Mortal Engines (2018)
| Theatrical Performance | ||
| Domestic Box Office | $15,951,040 | Details |
| International Box Office | $69,530,864 | Details |
| Worldwide Box Office | $85,481,904 | |
| Domestic Physical Disc Sales | ||
| DVD Sales (estimated) | $4,857,098 | |
| Blu-ray Sales (estimated) | $6,443,158 | |
| Total | $11,300,256 | |
| OpusData ID: 276480100 More info... | ||
| Further financial details... | ||
Synopsis
Thousands of years after civilization was destroyed by a cataclysmic event, humankind has adapted and a new way of living has evolved. Gigantic moving cities now roam the Earth, ruthlessly preying upon smaller traction towns. Tom Natsworthy—who hails from a Lower Tier of the great traction city of London—finds himself fighting for his own survival after he encounters the dangerous fugitive Hester Shaw. Two opposites, whose paths should never have crossed, forge an unlikely alliance that is destined to change the course of the future.
Metrics
| Opening Weekend: | $7,559,850 (47.4% of total gross) |
| Legs: | 2.11 (domestic box office/biggest weekend) |
| Domestic Share: | 18.7% (domestic box office/worldwide) |
| Production Budget: | $100,000,000 (worldwide box office is 0.9 times production budget) |
| Theater counts: | 3,103 opening theaters/3,103 max. theaters, 3.2 weeks average run per theater |
| Infl. Adj. Dom. BO | $20,933,636 |
Movie Details
| Domestic Releases: | December 14th, 2018 (Wide) by Universal December 14th, 2018 (IMAX) by Universal |
| International Releases: | December 5th, 2018 (Wide) (South Korea)
December 5th, 2018 (Wide) (Philippines) December 5th, 2018 (Wide) (Indonesia) December 5th, 2018 (Wide) (Egypt) December 5th, 2018 (Wide) (Belgium) ... Show all releases |
| Video Release: | February 19th, 2019 by Universal Home Entertainment |
| MPA Rating: | PG-13 for sequences of futuristic violence and action. (Rating bulletin 2550 (Cert #51767), 10/24/2018) |
| Running Time: | 128 minutes |
| Film format: | 3-D, 3-D - Post-production Conversion, IMAX: DMR |
| Geographical setting: | London |
| Plot point: | Exile, Revenge, Young Child Dealing with the Death of a Parent |
| Social setting: | Post Apocalypse |
| Subgenre: | Action Adventure |
| Time period setting: | Steampunk |
| Source: | Based on Fiction Book/Short Story |
| Genre: | Action |
| Production Method: | Live Action |
| Creative Type: | Science Fiction |
| Production/Financing Companies: | Media Rights Capital, Wingnut Films, Universal Pictures, Scholastic Entertainment Inc., Silvertongue Films, Perfect World Pictures |
| Production Countries: | New Zealand, United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Dec 14, 2018 | 5 | $7,559,850 | 3,103 | $2,436 | $7,559,850 | 1 | |
| Dec 21, 2018 | 13 | $1,751,605 | -77% | 3,103 | $564 | $12,016,565 | 2 |
| Dec 28, 2018 | 18 | $1,023,900 | -42% | 2,995 | $342 | $14,676,805 | 3 |
| Jan 4, 2019 | 26 | $220,495 | -78% | 572 | $385 | $15,767,725 | 4 |
| Jan 11, 2019 | 36 | $61,830 | -72% | 126 | $491 | $15,926,655 | 5 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Dec 13, 2018 | P | $675,000 | 0 | $675,000 | ||||
| Dec 14, 2018 | 3 | $2,818,295 | 3,103 | $908 | $2,818,295 | 1 | ||
| Dec 15, 2018 | 5 | $2,796,970 | -1% | 3,103 | $901 | $5,615,265 | 2 | |
| Dec 16, 2018 | 5 | $1,944,585 | -30% | 3,103 | $627 | $7,559,850 | 3 | |
| Dec 17, 2018 | 5 | $687,940 | -65% | 3,103 | $222 | $8,247,790 | 4 | |
| Dec 18, 2018 | 5 | $996,625 | +45% | 3,103 | $321 | $9,244,415 | 5 | |
| Dec 19, 2018 | 6 | $585,595 | -41% | 3,103 | $189 | $9,830,010 | 6 | |
| Dec 20, 2018 | 6 | $434,950 | -26% | 3,103 | $140 | $10,264,960 | 7 | |
| Dec 21, 2018 | 12 | $517,560 | +19% | -82% | 3,103 | $167 | $10,782,520 | 8 |
| Dec 22, 2018 | 13 | $654,590 | +26% | -77% | 3,103 | $211 | $11,437,110 | 9 |
| Dec 23, 2018 | 13 | $579,455 | -11% | -70% | 3,103 | $187 | $12,016,565 | 10 |
| Dec 24, 2018 | 14 | $362,285 | -37% | -47% | 3,103 | $117 | $12,378,850 | 11 |
| Dec 25, 2018 | - | $536,150 | +48% | -46% | 3,103 | $173 | $12,915,000 | 12 |
| Dec 26, 2018 | - | $383,985 | -28% | -34% | 3,103 | $124 | $13,298,985 | 13 |
| Dec 27, 2018 | - | $353,920 | -8% | -19% | 3,103 | $114 | $13,652,905 | 14 |
| Dec 28, 2018 | - | $327,575 | -7% | -37% | 2,995 | $109 | $13,980,480 | 15 |
| Dec 29, 2018 | - | $375,950 | +15% | -43% | 2,995 | $126 | $14,356,430 | 16 |
| Dec 30, 2018 | - | $320,375 | -15% | -45% | 2,995 | $107 | $14,676,805 | 17 |
| Dec 31, 2018 | - | $217,370 | -32% | -40% | 2,995 | $73 | $14,894,175 | 18 |
| Jan 1, 2019 | - | $337,460 | +55% | -37% | 2,995 | $113 | $15,231,635 | 19 |
| Jan 2, 2019 | - | $180,270 | -47% | -53% | 2,995 | $60 | $15,411,905 | 20 |
| Jan 3, 2019 | - | $135,325 | -25% | -62% | 2,995 | $45 | $15,547,230 | 21 |
| Jan 4, 2019 | - | $69,340 | -49% | -79% | 572 | $121 | $15,616,570 | 22 |
| Jan 5, 2019 | - | $93,840 | +35% | -75% | 572 | $164 | $15,710,410 | 23 |
| Jan 6, 2019 | - | $57,315 | -39% | -82% | 572 | $100 | $15,767,725 | 24 |
| Jan 7, 2019 | - | $25,810 | -55% | -88% | 572 | $45 | $15,793,535 | 25 |
| Jan 8, 2019 | - | $30,405 | +18% | -91% | 572 | $53 | $15,823,940 | 26 |
| Jan 9, 2019 | - | $24,575 | -19% | -86% | 572 | $43 | $15,848,515 | 27 |
| Jan 10, 2019 | - | $16,310 | -34% | -88% | 572 | $29 | $15,864,825 | 28 |
| Jan 11, 2019 | - | $18,305 | +12% | -74% | 126 | $145 | $15,883,130 | 29 |
| Jan 12, 2019 | - | $25,825 | +41% | -72% | 126 | $205 | $15,908,955 | 30 |
| Jan 13, 2019 | - | $17,700 | -31% | -69% | 126 | $140 | $15,926,655 | 31 |
| Jan 14, 2019 | - | $5,870 | -67% | -77% | 126 | $47 | $15,932,525 | 32 |
| Jan 15, 2019 | - | $7,175 | +22% | -76% | 126 | $57 | $15,939,700 | 33 |
| Jan 16, 2019 | - | $5,325 | -26% | -78% | 126 | $42 | $15,945,025 | 34 |
| Jan 17, 2019 | - | $6,015 | +13% | -63% | 126 | $48 | $15,951,040 | 35 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Dec 14, 2018 | 5 | $10,264,960 | 3,103 | $3,308 | $10,264,960 | 1 | |
| Dec 21, 2018 | 16 | $3,387,945 | -67% | 3,103 | $1,092 | $13,652,905 | 2 |
| Dec 28, 2018 | 18 | $1,894,325 | -44% | 2,995 | $632 | $15,547,230 | 3 |
| Jan 4, 2019 | 26 | $317,595 | -83% | 572 | $555 | $15,864,825 | 4 |
| Jan 11, 2019 | 39 | $86,215 | -73% | 126 | $684 | $15,951,040 | 5 |
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 |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Albania | 12/6/2018 | $3,032 | 3 | 3 | 5 | $6,920 | ||||
| Argentina | 1/11/2019 | $111,000 | 138 | 138 | 183 | $112,766 | ||||
| Australia | 12/7/2018 | $974,216 | 327 | 327 | 959 | $2,639,524 | ||||
| Austria | 12/14/2018 | $203,679 | 62 | 62 | 215 | $627,439 | ||||
| Belgium | 12/5/2018 | $264,807 | 166 | 166 | 450 | $810,237 | ||||
| Bolivia | 1/3/2019 | $54,247 | 20 | 20 | 43 | $136,831 | ||||
| Brazil | 1/11/2019 | $676,098 | 368 | 368 | 765 | $1,414,385 | ||||
| Bulgaria | 12/7/2018 | $70,845 | 0 | 16 | 16 | $268,969 | ||||
| Central America | 1/3/2019 | $248,377 | 96 | 96 | 173 | $432,716 | ||||
| Chile | 1/3/2019 | $115,403 | 70 | 70 | 128 | $216,323 | ||||
| China | 1/18/2019 | $4,170,000 | 32,696 | 32,696 | 32,696 | $7,429,160 | ||||
| Colombia | 1/11/2019 | $269,000 | 173 | 173 | 174 | $448,522 | ||||
| Croatia | 12/13/2018 | $26,827 | 25 | 25 | 57 | $55,102 | ||||
| Cyprus | 12/6/2018 | $9,597 | 6 | 6 | 17 | $21,276 | ||||
| Czech Republic | 12/7/2018 | $170,754 | 131 | 131 | 262 | $299,637 | ||||
| Denmark | 12/6/2018 | $104,884 | 66 | 66 | 137 | $243,650 | ||||
| Ecuador | 1/4/2019 | $124,428 | 43 | 43 | 153 | $301,649 | ||||
| Egypt | 12/5/2018 | $49,394 | 30 | 30 | 75 | $100,816 | ||||
| Estonia | 12/7/2018 | $53,215 | 19 | 19 | 55 | $129,726 | ||||
| Finland | 12/7/2018 | $148,345 | 131 | 131 | 280 | $407,609 | ||||
| France | 12/14/2018 | $1,744,863 | 484 | 484 | 1,728 | $4,995,658 | ||||
| Germany | 12/14/2018 | $1,372,084 | 485 | 485 | 1,917 | $5,276,098 | ||||
| Greece | 12/6/2018 | $77,784 | 80 | 80 | 125 | $188,756 | ||||
| Hong Kong | 12/6/2018 | $643,984 | 55 | 55 | 168 | $1,370,087 | ||||
| Hungary | 12/27/2018 | $258,696 | 50 | 61 | 192 | $500,446 | ||||
| Iceland | 12/14/2018 | $31,841 | 11 | 11 | 18 | $76,917 | ||||
| India | 12/7/2018 | $306,564 | 806 | 806 | 848 | $456,031 | ||||
| Indonesia | 12/5/2018 | $1,588,068 | 318 | 318 | 368 | $1,955,892 | ||||
| Israel | 12/6/2018 | $143,673 | 30 | 30 | 92 | $294,590 | ||||
| Italy | 12/13/2018 | $844,836 | 0 | 0 | 0 | $2,060,145 | ||||
| Japan | 3/1/2019 | $229,075 | 43 | 43 | 276 | $763,830 | ||||
| Latvia | 12/14/2018 | $20,327 | 12 | 12 | 28 | $71,665 | ||||
| Lebanon | 12/6/2018 | $36,456 | 20 | 20 | 30 | $47,016 | ||||
| Lithuania | 12/7/2018 | $43,705 | 130 | 130 | 231 | $106,321 | ||||
| Macedonia | 12/6/2018 | $2,295 | 3 | 3 | 5 | $3,908 | ||||
| Malaysia | 12/6/2018 | $777,528 | 147 | 147 | 315 | $1,420,935 | ||||
| Mexico | 1/1/2019 | $1,028,807 | 0 | 788 | 974 | $3,117,354 | ||||
| Middle East Region | 12/6/2018 | $508,627 | 68 | 68 | 135 | $800,004 | 1/10/2019 | |||
| Mongolia | 12/7/2018 | $18,296 | 8 | 8 | 28 | $49,012 | ||||
| Netherlands | 12/7/2018 | $570,199 | 91 | 155 | 491 | $1,518,586 | ||||
| New Zealand | 12/6/2018 | $367,806 | 92 | 1 | 429 | $916,767 | 5/4/2026 | |||
| Norway | 12/7/2018 | $148,921 | 104 | 104 | 210 | $412,474 | ||||
| Pakistan | 12/7/2018 | $24,150 | 56 | 56 | 70 | $41,905 | ||||
| Paraguay | 1/10/2019 | $10,350 | 9 | 9 | 16 | $19,204 | ||||
| Peru | 1/3/2019 | $223,092 | 101 | 101 | 133 | $362,386 | ||||
| Philippines | 12/5/2018 | $474,648 | 211 | 211 | 266 | $603,185 | ||||
| Poland | 12/7/2018 | $265,627 | 141 | 141 | 364 | $698,621 | ||||
| Portugal | 12/7/2018 | $150,364 | 67 | 70 | 237 | $440,147 | ||||
| Romania | 12/7/2018 | $155,821 | 79 | 79 | 240 | $413,143 | ||||
| Russia (CIS) | 12/6/2018 | $4,144,067 | 1,338 | 1,338 | 4,421 | $7,048,293 | ||||
| Serbia and Montenegro | 12/6/2018 | $27,568 | 49 | 49 | 118 | $66,304 | ||||
| Singapore | 12/6/2018 | $377,627 | 34 | 34 | 85 | $607,471 | ||||
| Slovakia | 12/7/2018 | $54,869 | 68 | 68 | 129 | $91,172 | ||||
| Slovenia | 12/6/2018 | $15,623 | 15 | 15 | 35 | $35,683 | ||||
| South Africa | 12/14/2018 | $0 | 0 | 24 | 36 | $282,879 | ||||
| South Korea | 12/5/2018 | $1,070,546 | 622 | 661 | 870 | $2,103,103 | ||||
| Spain | 12/14/2018 | $839,418 | 320 | 320 | 1,285 | $2,287,054 | ||||
| Sweden | 12/7/2018 | $304,368 | 143 | 143 | 304 | $897,193 | ||||
| Switzerland | 12/12/2018 | $342,212 | 91 | 91 | 281 | $905,030 | ||||
| Taiwan | 12/7/2018 | $1,070,518 | 126 | 126 | 354 | $1,996,347 | ||||
| Thailand | 12/5/2018 | $636,886 | 142 | 142 | 261 | $897,077 | ||||
| Trinidad | 12/5/2018 | $29,178 | 18 | 18 | 42 | $69,320 | ||||
| Turkey | 12/7/2018 | $315,329 | 256 | 260 | 794 | $900,894 | ||||
| Ukraine | 12/6/2018 | $500,024 | 175 | 177 | 378 | $788,803 | ||||
| United Arab Emirates | 12/6/2018 | $502,180 | 54 | 54 | 105 | $777,690 | ||||
| United Kingdom | 12/14/2018 | $1,595,777 | 398 | 398 | 687 | $2,183,216 | ||||
| Uruguay | 1/3/2019 | $10,345 | 12 | 12 | 18 | $20,942 | ||||
| Venezuela | 1/11/2019 | $36,521 | 0 | 0 | 0 | $116,294 | ||||
| Vietnam | 12/7/2018 | $311,842 | 164 | 164 | 292 | $474,440 | ||||
| Rest of World | $1,897,319 | |||||||||
| International Total | $69,530,864 | 5/4/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Hera Hilmar | Hester Shaw | |
| Robert Sheehan | Tom Natsworthy | |
| Hugo Weaving | Thaddeus Valentine | |
| Jihae | Anna Fang |
Supporting
| Ronan Raftery | Bevis Pod | |
| Leila George | Katherine Valentine | |
| Patrick Malahide | Magnus Crome | |
| Stephen Lang | Shrike | |
| Colin Salmon | Chudleigh Pomeroy | |
| Mark Mitchinson | Vambrace | |
| Rege-Jean Page | Captain Khora | |
| Menik Gooneratne | Sathya | |
| Frankie Adams | Yasmina Rashid | |
| Leifur Sigurdarson | Nils Lindstrom | |
| Kahn West | Toa Heke | |
| Andrew Lees | Herbert Melliphant | |
| Sophie Cox | Clytie Potts | |
| Kee Chan | Governor Kwan | |
| Sarah Peirse | Dr Twix | |
| Mark Hadlow | Stigwood | |
| Caren Pistorius | Pandora Shaw | |
| Poppy Macleod | Young Hester | |
| Joel Tobeck | Burgermeister | |
| Terry Norris | Professor Arkengarth | |
| Calum Gittins | Chief Navigator | |
| Megan Edwards | Mrs. Wreyland | |
| Peter Rowley | Mr. Wreyland | |
| Aaron Jackson | Gench | |
| Stephen Ure | Pewsey | |
| Nathaniel Lees | Pierrepoint | |
| Paul Yates | Dietrich | |
| Lynda Lester | Medusa | |
| Nick Blake | Waving Navigator | |
| Beatrice Joblin | Young Mother | |
| Thomas Lahood | Lookout | |
| Simba Matshe | Water Hawker | |
| Lee Tuson | Salzhakener | |
| Jason Whyte | Food Hawker | |
| Mike Homik | De Groot | |
| Carter Nixon | SCAV Trader Carter | |
| Rick Baker | Tube Tannoy | |
| Royden Davys | Salvage Man #1 | |
| Richard Mills | Salvage Man #2 | |
| Shane Rangi | Burly Salvageman | |
| Yoson An | Major Chen | |
| Philip Reeve | Shan Guo Man | |
| Sam Reeve | Shan Guo Teenager |
Cameo
| Nicholas Quirke | Himself |
Supporting
| Martin Kwok | Shan Guo Control | |
| Seth Miller | Airhaven Control |
Production and Technical Credits
| Christian Rivers | Director | |
| Peter Jackson | Screenwriter | |
| Fran Walsh | Screenwriter | |
| Philippa Boyens | Screenwriter | |
| Philip Reeve | Story based on the book by | |
| Peter Jackson | Producer | |
| Fran Walsh | Producer | |
| Deborah Forte | Producer | |
| Zane Weiner | Producer | |
| Amanda Walker | Producer | |
| Philippa Boyens | Executive Producer | |
| Ken Kamins | Executive Producer | |
| Dan Hennah | Production Designer | |
| Jonno Woodford-Robinson | Editor | |
| Tom Holkenborg | Composer | |
| Simon Raby | Director of Photography | |
| Glenn Boswell | Stunt Coordinator | |
| Mark Trotter | Fight Choreographer | |
| David Conley | Co-Producer | |
| Amy Hubbard | Casting Director | |
| Bob Buck | Costume Designer | |
| Ken McGaugh | Visual Effects Supervisor | |
| Luke Millar | Visual Effects Supervisor | |
| Kevin Smith | Visual Effects Supervisor | |
| Pam Silverstein | Associate Producer | |
| Carlos Ramirez Laloli | Associate Producer | |
| Zane Weiner | Unit Production Manager | |
| Carolynne Cunningham | First Assistant Director | |
| Glenn Boswell | Second Unit Director | |
| Robert Stadd | Visual Effects Producer | |
| Brent Burge | Supervising Sound Editor | |
| Jason Canovas | Supervising Sound Editor | |
| Martin Kwok | Supervising Dialogue Editor | |
| Dave Whitehead | Sound Designer | |
| Michael Hedges | Re-recording Mixer | |
| Christopher Boyes | Re-recording Mixer | |
| Simon Bright | Supervising Art Director | |
| Shane Vieau | Set Decorator | |
| Greg Allison | Art Director | |
| Vanessa Cole | Art Director | |
| Brendan Heffeman | Art Director | |
| Helen Strevens | Art Director | |
| Phil Thomas | Art Director | |
| Simon Baumfield | Additional Photography | |
| Chris Hiles | Sound Mixer | |
| Veronique Lawrence | Script Supervisor | |
| Rosemary Dority | Post-Production Supervisor | |
| Dan Best | First Assistant Editor | |
| Ray Beentjes | Dialogue Editor | |
| Chris Todd | Dialogue Editor | |
| Hayden Collow | Sound Effects Editor | |
| Matt Lambourn | Sound Effects Editor | |
| Matt Stutter | Sound Effects Editor | |
| Michelle Child | Sound Effects Editor | |
| Justin Webster | Sound Effects Editor | |
| Craig Tomlinson | Foley Editor | |
| Catherine Wilson | Music Editor | |
| Stephen Gallagher | Music Editor | |
| Simon Riley | Foley Recordist | |
| Jared Connon | Production Manager | |
| Dianne Foothead | Costume Supervisor | |
| Rick Findlater | Make-up and Hair Designer | |
| Zahra Archer | Set Designer | |
| Rebecca Asquith | Set Designer | |
| Alister Baxter | Set Designer | |
| Colette Mullin | Set Designer | |
| Karijus Schlogl | Set Designer | |
| Mark Stephen | Set Designer | |
| Yvonne Yip | Set Designer | |
| Scott Harens | Special Effects Supervisor |
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
Thousands of years after civilization was destroyed by a cataclysmic event, humankind has adapted and a new way of living has evolved. Gigantic moving cities now roam the Earth, ruthlessly preying upon smaller traction towns. Tom Natsworthy—who hails from a Lower Tier of the great traction city of London—finds himself fighting for his own survival after he encounters the dangerous fugitive Hester Shaw. Two opposites, whose paths should never have crossed, forge an unlikely alliance that is destined to change the course of the future.
Metrics
| Opening Weekend: | $7,559,850 (47.4% of total gross) |
| Legs: | 2.11 (domestic box office/biggest weekend) |
| Domestic Share: | 18.7% (domestic box office/worldwide) |
| Production Budget: | $100,000,000 (worldwide box office is 0.9 times production budget) |
| Theater counts: | 3,103 opening theaters/3,103 max. theaters, 3.2 weeks average run per theater |
| Infl. Adj. Dom. BO | $20,933,636 |
Movie Details
| Domestic Releases: | December 14th, 2018 (Wide) by Universal December 14th, 2018 (IMAX) by Universal |
| International Releases: | December 5th, 2018 (Wide) (South Korea)
December 5th, 2018 (Wide) (Philippines) December 5th, 2018 (Wide) (Indonesia) December 5th, 2018 (Wide) (Egypt) December 5th, 2018 (Wide) (Belgium) ... Show all releases |
| Video Release: | February 19th, 2019 by Universal Home Entertainment |
| MPA Rating: | PG-13 for sequences of futuristic violence and action. (Rating bulletin 2550 (Cert #51767), 10/24/2018) |
| Running Time: | 128 minutes |
| Film format: | 3-D, 3-D - Post-production Conversion, IMAX: DMR |
| Geographical setting: | London |
| Plot point: | Exile, Revenge, Young Child Dealing with the Death of a Parent |
| Social setting: | Post Apocalypse |
| Subgenre: | Action Adventure |
| Time period setting: | Steampunk |
| Source: | Based on Fiction Book/Short Story |
| Genre: | Action |
| Production Method: | Live Action |
| Creative Type: | Science Fiction |
| Production/Financing Companies: | Media Rights Capital, Wingnut Films, Universal Pictures, Scholastic Entertainment Inc., Silvertongue Films, Perfect World Pictures |
| Production Countries: | New Zealand, United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Dec 14, 2018 | 5 | $7,559,850 | 3,103 | $2,436 | $7,559,850 | 1 | |
| Dec 21, 2018 | 13 | $1,751,605 | -77% | 3,103 | $564 | $12,016,565 | 2 |
| Dec 28, 2018 | 18 | $1,023,900 | -42% | 2,995 | $342 | $14,676,805 | 3 |
| Jan 4, 2019 | 26 | $220,495 | -78% | 572 | $385 | $15,767,725 | 4 |
| Jan 11, 2019 | 36 | $61,830 | -72% | 126 | $491 | $15,926,655 | 5 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Dec 13, 2018 | P | $675,000 | 0 | $675,000 | ||||
| Dec 14, 2018 | 3 | $2,818,295 | 3,103 | $908 | $2,818,295 | 1 | ||
| Dec 15, 2018 | 5 | $2,796,970 | -1% | 3,103 | $901 | $5,615,265 | 2 | |
| Dec 16, 2018 | 5 | $1,944,585 | -30% | 3,103 | $627 | $7,559,850 | 3 | |
| Dec 17, 2018 | 5 | $687,940 | -65% | 3,103 | $222 | $8,247,790 | 4 | |
| Dec 18, 2018 | 5 | $996,625 | +45% | 3,103 | $321 | $9,244,415 | 5 | |
| Dec 19, 2018 | 6 | $585,595 | -41% | 3,103 | $189 | $9,830,010 | 6 | |
| Dec 20, 2018 | 6 | $434,950 | -26% | 3,103 | $140 | $10,264,960 | 7 | |
| Dec 21, 2018 | 12 | $517,560 | +19% | -82% | 3,103 | $167 | $10,782,520 | 8 |
| Dec 22, 2018 | 13 | $654,590 | +26% | -77% | 3,103 | $211 | $11,437,110 | 9 |
| Dec 23, 2018 | 13 | $579,455 | -11% | -70% | 3,103 | $187 | $12,016,565 | 10 |
| Dec 24, 2018 | 14 | $362,285 | -37% | -47% | 3,103 | $117 | $12,378,850 | 11 |
| Dec 25, 2018 | - | $536,150 | +48% | -46% | 3,103 | $173 | $12,915,000 | 12 |
| Dec 26, 2018 | - | $383,985 | -28% | -34% | 3,103 | $124 | $13,298,985 | 13 |
| Dec 27, 2018 | - | $353,920 | -8% | -19% | 3,103 | $114 | $13,652,905 | 14 |
| Dec 28, 2018 | - | $327,575 | -7% | -37% | 2,995 | $109 | $13,980,480 | 15 |
| Dec 29, 2018 | - | $375,950 | +15% | -43% | 2,995 | $126 | $14,356,430 | 16 |
| Dec 30, 2018 | - | $320,375 | -15% | -45% | 2,995 | $107 | $14,676,805 | 17 |
| Dec 31, 2018 | - | $217,370 | -32% | -40% | 2,995 | $73 | $14,894,175 | 18 |
| Jan 1, 2019 | - | $337,460 | +55% | -37% | 2,995 | $113 | $15,231,635 | 19 |
| Jan 2, 2019 | - | $180,270 | -47% | -53% | 2,995 | $60 | $15,411,905 | 20 |
| Jan 3, 2019 | - | $135,325 | -25% | -62% | 2,995 | $45 | $15,547,230 | 21 |
| Jan 4, 2019 | - | $69,340 | -49% | -79% | 572 | $121 | $15,616,570 | 22 |
| Jan 5, 2019 | - | $93,840 | +35% | -75% | 572 | $164 | $15,710,410 | 23 |
| Jan 6, 2019 | - | $57,315 | -39% | -82% | 572 | $100 | $15,767,725 | 24 |
| Jan 7, 2019 | - | $25,810 | -55% | -88% | 572 | $45 | $15,793,535 | 25 |
| Jan 8, 2019 | - | $30,405 | +18% | -91% | 572 | $53 | $15,823,940 | 26 |
| Jan 9, 2019 | - | $24,575 | -19% | -86% | 572 | $43 | $15,848,515 | 27 |
| Jan 10, 2019 | - | $16,310 | -34% | -88% | 572 | $29 | $15,864,825 | 28 |
| Jan 11, 2019 | - | $18,305 | +12% | -74% | 126 | $145 | $15,883,130 | 29 |
| Jan 12, 2019 | - | $25,825 | +41% | -72% | 126 | $205 | $15,908,955 | 30 |
| Jan 13, 2019 | - | $17,700 | -31% | -69% | 126 | $140 | $15,926,655 | 31 |
| Jan 14, 2019 | - | $5,870 | -67% | -77% | 126 | $47 | $15,932,525 | 32 |
| Jan 15, 2019 | - | $7,175 | +22% | -76% | 126 | $57 | $15,939,700 | 33 |
| Jan 16, 2019 | - | $5,325 | -26% | -78% | 126 | $42 | $15,945,025 | 34 |
| Jan 17, 2019 | - | $6,015 | +13% | -63% | 126 | $48 | $15,951,040 | 35 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Dec 14, 2018 | 5 | $10,264,960 | 3,103 | $3,308 | $10,264,960 | 1 | |
| Dec 21, 2018 | 16 | $3,387,945 | -67% | 3,103 | $1,092 | $13,652,905 | 2 |
| Dec 28, 2018 | 18 | $1,894,325 | -44% | 2,995 | $632 | $15,547,230 | 3 |
| Jan 4, 2019 | 26 | $317,595 | -83% | 572 | $555 | $15,864,825 | 4 |
| Jan 11, 2019 | 39 | $86,215 | -73% | 126 | $684 | $15,951,040 | 5 |
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 |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Albania | 12/6/2018 | $3,032 | 3 | 3 | 5 | $6,920 | ||||
| Argentina | 1/11/2019 | $111,000 | 138 | 138 | 183 | $112,766 | ||||
| Australia | 12/7/2018 | $974,216 | 327 | 327 | 959 | $2,639,524 | ||||
| Austria | 12/14/2018 | $203,679 | 62 | 62 | 215 | $627,439 | ||||
| Belgium | 12/5/2018 | $264,807 | 166 | 166 | 450 | $810,237 | ||||
| Bolivia | 1/3/2019 | $54,247 | 20 | 20 | 43 | $136,831 | ||||
| Brazil | 1/11/2019 | $676,098 | 368 | 368 | 765 | $1,414,385 | ||||
| Bulgaria | 12/7/2018 | $70,845 | 0 | 16 | 16 | $268,969 | ||||
| Central America | 1/3/2019 | $248,377 | 96 | 96 | 173 | $432,716 | ||||
| Chile | 1/3/2019 | $115,403 | 70 | 70 | 128 | $216,323 | ||||
| China | 1/18/2019 | $4,170,000 | 32,696 | 32,696 | 32,696 | $7,429,160 | ||||
| Colombia | 1/11/2019 | $269,000 | 173 | 173 | 174 | $448,522 | ||||
| Croatia | 12/13/2018 | $26,827 | 25 | 25 | 57 | $55,102 | ||||
| Cyprus | 12/6/2018 | $9,597 | 6 | 6 | 17 | $21,276 | ||||
| Czech Republic | 12/7/2018 | $170,754 | 131 | 131 | 262 | $299,637 | ||||
| Denmark | 12/6/2018 | $104,884 | 66 | 66 | 137 | $243,650 | ||||
| Ecuador | 1/4/2019 | $124,428 | 43 | 43 | 153 | $301,649 | ||||
| Egypt | 12/5/2018 | $49,394 | 30 | 30 | 75 | $100,816 | ||||
| Estonia | 12/7/2018 | $53,215 | 19 | 19 | 55 | $129,726 | ||||
| Finland | 12/7/2018 | $148,345 | 131 | 131 | 280 | $407,609 | ||||
| France | 12/14/2018 | $1,744,863 | 484 | 484 | 1,728 | $4,995,658 | ||||
| Germany | 12/14/2018 | $1,372,084 | 485 | 485 | 1,917 | $5,276,098 | ||||
| Greece | 12/6/2018 | $77,784 | 80 | 80 | 125 | $188,756 | ||||
| Hong Kong | 12/6/2018 | $643,984 | 55 | 55 | 168 | $1,370,087 | ||||
| Hungary | 12/27/2018 | $258,696 | 50 | 61 | 192 | $500,446 | ||||
| Iceland | 12/14/2018 | $31,841 | 11 | 11 | 18 | $76,917 | ||||
| India | 12/7/2018 | $306,564 | 806 | 806 | 848 | $456,031 | ||||
| Indonesia | 12/5/2018 | $1,588,068 | 318 | 318 | 368 | $1,955,892 | ||||
| Israel | 12/6/2018 | $143,673 | 30 | 30 | 92 | $294,590 | ||||
| Italy | 12/13/2018 | $844,836 | 0 | 0 | 0 | $2,060,145 | ||||
| Japan | 3/1/2019 | $229,075 | 43 | 43 | 276 | $763,830 | ||||
| Latvia | 12/14/2018 | $20,327 | 12 | 12 | 28 | $71,665 | ||||
| Lebanon | 12/6/2018 | $36,456 | 20 | 20 | 30 | $47,016 | ||||
| Lithuania | 12/7/2018 | $43,705 | 130 | 130 | 231 | $106,321 | ||||
| Macedonia | 12/6/2018 | $2,295 | 3 | 3 | 5 | $3,908 | ||||
| Malaysia | 12/6/2018 | $777,528 | 147 | 147 | 315 | $1,420,935 | ||||
| Mexico | 1/1/2019 | $1,028,807 | 0 | 788 | 974 | $3,117,354 | ||||
| Middle East Region | 12/6/2018 | $508,627 | 68 | 68 | 135 | $800,004 | 1/10/2019 | |||
| Mongolia | 12/7/2018 | $18,296 | 8 | 8 | 28 | $49,012 | ||||
| Netherlands | 12/7/2018 | $570,199 | 91 | 155 | 491 | $1,518,586 | ||||
| New Zealand | 12/6/2018 | $367,806 | 92 | 1 | 429 | $916,767 | 5/4/2026 | |||
| Norway | 12/7/2018 | $148,921 | 104 | 104 | 210 | $412,474 | ||||
| Pakistan | 12/7/2018 | $24,150 | 56 | 56 | 70 | $41,905 | ||||
| Paraguay | 1/10/2019 | $10,350 | 9 | 9 | 16 | $19,204 | ||||
| Peru | 1/3/2019 | $223,092 | 101 | 101 | 133 | $362,386 | ||||
| Philippines | 12/5/2018 | $474,648 | 211 | 211 | 266 | $603,185 | ||||
| Poland | 12/7/2018 | $265,627 | 141 | 141 | 364 | $698,621 | ||||
| Portugal | 12/7/2018 | $150,364 | 67 | 70 | 237 | $440,147 | ||||
| Romania | 12/7/2018 | $155,821 | 79 | 79 | 240 | $413,143 | ||||
| Russia (CIS) | 12/6/2018 | $4,144,067 | 1,338 | 1,338 | 4,421 | $7,048,293 | ||||
| Serbia and Montenegro | 12/6/2018 | $27,568 | 49 | 49 | 118 | $66,304 | ||||
| Singapore | 12/6/2018 | $377,627 | 34 | 34 | 85 | $607,471 | ||||
| Slovakia | 12/7/2018 | $54,869 | 68 | 68 | 129 | $91,172 | ||||
| Slovenia | 12/6/2018 | $15,623 | 15 | 15 | 35 | $35,683 | ||||
| South Africa | 12/14/2018 | $0 | 0 | 24 | 36 | $282,879 | ||||
| South Korea | 12/5/2018 | $1,070,546 | 622 | 661 | 870 | $2,103,103 | ||||
| Spain | 12/14/2018 | $839,418 | 320 | 320 | 1,285 | $2,287,054 | ||||
| Sweden | 12/7/2018 | $304,368 | 143 | 143 | 304 | $897,193 | ||||
| Switzerland | 12/12/2018 | $342,212 | 91 | 91 | 281 | $905,030 | ||||
| Taiwan | 12/7/2018 | $1,070,518 | 126 | 126 | 354 | $1,996,347 | ||||
| Thailand | 12/5/2018 | $636,886 | 142 | 142 | 261 | $897,077 | ||||
| Trinidad | 12/5/2018 | $29,178 | 18 | 18 | 42 | $69,320 | ||||
| Turkey | 12/7/2018 | $315,329 | 256 | 260 | 794 | $900,894 | ||||
| Ukraine | 12/6/2018 | $500,024 | 175 | 177 | 378 | $788,803 | ||||
| United Arab Emirates | 12/6/2018 | $502,180 | 54 | 54 | 105 | $777,690 | ||||
| United Kingdom | 12/14/2018 | $1,595,777 | 398 | 398 | 687 | $2,183,216 | ||||
| Uruguay | 1/3/2019 | $10,345 | 12 | 12 | 18 | $20,942 | ||||
| Venezuela | 1/11/2019 | $36,521 | 0 | 0 | 0 | $116,294 | ||||
| Vietnam | 12/7/2018 | $311,842 | 164 | 164 | 292 | $474,440 | ||||
| Rest of World | $1,897,319 | |||||||||
| International Total | $69,530,864 | 5/4/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Hera Hilmar | Hester Shaw | |
| Robert Sheehan | Tom Natsworthy | |
| Hugo Weaving | Thaddeus Valentine | |
| Jihae | Anna Fang |
Supporting
| Ronan Raftery | Bevis Pod | |
| Leila George | Katherine Valentine | |
| Patrick Malahide | Magnus Crome | |
| Stephen Lang | Shrike | |
| Colin Salmon | Chudleigh Pomeroy | |
| Mark Mitchinson | Vambrace | |
| Rege-Jean Page | Captain Khora | |
| Menik Gooneratne | Sathya | |
| Frankie Adams | Yasmina Rashid | |
| Leifur Sigurdarson | Nils Lindstrom | |
| Kahn West | Toa Heke | |
| Andrew Lees | Herbert Melliphant | |
| Sophie Cox | Clytie Potts | |
| Kee Chan | Governor Kwan | |
| Sarah Peirse | Dr Twix | |
| Mark Hadlow | Stigwood | |
| Caren Pistorius | Pandora Shaw | |
| Poppy Macleod | Young Hester | |
| Joel Tobeck | Burgermeister | |
| Terry Norris | Professor Arkengarth | |
| Calum Gittins | Chief Navigator | |
| Megan Edwards | Mrs. Wreyland | |
| Peter Rowley | Mr. Wreyland | |
| Aaron Jackson | Gench | |
| Stephen Ure | Pewsey | |
| Nathaniel Lees | Pierrepoint | |
| Paul Yates | Dietrich | |
| Lynda Lester | Medusa | |
| Nick Blake | Waving Navigator | |
| Beatrice Joblin | Young Mother | |
| Thomas Lahood | Lookout | |
| Simba Matshe | Water Hawker | |
| Lee Tuson | Salzhakener | |
| Jason Whyte | Food Hawker | |
| Mike Homik | De Groot | |
| Carter Nixon | SCAV Trader Carter | |
| Rick Baker | Tube Tannoy | |
| Royden Davys | Salvage Man #1 | |
| Richard Mills | Salvage Man #2 | |
| Shane Rangi | Burly Salvageman | |
| Yoson An | Major Chen | |
| Philip Reeve | Shan Guo Man | |
| Sam Reeve | Shan Guo Teenager |
Cameo
| Nicholas Quirke | Himself |
Supporting
| Martin Kwok | Shan Guo Control | |
| Seth Miller | Airhaven Control |
Production and Technical Credits
| Christian Rivers | Director | |
| Peter Jackson | Screenwriter | |
| Fran Walsh | Screenwriter | |
| Philippa Boyens | Screenwriter | |
| Philip Reeve | Story based on the book by | |
| Peter Jackson | Producer | |
| Fran Walsh | Producer | |
| Deborah Forte | Producer | |
| Zane Weiner | Producer | |
| Amanda Walker | Producer | |
| Philippa Boyens | Executive Producer | |
| Ken Kamins | Executive Producer | |
| Dan Hennah | Production Designer | |
| Jonno Woodford-Robinson | Editor | |
| Tom Holkenborg | Composer | |
| Simon Raby | Director of Photography | |
| Glenn Boswell | Stunt Coordinator | |
| Mark Trotter | Fight Choreographer | |
| David Conley | Co-Producer | |
| Amy Hubbard | Casting Director | |
| Bob Buck | Costume Designer | |
| Ken McGaugh | Visual Effects Supervisor | |
| Luke Millar | Visual Effects Supervisor | |
| Kevin Smith | Visual Effects Supervisor | |
| Pam Silverstein | Associate Producer | |
| Carlos Ramirez Laloli | Associate Producer | |
| Zane Weiner | Unit Production Manager | |
| Carolynne Cunningham | First Assistant Director | |
| Glenn Boswell | Second Unit Director | |
| Robert Stadd | Visual Effects Producer | |
| Brent Burge | Supervising Sound Editor | |
| Jason Canovas | Supervising Sound Editor | |
| Martin Kwok | Supervising Dialogue Editor | |
| Dave Whitehead | Sound Designer | |
| Michael Hedges | Re-recording Mixer | |
| Christopher Boyes | Re-recording Mixer | |
| Simon Bright | Supervising Art Director | |
| Shane Vieau | Set Decorator | |
| Greg Allison | Art Director | |
| Vanessa Cole | Art Director | |
| Brendan Heffeman | Art Director | |
| Helen Strevens | Art Director | |
| Phil Thomas | Art Director | |
| Simon Baumfield | Additional Photography | |
| Chris Hiles | Sound Mixer | |
| Veronique Lawrence | Script Supervisor | |
| Rosemary Dority | Post-Production Supervisor | |
| Dan Best | First Assistant Editor | |
| Ray Beentjes | Dialogue Editor | |
| Chris Todd | Dialogue Editor | |
| Hayden Collow | Sound Effects Editor | |
| Matt Lambourn | Sound Effects Editor | |
| Matt Stutter | Sound Effects Editor | |
| Michelle Child | Sound Effects Editor | |
| Justin Webster | Sound Effects Editor | |
| Craig Tomlinson | Foley Editor | |
| Catherine Wilson | Music Editor | |
| Stephen Gallagher | Music Editor | |
| Simon Riley | Foley Recordist | |
| Jared Connon | Production Manager | |
| Dianne Foothead | Costume Supervisor | |
| Rick Findlater | Make-up and Hair Designer | |
| Zahra Archer | Set Designer | |
| Rebecca Asquith | Set Designer | |
| Alister Baxter | Set Designer | |
| Colette Mullin | Set Designer | |
| Karijus Schlogl | Set Designer | |
| Mark Stephen | Set Designer | |
| Yvonne Yip | Set Designer | |
| Scott Harens | Special Effects Supervisor |
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.