Trial And Error (1997)
| Theatrical Performance | ||
| Domestic Box Office | $13,602,831 | Details |
| OpusData ID: 32130100 More info... | ||
| Further financial details... | ||
Metrics
| Opening Weekend: | $4,903,529 (36.0% of total gross) |
| Legs: | 2.77 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 2,298 opening theaters/2,298 max. theaters, 4.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $33,518,078 |
Movie Details
| Domestic Releases: | May 30th, 1997 (Wide) by New Line |
| MPA Rating: | PG-13 for some sexual content |
| Running Time: | 98 minutes |
| Plot point: | Lawyers, Mistaken Identity, Relationships Gone Wrong, Romance |
| Social setting: | Bachelor Party |
| Subgenre: | Farcical / Slapstick Comedy |
| Source: | Original Screenplay |
| Genre: | Comedy |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| May 30, 1997 | 4 | $4,903,529 | 2,298 | $2,134 | $4,903,529 | 1 | |
| Jun 6, 1997 | 6 | $2,627,339 | -46% | 2,298 | $1,143 | $9,054,715 | 2 |
| Jun 13, 1997 | 9 | $1,343,768 | -49% | 2,003 | $671 | $11,458,185 | 3 |
| Jun 20, 1997 | 16 | $450,210 | -66% | 1,109 | $406 | $12,660,389 | 4 |
| Jun 27, 1997 | 25 | $142,851 | -68% | 507 | $282 | $13,041,429 | 5 |
| Jul 4, 1997 | 39 | $38,663 | -73% | 193 | $200 | $13,129,726 | 6 |
| Jul 11, 1997 | 41 | $37,308 | -4% | 65 | $574 | $13,186,167 | 7 |
| Jul 18, 1997 | 23 | $176,569 | +373% | 508 | $348 | $13,379,708 | 8 |
| Jul 25, 1997 | 43 | $47,339 | -73% | 224 | $211 | $13,548,764 | 9 |
| Aug 1, 1997 | 61 | $15,870 | -66% | 50 | $317 | $13,587,762 | 10 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| May 30, 1997 | 4 | $6,427,376 | 2,298 | $2,797 | $6,427,376 | 1 | |
| Jun 6, 1997 | 6 | $3,687,041 | -43% | 2,298 | $1,604 | $10,114,417 | 2 |
| Jun 13, 1997 | 9 | $2,095,762 | -43% | 2,003 | $1,046 | $12,210,179 | 3 |
| Jun 20, 1997 | 15 | $688,399 | -67% | 1,109 | $621 | $12,898,578 | 4 |
| Jun 27, 1997 | 28 | $192,485 | -72% | 507 | $380 | $13,091,063 | 5 |
| Jul 4, 1997 | 39 | $57,796 | -70% | 193 | $299 | $13,148,859 | 6 |
| Jul 11, 1997 | 42 | $54,280 | -6% | 65 | $835 | $13,203,139 | 7 |
| Jul 18, 1997 | 24 | $298,286 | +450% | 508 | $587 | $13,501,425 | 8 |
| Jul 25, 1997 | 44 | $70,467 | -76% | 224 | $315 | $13,571,892 | 9 |
| Charlize Theron | Billie Tyler | |
| Jeff Daniels | Charles Tuttle | |
| Jennifer Coolidge | Jacqueline | |
| Rip Torn | Benjamin 'Benny' Gibbs | |
| Michael Richards | Richard 'Ricky' Rietti | |
| Lawrence Pressman | Whitfield | |
| Dale Dye | Dr. German Stone, Psychiatrist |
Production and Technical Credits
| Jonathan Lynn | Director | |
| Sara Bernstein | Screenwriter | |
| Gregory Bernstein | Screenwriter | |
| Mildred Iatrou | Dialogue 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: | $4,903,529 (36.0% of total gross) |
| Legs: | 2.77 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 2,298 opening theaters/2,298 max. theaters, 4.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $33,518,078 |
Movie Details
| Domestic Releases: | May 30th, 1997 (Wide) by New Line |
| MPA Rating: | PG-13 for some sexual content |
| Running Time: | 98 minutes |
| Plot point: | Lawyers, Mistaken Identity, Relationships Gone Wrong, Romance |
| Social setting: | Bachelor Party |
| Subgenre: | Farcical / Slapstick Comedy |
| Source: | Original Screenplay |
| Genre: | Comedy |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| May 30, 1997 | 4 | $4,903,529 | 2,298 | $2,134 | $4,903,529 | 1 | |
| Jun 6, 1997 | 6 | $2,627,339 | -46% | 2,298 | $1,143 | $9,054,715 | 2 |
| Jun 13, 1997 | 9 | $1,343,768 | -49% | 2,003 | $671 | $11,458,185 | 3 |
| Jun 20, 1997 | 16 | $450,210 | -66% | 1,109 | $406 | $12,660,389 | 4 |
| Jun 27, 1997 | 25 | $142,851 | -68% | 507 | $282 | $13,041,429 | 5 |
| Jul 4, 1997 | 39 | $38,663 | -73% | 193 | $200 | $13,129,726 | 6 |
| Jul 11, 1997 | 41 | $37,308 | -4% | 65 | $574 | $13,186,167 | 7 |
| Jul 18, 1997 | 23 | $176,569 | +373% | 508 | $348 | $13,379,708 | 8 |
| Jul 25, 1997 | 43 | $47,339 | -73% | 224 | $211 | $13,548,764 | 9 |
| Aug 1, 1997 | 61 | $15,870 | -66% | 50 | $317 | $13,587,762 | 10 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| May 30, 1997 | 4 | $6,427,376 | 2,298 | $2,797 | $6,427,376 | 1 | |
| Jun 6, 1997 | 6 | $3,687,041 | -43% | 2,298 | $1,604 | $10,114,417 | 2 |
| Jun 13, 1997 | 9 | $2,095,762 | -43% | 2,003 | $1,046 | $12,210,179 | 3 |
| Jun 20, 1997 | 15 | $688,399 | -67% | 1,109 | $621 | $12,898,578 | 4 |
| Jun 27, 1997 | 28 | $192,485 | -72% | 507 | $380 | $13,091,063 | 5 |
| Jul 4, 1997 | 39 | $57,796 | -70% | 193 | $299 | $13,148,859 | 6 |
| Jul 11, 1997 | 42 | $54,280 | -6% | 65 | $835 | $13,203,139 | 7 |
| Jul 18, 1997 | 24 | $298,286 | +450% | 508 | $587 | $13,501,425 | 8 |
| Jul 25, 1997 | 44 | $70,467 | -76% | 224 | $315 | $13,571,892 | 9 |
| Charlize Theron | Billie Tyler | |
| Jeff Daniels | Charles Tuttle | |
| Jennifer Coolidge | Jacqueline | |
| Rip Torn | Benjamin 'Benny' Gibbs | |
| Michael Richards | Richard 'Ricky' Rietti | |
| Lawrence Pressman | Whitfield | |
| Dale Dye | Dr. German Stone, Psychiatrist |
Production and Technical Credits
| Jonathan Lynn | Director | |
| Sara Bernstein | Screenwriter | |
| Gregory Bernstein | Screenwriter | |
| Mildred Iatrou | Dialogue 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.