $2,520,626 | +59% | 3,807 | $662 | $23,105,035 | 5 | |
| Mar 12, 2025 | 1 | $1,461,026 | -42% | 3,807 | $384 | $24,566,061 | 6 | |
| Mar 13, 2025 | 1 | $1,210,971 | -17% | 3,807 | $318 | $25,777,032 | 7 | |
| Mar 14, 2025 | 3 | $2,178,057 | +80% | -72% | 3,807 | $572 | $27,955,089 | 8 |
| Mar 15, 2025 | 1 | $3,088,842 | +42% | -54% | 3,807 | $811 | $31,043,931 | 9 |
| Mar 16, 2025 | 1 | $2,168,131 | -30% | -53% | 3,807 | $570 | $33,212,062 | 10 |
| Mar 17, 2025 | 2 | $698,901 | -68% | -56% | 3,807 | $184 | $33,910,963 | 11 |
| Mar 18, 2025 | 2 | $1,106,652 | +58% | -56% | 3,807 | $291 | $35,017,615 | 12 |
| Mar 19, 2025 | 2 | $706,038 | -36% | -52% | 3,807 | $185 | $35,723,653 | 13 |
| Mar 20, 2025 | 1 | $597,901 | -15% | -51% | 3,807 | $157 | $36,321,554 | 14 |
| Mar 21, 2025 | 5 | $1,084,866 | +81% | -50% | 2,584 | $420 | $37,406,420 | 15 |
| Mar 22, 2025 | 5 | $1,569,674 | +45% | -49% | 2,584 | $607 | $38,976,094 | 16 |
| Mar 23, 2025 | 4 | $1,025,116 | -35% | -53% | 2,584 | $397 | $40,001,210 | 17 |
| Mar 24, 2025 | 3 | $384,322 | -63% | -45% | 2,584 | $149 | $40,385,532 | 18 |
| Mar 25, 2025 | 4 | $564,837 | +47% | -49% | 2,584 | $219 | $40,950,369 | 19 |
| Mar 26, 2025 | 4 | $404,018 | -28% | -43% | 2,584 | $156 | $41,354,387 | 20 |
| Mar 27, 2025 | 5 | $310,954 | -23% | -48% | 2,584 | $120 | $41,665,341 | 21 |
| Mar 28, 2025 | 9 | $560,585 | +80% | -48% | 1,648 | $340 | $42,225,926 | 22 |
| Mar 29, 2025 | 9 | $819,917 | +46% | -48% | 1,648 | $498 | $43,045,843 | 23 |
| Mar 30, 2025 | 9 | $554,298 | -32% | -46% | 1,648 | $336 | $43,600,141 | 24 |
| Mar 31, 2025 | 9 | $219,233 | -60% | -43% | 1,648 | $133 | $43,819,374 | 25 |
| Apr 1, 2025 | 9 | $285,506 | +30% | -49% | 1,648 | $173 | $44,104,880 | 26 |
| Apr 2, 2025 | 9 | $203,525 | -29% | -50% | 1,648 | $123 | $44,308,405 | 27 |
| Apr 3, 2025 | 8 | $134,712 | -34% | -57% | 1,648 | $82 | $44,443,117 | 28 |
| Apr 4, 2025 | 12 | $244,816 | +82% | -56% | 643 | $381 | $44,687,933 | 29 |
| Apr 5, 2025 | 12 | $325,387 | +33% | -60% | 643 | $506 | $45,013,320 | 30 |
| Apr 6, 2025 | 13 | $209,855 | -36% | -62% | 643 | $326 | $45,223,175 | 31 |
| Apr 7, 2025 | - | $72,255 | -66% | -67% | 643 | $112 | $45,295,430 | 32 |
| Apr 8, 2025 | - | $115,185 | +59% | -60% | 643 | $179 | $45,410,615 | 33 |
| Apr 9, 2025 | - | $76,301 | -34% | -63% | 643 | $119 | $45,486,916 | 34 |
| Apr 10, 2025 | - | $50,336 | -34% | -63% | 643 | $78 | $45,537,252 | 35 |
| Apr 11, 2025 | - | $78,632 | +56% | -68% | 215 | $366 | $45,615,884 | 36 |
| Apr 12, 2025 | - | $118,774 | +51% | -63% | 215 | $552 | $45,734,658 | 37 |
| Apr 13, 2025 | - | $57,791 | -51% | -72% | 215 | $269 | $45,792,449 | 38 |
| Apr 14, 2025 | - | $25,828 | -55% | -64% | 215 | $120 | $45,818,277 | 39 |
| Apr 15, 2025 | - | $36,194 | +40% | -69% | 215 | $168 | $45,854,471 | 40 |
| Apr 16, 2025 | - | $27,455 | -24% | -64% | 215 | $128 | $45,881,926 | 41 |
| Apr 17, 2025 | - | $19,918 | -27% | -60% | 215 | $93 | $45,901,844 | 42 |
| Apr 18, 2025 | - | $39,065 | +96% | -50% | 94 | $416 | $45,940,909 | 43 |
| Apr 19, 2025 | - | $40,372 | +3% | -66% | 94 | $429 | $45,981,281 | 44 |
| Apr 20, 2025 | - | $20,772 | -49% | -64% | 94 | $221 | $46,002,053 | 45 |
| Apr 21, 2025 | - | $10,421 | -50% | -60% | 94 | $111 | $46,012,474 | 46 |
| Apr 22, 2025 | - | $15,142 | +45% | -58% | 94 | $161 | $46,027,616 | 47 |
| Apr 23, 2025 | - | $10,558 | -30% | -62% | 94 | $112 | $46,038,174 | 48 |
| Apr 24, 2025 | - | $8,973 | -15% | -55% | 94 | $95 | $46,047,147 | 49 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 7, 2025 | 1 | $25,777,032 | 3,807 | $6,771 | $25,777,032 | 1 | |
| Mar 14, 2025 | 2 | $10,544,522 | -59% | 3,807 | $2,770 | $36,321,554 | 2 |
| Mar 21, 2025 | 4 | $5,343,787 | -49% | 2,584 | $2,068 | $41,665,341 | 3 |
| Mar 28, 2025 | 9 | $2,777,776 | -48% | 1,648 | $1,686 | $44,443,117 | 4 |
| Apr 4, 2025 | 13 | $1,094,135 | -61% | 643 | $1,702 | $45,537,252 | 5 |
| Apr 11, 2025 | 18 | $364,592 | -67% | 215 | $1,696 | $45,901,844 | 6 |
| Apr 18, 2025 | 24 | $145,303 | -60% | 94 | $1,546 | $46,047,147 | 7 |
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 | 3/6/2025 | $1,040,268 | 366 | 392 | 0 | $4,016,511 | 4/4/2026 | |||
| Brazil | 3/6/2025 | $584,000 | 0 | 0 | 0 | $1,600,000 | 4/4/2026 | |||
| China | 3/7/2025 | $1,185,789 | 0 | 0 | 0 | $2,200,000 | 4/6/2026 | |||
| Croatia | 3/6/2025 | $47,017 | 64 | 64 | 193 | $159,760 | 4/4/2026 | |||
| Czech Republic | 3/6/2025 | $77,184 | 126 | 126 | 339 | $291,907 | 4/4/2026 | |||
| Finland | 3/7/2025 | $128,662 | 74 | 80 | 362 | $589,152 | 4/4/2026 | |||
| France | 3/5/2025 | $3,000,000 | 588 | 588 | 2,042 | $9,700,000 | 4/4/2026 | |||
| Germany | 3/6/2025 | $1,300,000 | 530 | 530 | 560 | $4,800,000 | 4/4/2026 | |||
| Hong Kong | 3/6/2025 | $466,000 | 0 | 0 | 0 | $858,394 | 4/6/2026 | |||
| Italy | 3/6/2025 | $846,176 | 0 | 0 | 0 | $2,800,000 | 4/4/2026 | |||
| Japan | 3/28/2025 | $809,000 | 743 | 743 | 743 | $2,100,000 | 4/6/2026 | |||
| Mexico | 3/6/2025 | $1,322,412 | 0 | 0 | 0 | $4,000,000 | 4/4/2026 | |||
| Netherlands | 3/6/2025 | $413,914 | 137 | 137 | 761 | $1,800,000 | 4/4/2026 | |||
| New Zealand | 3/6/2025 | $186,663 | 99 | 103 | 0 | $555,157 | 4/4/2026 | |||
| Poland | 3/14/2025 | $104,568 | 250 | 250 | 250 | $104,568 | 4/4/2026 | |||
| Portugal | 3/6/2025 | $145,691 | 87 | 87 | 293 | $434,452 | 4/4/2026 | |||
| Romania | 3/7/2025 | $59,568 | 135 | 135 | 0 | $199,129 | 4/4/2026 | |||
| Russia (CIS) | 3/6/2025 | $395,708 | 145 | 261 | 611 | $1,717,621 | 4/6/2026 | |||
| Slovakia | 3/6/2025 | $31,174 | 76 | 76 | 154 | $97,826 | 4/4/2026 | |||
| South Korea | 2/28/2025 | $6,741,885 | 2,153 | 2,153 | 0 | $20,843,720 | 4/4/2026 | |||
| Spain | 3/6/2025 | $931,994 | 441 | 441 | 1,480 | $2,900,000 | 4/4/2026 | |||
| Taiwan | 3/6/2025 | $614,000 | 0 | 0 | 0 | $1,700,000 | 4/6/2026 | |||
| Turkey | 3/6/2025 | $179,690 | 420 | 420 | 1,066 | $596,086 | 4/4/2026 | |||
| United Kingdom | 3/7/2025 | $2,754,269 | 1,025 | 1,025 | 2,933 | $9,465,072 | 4/4/2026 | |||
| Rest of World | $13,870,645 | |||||||||
| International Total | $87,400,000 | 4/6/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Lead Ensemble Member
| Robert Pattinson | Mickey Barnes | |
| Naomi Ackie | Nasha Barridge | |
| Steven Yuen | Timo | |
| Toni Collette | Ylfa | |
| Mark Ruffalo | Kenneth Marshall |
Supporting
| Daniel Henshall | Preston | |
| Cameron Britton | Arkady | |
| Patsy Ferran | Dorothy | |
| Christian Patterson | Chainsaw Guy | |
| Lloyd Hutchinson | Underboss | |
| Samuel Blenkin | Delinquent Borrower | |
| Ian Hanmore | Darius Blank | |
| Sabet Choudhary | News Reporter | |
| Tim Key | Pigeon Man | |
| Rose Shalloo | The Supporter | |
| Bronwyn James | Receptionist | |
| Holliday Grainger | Gemma | |
| Milo James | Young Mickey | |
| Jude Mack | Kai’s New Girlfriend | |
| Thomas Turgoose | Bazooka Soldier | |
| Adam Colborne | Gate Agent | |
| Tom Cawte | Prison Guard | |
| Anamaria Vartolomei | Kai Katz | |
| Ellen Robertson | Jennifer Chilton | |
| Sam Woodhams | Quartermaster | |
| Kayla Meikle | Flitter Driver | |
| Haydn Gwynne | Congresswoman | |
| Edward Davis | Alan Manikova | |
| Theo Ogundipe | Police Detective | |
| Jamila Wingett | Stage Manager | |
| Spike White | Committee Chairperson | |
| Stephen Park | Zeke | |
| Angus Imrie | Agent Charlie | |
| Afolabi Alli | First Marshall’s Agent | |
| Anna Mouglalis | Mama Creeper |
Production and Technical Credits
| Bong Joon Ho | Director | |
| Bong Joon Ho | Screenwriter | |
| Edward Ashton | Story based on the novel by | |
| Dede Gardner | Producer | |
| Jeremy Kleiner | Producer | |
| Dooho Choi | Producer | |
| Bong Joon Ho | Producer | |
| Brad Pitt | Executive Producer | |
| Jesse Ehrman | Executive Producer | |
| Peter Dodd | Executive Producer | |
| Marianne Jenkins | Executive Producer | |
| Pete Chiappetta | Executive Producer | |
| Darius Khondji | Director of Photography | |
| Fiona Crombie | Production Designer | |
| Yang Jinmo | Editor | |
| Jung Jaeil | Composer | |
| Dan Glass | Visual Effects Supervisor | |
| Catherine George | Costume Designer | |
| Choi Tae-young | Supervising Sound Editor | |
| Francine Maisler | Casting Director | |
| Marianne Jenkins | Unit Production Manager | |
| Ben Howard | First Assistant Director | |
| Whitney Gearin | Visual Effects Producer | |
| Stuart Wilson | Production Sound Mixer | |
| David Zealey | Unit Production Manager | |
| Michael Mann | Production Manager | |
| Jason Knox-Johnston | Supervising Art Director | |
| Dominique Law | Art Director | |
| Christine Lois | Art Director | |
| Marco Restivo | Art Director | |
| Paul Savulescu | Art Director | |
| Laura Mickiewicz | Art Director | |
| Lisa McDiarmid | Art Director | |
| Shalina Bhamra | Set Designer | |
| Hannah Foulkes | Set Designer | |
| Giulia Iddas | Set Designer | |
| Jo Beckett | Script Supervisor | |
| Yeijin Cho | Associate Producer | |
| Choi Tae-young | Re-recording Mixer | |
| Eilam Hoffman | Sound Designer | |
| Kang Hye-young | Sound Effects Editor | |
| Kim Ju-hyun | Sound Effects Editor | |
| Jun-Yong Kim | Sound Effects Editor | |
| Na-Won Jung | Sound Effects Editor | |
| Eun-Ji Ye | Dialogue Editor | |
| Eun-Ji Jeong | Dialogue Editor | |
| Min-Ji Kim | Foley Editor | |
| I Na Shin | Foley Mixer | |
| Lee Chung-gyu | Foley Recordist | |
| Jaewon Kim | First Assistant Editor | |
| Nicky Coats | Visual Effects Producer | |
| Constantin Brodt | Visual Effects Editor | |
| Stephen Fletcher | Visual Effects Editor | |
| Dan Grace | Costume Supervisor | |
| Sharon Martin | Make-up and Hair Designer | |
| Alice Felton | Set Decorator | |
| Amanda Stevens | Supervising Location Manager | |
| Stephen Parker | Location Manager | |
| Peter Bardsley | Location Manager | |
| Vincent Abbott | Visual Effects Designer | |
| Nick Bonathan | Visual Effects Designer | |
| Conor Breen | Visual Effects Designer | |
| Gary Merrington | Visual Effects Designer | |
| Adelaide Waldrop | Intimacy Coordinator |
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.
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.
Synopsis
Wanting to get out of Earth, Mickey Barnes signs up to be an “expendable”: a disposable employee where after one iteration dies, a new body is regenerated with most of their memories intact. After one of his “multiples”, Mickey 17, unintentionally survives a human expedition to colonize the ice world Niflheim, he goes head to head with a new multiple, Mickey 18.
Metrics
| Opening Weekend: | $19,002,852 (41.2% of total gross) |
| Legs: | 2.43 (domestic box office/biggest weekend) |
| Domestic Share: | 34.6% (domestic box office/worldwide) |
| Production Budget: | $118,000,000 (worldwide box office is 1.1 times production budget) |
| Theater counts: | 3,807 opening theaters/3,807 max. theaters, 3.4 weeks average run per theater |
| Infl. Adj. Dom. BO | $46,142,263 |
Movie Details
| Domestic Releases: | March 7th, 2025 (Wide) by Warner Bros. March 7th, 2025 (IMAX) by Warner Bros. |
| International Releases: | February 28th, 2025 (Wide), released as Mickey 17 (미키 17) (South Korea)
March 5th, 2025 (Wide) (France) March 5th, 2025 (Wide) (Belgium) March 6th, 2025 (Wide) (Argentina) March 6th, 2025 (Wide) (Croatia) ... Show all releases |
| Video Release: | March 25th, 2025 by Warner Home Video |
| MPA Rating: | R for violent content, language throughout, sexual content and drug material. (Rating bulletin 2854 (cert #54647), 10/2/2024) |
| Running Time: | 139 minutes |
| Cast, crew, or production detail: | Same Actor, Multiple Roles |
| Filming location (country): | England, United Kingdom |
| Plot point: | Cloning, Satire |
| Social setting: | Dystopia |
| Subgenre: | Black Comedy |
| Source: | Based on Fiction Book/Short Story |
| Genre: | Black Comedy |
| Production Method: | Live Action |
| Creative Type: | Science Fiction |
| Production/Financing Companies: | Warner Bros., Plan B Entertainment, Offscreen, Kate Street Picture Company, Domain Entertainment |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 7, 2025 | 1 | $19,002,852 | 3,807 | $4,992 | $19,002,852 | 1 | |
| Mar 14, 2025 | 3 | $7,435,030 | -61% | 3,807 | $1,953 | $33,212,062 | 2 |
| Mar 21, 2025 | 5 | $3,679,656 | -51% | 2,584 | $1,424 | $40,001,210 | 3 |
| Mar 28, 2025 | 9 | $1,934,800 | -47% | 1,648 | $1,174 | $43,600,141 | 4 |
| Apr 4, 2025 | 12 | $780,058 | -60% | 643 | $1,213 | $45,223,175 | 5 |
| Apr 11, 2025 | - | $255,197 | -67% | 215 | $1,187 | $45,792,449 | 6 |
| Apr 18, 2025 | - | $100,209 | -61% | 94 | $1,066 | $46,002,053 | 7 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Mar 6, 2025 | P | $2,500,000 | 3,200 | $781 | $2,500,000 | |||
| Mar 7, 2025 | 1 | $7,726,710 | 3,807 | $2,030 | $7,726,710 | 1 | ||
| Mar 8, 2025 | 1 | $6,702,116 | -13% | 3,807 | $1,760 | $14,428,826 | 2 | |
| Mar 9, 2025 | 1 | $4,574,026 | -32% | 3,807 | $1,201 | $19,002,852 | 3 | |
| Mar 10, 2025 | 1 | $1,581,557 | -65% | 3,807 | $415 | $20,584,409 | 4 | |
| Mar 11, 2025 | 1 | $2,520,626 | +59% | 3,807 | $662 | $23,105,035 | 5 | |
| Mar 12, 2025 | 1 | $1,461,026 | -42% | 3,807 | $384 | $24,566,061 | 6 | |
| Mar 13, 2025 | 1 | $1,210,971 | -17% | 3,807 | $318 | $25,777,032 | 7 | |
| Mar 14, 2025 | 3 | $2,178,057 | +80% | -72% | 3,807 | $572 | $27,955,089 | 8 |
| Mar 15, 2025 | 1 | $3,088,842 | +42% | -54% | 3,807 | $811 | $31,043,931 | 9 |
| Mar 16, 2025 | 1 | $2,168,131 | -30% | -53% | 3,807 | $570 | $33,212,062 | 10 |
| Mar 17, 2025 | 2 | $698,901 | -68% | -56% | 3,807 | $184 | $33,910,963 | 11 |
| Mar 18, 2025 | 2 | $1,106,652 | +58% | -56% | 3,807 | $291 | $35,017,615 | 12 |
| Mar 19, 2025 | 2 | $706,038 | -36% | -52% | 3,807 | $185 | $35,723,653 | 13 |
| Mar 20, 2025 | 1 | $597,901 | -15% | -51% | 3,807 | $157 | $36,321,554 | 14 |
| Mar 21, 2025 | 5 | $1,084,866 | +81% | -50% | 2,584 | $420 | $37,406,420 | 15 |
| Mar 22, 2025 | 5 | $1,569,674 | +45% | -49% | 2,584 | $607 | $38,976,094 | 16 |
| Mar 23, 2025 | 4 | $1,025,116 | -35% | -53% | 2,584 | $397 | $40,001,210 | 17 |
| Mar 24, 2025 | 3 | $384,322 | -63% | -45% | 2,584 | $149 | $40,385,532 | 18 |
| Mar 25, 2025 | 4 | $564,837 | +47% | -49% | 2,584 | $219 | $40,950,369 | 19 |
| Mar 26, 2025 | 4 | $404,018 | -28% | -43% | 2,584 | $156 | $41,354,387 | 20 |
| Mar 27, 2025 | 5 | $310,954 | -23% | -48% | 2,584 | $120 | $41,665,341 | 21 |
| Mar 28, 2025 | 9 | $560,585 | +80% | -48% | 1,648 | $340 | $42,225,926 | 22 |
| Mar 29, 2025 | 9 | $819,917 | +46% | -48% | 1,648 | $498 | $43,045,843 | 23 |
| Mar 30, 2025 | 9 | $554,298 | -32% | -46% | 1,648 | $336 | $43,600,141 | 24 |
| Mar 31, 2025 | 9 | $219,233 | -60% | -43% | 1,648 | $133 | $43,819,374 | 25 |
| Apr 1, 2025 | 9 | $285,506 | +30% | -49% | 1,648 | $173 | $44,104,880 | 26 |
| Apr 2, 2025 | 9 | $203,525 | -29% | -50% | 1,648 | $123 | $44,308,405 | 27 |
| Apr 3, 2025 | 8 | $134,712 | -34% | -57% | 1,648 | $82 | $44,443,117 | 28 |
| Apr 4, 2025 | 12 | $244,816 | +82% | -56% | 643 | $381 | $44,687,933 | 29 |
| Apr 5, 2025 | 12 | $325,387 | +33% | -60% | 643 | $506 | $45,013,320 | 30 |
| Apr 6, 2025 | 13 | $209,855 | -36% | -62% | 643 | $326 | $45,223,175 | 31 |
| Apr 7, 2025 | - | $72,255 | -66% | -67% | 643 | $112 | $45,295,430 | 32 |
| Apr 8, 2025 | - | $115,185 | +59% | -60% | 643 | $179 | $45,410,615 | 33 |
| Apr 9, 2025 | - | $76,301 | -34% | -63% | 643 | $119 | $45,486,916 | 34 |
| Apr 10, 2025 | - | $50,336 | -34% | -63% | 643 | $78 | $45,537,252 | 35 |
| Apr 11, 2025 | - | $78,632 | +56% | -68% | 215 | $366 | $45,615,884 | 36 |
| Apr 12, 2025 | - | $118,774 | +51% | -63% | 215 | $552 | $45,734,658 | 37 |
| Apr 13, 2025 | - | $57,791 | -51% | -72% | 215 | $269 | $45,792,449 | 38 |
| Apr 14, 2025 | - | $25,828 | -55% | -64% | 215 | $120 | $45,818,277 | 39 |
| Apr 15, 2025 | - | $36,194 | +40% | -69% | 215 | $168 | $45,854,471 | 40 |
| Apr 16, 2025 | - | $27,455 | -24% | -64% | 215 | $128 | $45,881,926 | 41 |
| Apr 17, 2025 | - | $19,918 | -27% | -60% | 215 | $93 | $45,901,844 | 42 |
| Apr 18, 2025 | - | $39,065 | +96% | -50% | 94 | $416 | $45,940,909 | 43 |
| Apr 19, 2025 | - | $40,372 | +3% | -66% | 94 | $429 | $45,981,281 | 44 |
| Apr 20, 2025 | - | $20,772 | -49% | -64% | 94 | $221 | $46,002,053 | 45 |
| Apr 21, 2025 | - | $10,421 | -50% | -60% | 94 | $111 | $46,012,474 | 46 |
| Apr 22, 2025 | - | $15,142 | +45% | -58% | 94 | $161 | $46,027,616 | 47 |
| Apr 23, 2025 | - | $10,558 | -30% | -62% | 94 | $112 | $46,038,174 | 48 |
| Apr 24, 2025 | - | $8,973 | -15% | -55% | 94 | $95 | $46,047,147 | 49 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 7, 2025 | 1 | $25,777,032 | 3,807 | $6,771 | $25,777,032 | 1 | |
| Mar 14, 2025 | 2 | $10,544,522 | -59% | 3,807 | $2,770 | $36,321,554 | 2 |
| Mar 21, 2025 | 4 | $5,343,787 | -49% | 2,584 | $2,068 | $41,665,341 | 3 |
| Mar 28, 2025 | 9 | $2,777,776 | -48% | 1,648 | $1,686 | $44,443,117 | 4 |
| Apr 4, 2025 | 13 | $1,094,135 | -61% | 643 | $1,702 | $45,537,252 | 5 |
| Apr 11, 2025 | 18 | $364,592 | -67% | 215 | $1,696 | $45,901,844 | 6 |
| Apr 18, 2025 | 24 | $145,303 | -60% | 94 | $1,546 | $46,047,147 | 7 |
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 | 3/6/2025 | $1,040,268 | 366 | 392 | 0 | $4,016,511 | 4/4/2026 | |||
| Brazil | 3/6/2025 | $584,000 | 0 | 0 | 0 | $1,600,000 | 4/4/2026 | |||
| China | 3/7/2025 | $1,185,789 | 0 | 0 | 0 | $2,200,000 | 4/6/2026 | |||
| Croatia | 3/6/2025 | $47,017 | 64 | 64 | 193 | $159,760 | 4/4/2026 | |||
| Czech Republic | 3/6/2025 | $77,184 | 126 | 126 | 339 | $291,907 | 4/4/2026 | |||
| Finland | 3/7/2025 | $128,662 | 74 | 80 | 362 | $589,152 | 4/4/2026 | |||
| France | 3/5/2025 | $3,000,000 | 588 | 588 | 2,042 | $9,700,000 | 4/4/2026 | |||
| Germany | 3/6/2025 | $1,300,000 | 530 | 530 | 560 | $4,800,000 | 4/4/2026 | |||
| Hong Kong | 3/6/2025 | $466,000 | 0 | 0 | 0 | $858,394 | 4/6/2026 | |||
| Italy | 3/6/2025 | $846,176 | 0 | 0 | 0 | $2,800,000 | 4/4/2026 | |||
| Japan | 3/28/2025 | $809,000 | 743 | 743 | 743 | $2,100,000 | 4/6/2026 | |||
| Mexico | 3/6/2025 | $1,322,412 | 0 | 0 | 0 | $4,000,000 | 4/4/2026 | |||
| Netherlands | 3/6/2025 | $413,914 | 137 | 137 | 761 | $1,800,000 | 4/4/2026 | |||
| New Zealand | 3/6/2025 | $186,663 | 99 | 103 | 0 | $555,157 | 4/4/2026 | |||
| Poland | 3/14/2025 | $104,568 | 250 | 250 | 250 | $104,568 | 4/4/2026 | |||
| Portugal | 3/6/2025 | $145,691 | 87 | 87 | 293 | $434,452 | 4/4/2026 | |||
| Romania | 3/7/2025 | $59,568 | 135 | 135 | 0 | $199,129 | 4/4/2026 | |||
| Russia (CIS) | 3/6/2025 | $395,708 | 145 | 261 | 611 | $1,717,621 | 4/6/2026 | |||
| Slovakia | 3/6/2025 | $31,174 | 76 | 76 | 154 | $97,826 | 4/4/2026 | |||
| South Korea | 2/28/2025 | $6,741,885 | 2,153 | 2,153 | 0 | $20,843,720 | 4/4/2026 | |||
| Spain | 3/6/2025 | $931,994 | 441 | 441 | 1,480 | $2,900,000 | 4/4/2026 | |||
| Taiwan | 3/6/2025 | $614,000 | 0 | 0 | 0 | $1,700,000 | 4/6/2026 | |||
| Turkey | 3/6/2025 | $179,690 | 420 | 420 | 1,066 | $596,086 | 4/4/2026 | |||
| United Kingdom | 3/7/2025 | $2,754,269 | 1,025 | 1,025 | 2,933 | $9,465,072 | 4/4/2026 | |||
| Rest of World | $13,870,645 | |||||||||
| International Total | $87,400,000 | 4/6/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Lead Ensemble Member
| Robert Pattinson | Mickey Barnes | |
| Naomi Ackie | Nasha Barridge | |
| Steven Yuen | Timo | |
| Toni Collette | Ylfa | |
| Mark Ruffalo | Kenneth Marshall |
Supporting
| Daniel Henshall | Preston | |
| Cameron Britton | Arkady | |
| Patsy Ferran | Dorothy | |
| Christian Patterson | Chainsaw Guy | |
| Lloyd Hutchinson | Underboss | |
| Samuel Blenkin | Delinquent Borrower | |
| Ian Hanmore | Darius Blank | |
| Sabet Choudhary | News Reporter | |
| Tim Key | Pigeon Man | |
| Rose Shalloo | The Supporter | |
| Bronwyn James | Receptionist | |
| Holliday Grainger | Gemma | |
| Milo James | Young Mickey | |
| Jude Mack | Kai’s New Girlfriend | |
| Thomas Turgoose | Bazooka Soldier | |
| Adam Colborne | Gate Agent | |
| Tom Cawte | Prison Guard | |
| Anamaria Vartolomei | Kai Katz | |
| Ellen Robertson | Jennifer Chilton | |
| Sam Woodhams | Quartermaster | |
| Kayla Meikle | Flitter Driver | |
| Haydn Gwynne | Congresswoman | |
| Edward Davis | Alan Manikova | |
| Theo Ogundipe | Police Detective | |
| Jamila Wingett | Stage Manager | |
| Spike White | Committee Chairperson | |
| Stephen Park | Zeke | |
| Angus Imrie | Agent Charlie | |
| Afolabi Alli | First Marshall’s Agent | |
| Anna Mouglalis | Mama Creeper |
Production and Technical Credits
| Bong Joon Ho | Director | |
| Bong Joon Ho | Screenwriter | |
| Edward Ashton | Story based on the novel by | |
| Dede Gardner | Producer | |
| Jeremy Kleiner | Producer | |
| Dooho Choi | Producer | |
| Bong Joon Ho | Producer | |
| Brad Pitt | Executive Producer | |
| Jesse Ehrman | Executive Producer | |
| Peter Dodd | Executive Producer | |
| Marianne Jenkins | Executive Producer | |
| Pete Chiappetta | Executive Producer | |
| Darius Khondji | Director of Photography | |
| Fiona Crombie | Production Designer | |
| Yang Jinmo | Editor | |
| Jung Jaeil | Composer | |
| Dan Glass | Visual Effects Supervisor | |
| Catherine George | Costume Designer | |
| Choi Tae-young | Supervising Sound Editor | |
| Francine Maisler | Casting Director | |
| Marianne Jenkins | Unit Production Manager | |
| Ben Howard | First Assistant Director | |
| Whitney Gearin | Visual Effects Producer | |
| Stuart Wilson | Production Sound Mixer | |
| David Zealey | Unit Production Manager | |
| Michael Mann | Production Manager | |
| Jason Knox-Johnston | Supervising Art Director | |
| Dominique Law | Art Director | |
| Christine Lois | Art Director | |
| Marco Restivo | Art Director | |
| Paul Savulescu | Art Director | |
| Laura Mickiewicz | Art Director | |
| Lisa McDiarmid | Art Director | |
| Shalina Bhamra | Set Designer | |
| Hannah Foulkes | Set Designer | |
| Giulia Iddas | Set Designer | |
| Jo Beckett | Script Supervisor | |
| Yeijin Cho | Associate Producer | |
| Choi Tae-young | Re-recording Mixer | |
| Eilam Hoffman | Sound Designer | |
| Kang Hye-young | Sound Effects Editor | |
| Kim Ju-hyun | Sound Effects Editor | |
| Jun-Yong Kim | Sound Effects Editor | |
| Na-Won Jung | Sound Effects Editor | |
| Eun-Ji Ye | Dialogue Editor | |
| Eun-Ji Jeong | Dialogue Editor | |
| Min-Ji Kim | Foley Editor | |
| I Na Shin | Foley Mixer | |
| Lee Chung-gyu | Foley Recordist | |
| Jaewon Kim | First Assistant Editor | |
| Nicky Coats | Visual Effects Producer | |
| Constantin Brodt | Visual Effects Editor | |
| Stephen Fletcher | Visual Effects Editor | |
| Dan Grace | Costume Supervisor | |
| Sharon Martin | Make-up and Hair Designer | |
| Alice Felton | Set Decorator | |
| Amanda Stevens | Supervising Location Manager | |
| Stephen Parker | Location Manager | |
| Peter Bardsley | Location Manager | |
| Vincent Abbott | Visual Effects Designer | |
| Nick Bonathan | Visual Effects Designer | |
| Conor Breen | Visual Effects Designer | |
| Gary Merrington | Visual Effects Designer | |
| Adelaide Waldrop | Intimacy Coordinator |
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.
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.