A Very Brady Sequel (1996)
| Theatrical Performance | ||
| Domestic Box Office | $21,443,204 | Details |
| OpusData ID: 24030100 More info... | ||
| Further financial details... | ||
Metrics
| Opening Weekend: | $7,052,045 (32.9% of total gross) |
| Legs: | 3.04 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 2,147 opening theaters/2,147 max. theaters, 5.1 weeks average run per theater |
| Infl. Adj. Dom. BO | $54,869,368 |
Movie Details
| Domestic Releases: | August 23rd, 1996 (Wide) by Paramount Pictures |
| Video Release: | June 10th, 2003 by Paramount Home Video |
| MPA Rating: | PG-13 for sex-related humor and some drug content |
| Running Time: | 89 minutes |
| Franchise: | Brady Bunch |
| Cast, crew, or production detail: | Gratuitous Cameos |
| Plot point: | Divorcée Romance, Dysfunctional Family, False Identity, Kidnap |
| Subgenre: | Farcical / Slapstick Comedy |
| Source: | Based on TV |
| Genre: | Comedy |
| Production Method: | Live Action |
| Creative Type: | Historical Fiction |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Aug 23, 1996 | 3 | $7,052,045 | 2,147 | $3,285 | $7,052,045 | 1 | |
| Aug 30, 1996 | 8 | $4,912,023 | -30% | 2,147 | $2,288 | $14,805,571 | 2 |
| Sep 6, 1996 | 10 | $2,291,226 | -53% | 2,038 | $1,124 | $17,691,942 | 3 |
| Sep 13, 1996 | 11 | $1,918,138 | -16% | 1,710 | $1,122 | $20,003,955 | 4 |
| Sep 20, 1996 | 21 | $371,258 | -81% | 1,221 | $304 | $20,553,516 | 5 |
| Sep 27, 1996 | 30 | $191,192 | -49% | 719 | $266 | $20,819,652 | 6 |
| Oct 4, 1996 | 37 | $95,851 | -50% | 348 | $275 | $20,966,290 | 7 |
| Nov 8, 1996 | 27 | $178,967 | 410 | $437 | $21,255,741 | 12 | |
| Nov 15, 1996 | 37 | $77,917 | -56% | 265 | $294 | $21,397,954 | 13 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Aug 23, 1996 | 3 | $9,893,548 | 2,147 | $4,608 | $9,893,548 | 1 | |
| Aug 30, 1996 | 8 | $5,507,168 | -44% | 2,147 | $2,565 | $15,400,716 | 2 |
| Sep 6, 1996 | 10 | $2,685,101 | -51% | 2,038 | $1,318 | $18,085,817 | 3 |
| Sep 13, 1996 | 12 | $2,096,441 | -22% | 1,710 | $1,226 | $20,182,258 | 4 |
| Sep 20, 1996 | 22 | $446,202 | -79% | 1,221 | $365 | $20,628,460 | 5 |
| Sep 27, 1996 | 28 | $241,979 | -46% | 719 | $337 | $20,870,439 | 6 |
| Nov 8, 1996 | 27 | $243,263 | 410 | $593 | $21,320,037 | 12 |
| Rosie O'Donnell | Herself (uncredited) | |
| RuPaul Charles | Mrs. Cummings | |
| David Spade | Hair stylist (uncredited) | |
| Shelley Long | Carol Brady | |
| John Hillerman | Dr. Whitehead | |
| Tim Matheson | Roy Martin/Trevor Thomas | |
| Brian Van Holt | Warren Mulaney | |
| Bodhi Elfman | Coffee Customer | |
| Christine Taylor | Marcia Brady |
Production and Technical Credits
| Arlene Sanford | Director | |
| Harry Elfont | Screenwriter | |
| Deborah Kaplan | Screenwriter | |
| James Berg | Screenwriter | |
| Stan Zimmerman | Screenwriter |
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: | $7,052,045 (32.9% of total gross) |
| Legs: | 3.04 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 2,147 opening theaters/2,147 max. theaters, 5.1 weeks average run per theater |
| Infl. Adj. Dom. BO | $54,869,368 |
Movie Details
| Domestic Releases: | August 23rd, 1996 (Wide) by Paramount Pictures |
| Video Release: | June 10th, 2003 by Paramount Home Video |
| MPA Rating: | PG-13 for sex-related humor and some drug content |
| Running Time: | 89 minutes |
| Franchise: | Brady Bunch |
| Cast, crew, or production detail: | Gratuitous Cameos |
| Plot point: | Divorcée Romance, Dysfunctional Family, False Identity, Kidnap |
| Subgenre: | Farcical / Slapstick Comedy |
| Source: | Based on TV |
| Genre: | Comedy |
| Production Method: | Live Action |
| Creative Type: | Historical Fiction |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Aug 23, 1996 | 3 | $7,052,045 | 2,147 | $3,285 | $7,052,045 | 1 | |
| Aug 30, 1996 | 8 | $4,912,023 | -30% | 2,147 | $2,288 | $14,805,571 | 2 |
| Sep 6, 1996 | 10 | $2,291,226 | -53% | 2,038 | $1,124 | $17,691,942 | 3 |
| Sep 13, 1996 | 11 | $1,918,138 | -16% | 1,710 | $1,122 | $20,003,955 | 4 |
| Sep 20, 1996 | 21 | $371,258 | -81% | 1,221 | $304 | $20,553,516 | 5 |
| Sep 27, 1996 | 30 | $191,192 | -49% | 719 | $266 | $20,819,652 | 6 |
| Oct 4, 1996 | 37 | $95,851 | -50% | 348 | $275 | $20,966,290 | 7 |
| Nov 8, 1996 | 27 | $178,967 | 410 | $437 | $21,255,741 | 12 | |
| Nov 15, 1996 | 37 | $77,917 | -56% | 265 | $294 | $21,397,954 | 13 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Aug 23, 1996 | 3 | $9,893,548 | 2,147 | $4,608 | $9,893,548 | 1 | |
| Aug 30, 1996 | 8 | $5,507,168 | -44% | 2,147 | $2,565 | $15,400,716 | 2 |
| Sep 6, 1996 | 10 | $2,685,101 | -51% | 2,038 | $1,318 | $18,085,817 | 3 |
| Sep 13, 1996 | 12 | $2,096,441 | -22% | 1,710 | $1,226 | $20,182,258 | 4 |
| Sep 20, 1996 | 22 | $446,202 | -79% | 1,221 | $365 | $20,628,460 | 5 |
| Sep 27, 1996 | 28 | $241,979 | -46% | 719 | $337 | $20,870,439 | 6 |
| Nov 8, 1996 | 27 | $243,263 | 410 | $593 | $21,320,037 | 12 |
| Rosie O'Donnell | Herself (uncredited) | |
| RuPaul Charles | Mrs. Cummings | |
| David Spade | Hair stylist (uncredited) | |
| Shelley Long | Carol Brady | |
| John Hillerman | Dr. Whitehead | |
| Tim Matheson | Roy Martin/Trevor Thomas | |
| Brian Van Holt | Warren Mulaney | |
| Bodhi Elfman | Coffee Customer | |
| Christine Taylor | Marcia Brady |
Production and Technical Credits
| Arlene Sanford | Director | |
| Harry Elfont | Screenwriter | |
| Deborah Kaplan | Screenwriter | |
| James Berg | Screenwriter | |
| Stan Zimmerman | Screenwriter |
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.