Australia Box Office for Annabelle Comes Home (2019)
Theatrical Performance (US$) | ||
Australia Box Office | $3,781,678 | Details |
Worldwide Box Office | $230,779,191 | Details |
Home Market Performance | ||
North America DVD Sales | $2,293,443 | Details |
North America Blu-ray Sales | $2,453,520 | Details |
Total North America Video Sales | $4,746,963 | |
Further financial details... |
Synopsis
Determined to keep Annabelle from wreaking more havoc, demonologists Ed and Lorraine Warren bring the possessed doll to the locked artifacts room in their home, placing her “safely” behind sacred glass and enlisting a priest’s holy blessing. But an unholy night of horror awaits as Annabelle awakens the evil spirits in the room, who all set their sights on a new target—the Warrens’ ten-year-old daughter, Judy, and her friends.
Metrics
Movie Details
Production Budget: | $27,000,000 |
Australia Releases: | June 27th, 2019 (Wide) |
Video Release: | September 17th, 2019 by Warner Home Video |
MPAA Rating: | R for horror violence and terror. (Rating bulletin 2581 (Cert #52191), 6/5/2019) |
Running Time: | 106 minutes |
Franchise: | Annabelle, The Conjuring |
Keywords: | Based on an UNTRUE Story, Demons, Babysitters, Paranormal Investigation, Supernatural, IMAX: DMR, Supernatural Horror |
Source: | Original Screenplay |
Genre: | Horror |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | Atomic Monster, New Line Cinema, The Safran Company |
Production Countries: | United States |
Languages: | English |
Home Market Releases for October 8th, 2019
October 10th, 2019
It’s another week with a monster hit and nearly nothing else. Fortunately, that monster hit is Toy Story 4, which is easily the Pick of the Week and would be during all but the best weeks of the year. Midsommar comes close to being a contender for Pick of the Week, but the extras are well below average, even compared to a limited release.
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Home Market Releases for September 17th, 2019
September 18th, 2019
It’s one of those weeks on the home market. There are almost no new releases to talk about and the ones worth talking about all have caveats when it comes to my recommendations. That is to say, while there are a number of DVDs / Blu-ray that I recommend buying, there are none that really rise to the level of Pick of the Week. This leaves Spider-Man: Far from Home as the Pick of the Week, despite it coming out only on VOD so far.
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Weekend Predictions: Can Dora find Box Office Gold?
August 8th, 2019
There are five wide or semi-wide releases coming out this weekend, which is just too many and practically guarantees at least one of them will flop at the box office. Of these films, Dora and the Lost City of Gold is the only one expected to compete for first place, while Scary Stories to Tell in the Dark should do well as a low-budget horror movie. Unfortunately, The Kitchen and The Art of Racing in the Rain are not connecting with critics and that will likely keep them out of the top five. Finally, Brian Banks is opening in just 1,240 theaters and that could keep it out of the top ten. This weekend last year, The Meg opened with $45 million. No film playing this weekend will match that and I don’t think this year’s depth is going to compensate, meaning we are going to lose in the year-over-year competition yet again.
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International Box Office: Spider-Man’s Worldwide Vacation
July 18th, 2019
Spider-Man: Far from Home ended its international run by opening in Italy this past weekend and this helped it remain in top spot on the international chart. Overall, the film pulled in $97.50 million on 30,559 screens in 86 markets for totals of $569.88 million internationally and $844.47 million worldwide. The film earned first place in Italy with $4.38 million on 829 screens over the weekend for a four-day opening of $6.08 million. If we compare just the three-day weekend, which is unfair to Far From Home, this result is still 45% more than Homecoming’s debut in that market. The film’s top holdover was South Korea, where it remained in first place with $9.80 million on 1,708 screens over the weekend for a two-week total of $48.97 million. China wasn’t too far behind with $9.61 million over the weekend for a three-week total of $192.18 million. The film has very likely overtaken Homecoming at the global box office by the time you read this and could top $1 billion this weekend, assuming The Lion King doesn’t take too big a bite out of Far from Home’s box office numbers.
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International Box Office: Spider-Man’s Worldwide Vacation
July 11th, 2019
Spider-Man: Far from Home expanded nearly worldwide over the weekend, and earned $236.74 million on 53,120 screens in 85 markets for a still early international total of $393.37 million, and $578.43 million worldwide. The film’s biggest new market was South Korea, where it earned $24.55 million on 2,173 screens over the weekend for a total opening of $33.45 million. Far From Home also cracked $10 million in the U.K. with $10.53 million on 979 screens over the weekend for a total opening of $17.77 million and in Mexico with $10.39 million on 3,806 screens over the weekend for a total opening of $13.42 million. The film earned a total opening of $12.11 million in Australia, including $7.26 million on 332 screens over the weekend. The film’s biggest holdover was China, where it earned $29.88 million over the weekend for a two-week total of $166.63 million. Italy was the only market the film wasn’t playing in over the weekend, but that changed on Wednesday and we will have those numbers next week.
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Weekend Wrap-Up: Spider-Man Hits a Home Run
July 9th, 2019
Spider-Man: Far From Home really brightened up the box office earning $92.58 million over the three-day weekend for a six-day opening of $185.06 million. This is one of the biggest positive surprises of the year and we desperately needed some good news after June. Toy Story 4 and Aladdin held on better than expected and the overall box office surged growing 21% from last weekend to $183 million. This is still lower than this weekend last year, but by only 2.7% and at this point, I’m willing to call that a victory. Year-to-date, 2019 did manage to close ground with 2018, thanks mostly to Far From Home’s strength before the weekend. However, this year is still 8.4% or $540 million behind last year at $5.88 billion to $6.42 billion.
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Weekend Estimates: Spider-Man Is Marvelous Worldwide
July 7th, 2019
Spider-Man: Far From Home is getting off to a fantastic start with a three-day weekend haul of $93.6 million giving it a six-day debut of $185.1 million. This is more than it cost to make and it means the film is nearly guaranteed a healthy profit before it reaches the home market, even if it has soft legs. Additionally, its reviews are outstanding and it earned an A from CinemaScore, so its legs should be long for a blockbuster film. Internationally, the film pulled in $238 million on 52,800 screens in 66 markets for totals of $395 million internationally and $580 million worldwide. This was led by a six-day, $33.8 million first place debut in South Korea, while it earned $30.6 million during its second weekend in China for a two-week total of $167.4 million there.
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Friday Estimates: Has Spider-Man Saved the Summer?
July 6th, 2019
Spider-Man: Far From Home got off to a record-breaking performance and it has since shown better-than-expected legs by earning $32.5 million on Friday for a four-day running tally of $124 million. Because it opened on Tuesday and not Friday, the film should have a better than average internal multiplier, giving it a better than 50/50 chance of cracking $90 million over the three-day weekend. The film cost $160 million to make and it will match that domestically on Sunday. Additionally, its reviews suggest strong word-of-mouth (The CinemaScore still hasn’t been released. I blame the Fourth of July holidays.) and with no direct competition for the rest of the month, it should have a long stay in theaters. It is yet another success story for the M.C.U. and enough to lift 2019 to a rare win over 2018 in the year-over-year competition. This could be a good omen going forward and perhaps we will look back at this weekend as the weekend that 2019 turned things around.
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Weekend Predictions: Can Spider-Man Snap the Streak?
July 3rd, 2019
It has been a long time since we’ve had a pleasant surprise at the box office. In fact, the last film to really beat expectations and earn first place was Aladdin, which came out in May. However, it appears that streak is over, as Spider-Man: Far From Home broke the record for biggest Tuesday with $39.26 million. Additionally, Midsommar earned $1.1 million during its previews, which means July should get off to a faster than expected start. Additionally, there should be some strong holds in the top five as well, with Toy Story 4, Annabelle Comes Home, and Yesterday all looking to earn more than $10 million over the three-day weekend. This weekend last year, Ant-Man and the Wasp opened with $75.81 million. Spider-Man: Far From Home could top that after its record-breaking start and the overall box office does look a little healthier as a result.
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International Box Office: Spider-Man Swings into First Place
July 3rd, 2019
Spider-Man: Far from Home made its international debut the weekend before its domestic start earning $111.20 million on 35,187 screens in three markets. Those three markets where led by China, where it earned $97.72 million on 34,300 screens. It was also very potent in Japan with $9.36 million on 465 screens and in Hong Kong with $4.12 million on 422.
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Weekend Wrap-Up: Toy Story Can’t Overcome Box Office Woes
July 2nd, 2019
June ended with shrug, as the weekend was neither a success nor a disaster. Toy Story 4 was the top draw, but it fell faster than most family films do, down 51% to $59.70 million. Annabelle Comes Home had the weakest opening in the franchise, while Yesterday did well as counter-programming, but that’s all. The overall box office fell 26% from last weekend and, more importantly, 15% from the same weekend last year. Year-to-date, 2019 has fallen behind 2018’s pace by a margin of 9.5% or $580 million at $5.52 billion to $6.10 billion. At the beginning of June, I thought 2019 would have cut into 2018’s lead by $100 million, but that clearly didn’t happen.
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Weekend Estimates: Toy Story has a June-Like Hold with $58 million
June 30th, 2019
Toy Story 4 is earning first place over the weekend with $57.92 million. A few weeks ago, a 52% sophomore stint drop-off by a family film would have been a really bad sign; however, June was so bad that this result matches expectations, more or less. The film now has $236.92 million domestically and should race past $300 million here before it is done. This is a monster hit and more than enough to be profitable, but still disappointing. This film is having a better weekend internationally, earning $80.6 million in 45 markets for totals of $259.6 million internationally and $496.5 million worldwide. This includes a $7.0 million opening in France, which is the best in the franchise.
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Friday Estimates: Toy Story Dominates Chart, Doesn’t Have Aladdin-Like Legs
June 29th, 2019
It looks like June won’t end on a high note, as Toy Story 4 is falling faster than hoped for. The film earned $17.04 million on Friday, which is almost as much as the rest of the top five earned in total. However, and more importantly, it is 64% lower than the film’s opening Friday and that’s a sharper decline that I was anticipating. Granted, its $196.03 million running tally is in line with budget expectations, so it will break even, even if it doesn’t match expectations. A profitable disappointment.
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Thursday Night Previews: Yesterday Hits a High Note with $1.25 million
June 28th, 2019
Yesterday earned $1.25 million during its previews on Thursday, which is on the high end of expectations. It means our $12 million prediction could turn out to be a little pessimistic. This depends on if the audiences like the movie more than the critics did. If the film’s CinemaScore is at an A, then it should top our prediction. If it is at a B plus or lower, then it will not.
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Weekend Predictions: Will June Completely Miss at the Box Office?
June 27th, 2019
So far June has been a disaster with no film topping expectations to any significant degree. In fact, Aladdin was the last time we had a film that really beat expectations at the box office and that came out more than a month ago. This weekend is the last chance for June to not be a complete disaster and frankly I’m not optimistic. Annabelle Comes Home is part of the biggest horror franchise around. However, the most recent installment was also the weakest by far and I fear this film will also be significantly below average for the franchise. Yesterday is the smaller of the two films, but in this case this means it doesn’t have to do much business at the box office to be seen as a success. Meanwhile, Toy Story 4 is expected to remain in top spot over the weekend and if its legs are long enough, it could be seen as a real success rather than a profitable disappointment. This weekend last year, there were no major new releases, but Jurassic World: Fallen Kingdom and Incredibles 2 were strong as holdovers.
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2019 Preview: June
June 1st, 2019
While the final weekend in May isn’t over yet, we can safely say the month was merely okay. It managed to keep pace with last May, but I was really hoping to cut into 2019’s deficit by a significant margin. June is not looking any better, at least not compared to 2018. There are two potential monster hits, The Secret Life of Pets 2 and Toy Story 4, as well as a trio of $100 million hits, Dark Phoenix, Men in Black: International, and Annabelle Comes Home. On the surface, this looks excellent; however, last June was even better on top with Incredibles 2 and Jurassic World: Fallen Kingdom earning a combined $1 billion domestically. Granted, the only other $100 million hit was Oceans 8, so this year should have a lot better depth. I don’t think it will be enough to gain any ground in the year-over-year comparison, which is the only way to really judge how a month is doing at this point.
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Annabelle Comes Home Trailer
May 7th, 2019
Supernatural horror movie starring Mckenna Grace opens June 28 ... Full Movie Details.
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Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.
Weekend Box Office Performance
Date | Rank | Gross | % Change | Screens | Per Screen | Total Gross | Week |
---|---|---|---|---|---|---|---|
2019/06/28 | 3 | $1,354,494 | 256 | $5,291 | $1,354,494 | 1 | |
2019/07/05 | 5 | $811,035 | -40% | 216 | $3,755 | $2,628,883 | 2 |
2019/07/12 | 6 | $463,261 | -43% | 217 | $2,135 | $3,532,410 | 3 |
2019/07/19 | 8 | $197,204 | -57% | 174 | $1,133 | $3,908,823 | 4 |
2019/07/26 | 11 | $134,776 | -32% | 136 | $991 | $4,026,839 | 5 |
2019/08/02 | 14 | $59,969 | -56% | 83 | $723 | $4,067,681 | 6 |
2019/08/09 | - | $24,191 | -60% | 38 | $637 | $4,106,081 | 7 |
2019/08/16 | - | $9,070 | -63% | 17 | $534 | $4,116,354 | 8 |
2019/08/23 | - | $865 | -90% | 2 | $433 | $4,100,495 | 9 |
2019/08/30 | - | $90 | -90% | 2 | $45 | $4,089,381 | 10 |
2022/10/21 | - | $25 | 1 | $25 | $3,781,678 | 174 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 6/27/2019 | $1,298,197 | 374 | 374 | 1161 | $3,424,958 | 12/1/2019 |
Australia | 6/27/2019 | $1,354,494 | 256 | 256 | 1142 | $3,781,678 | 10/24/2022 |
Brazil | 6/27/2019 | $1,900,000 | 1054 | 1054 | 3104 | $6,900,000 | 7/24/2020 |
Bulgaria | 6/28/2019 | $39,898 | 0 | 0 | 0 | $177,621 | 9/5/2019 |
Colombia | 6/28/2019 | $1,520,000 | 491 | 491 | 1016 | $4,300,000 | 9/24/2019 |
Czech Republic | 6/28/2019 | $223,225 | 122 | 122 | 365 | $834,255 | 10/19/2022 |
France | 7/12/2019 | $2,400,000 | 360 | 401 | 2081 | $8,100,000 | 9/24/2019 |
Germany | 7/4/2019 | $1,400,000 | 395 | 456 | 1294 | $5,400,000 | 9/24/2019 |
Hong Kong | 7/5/2019 | $799,000 | 55 | 55 | 55 | $799,000 | 7/9/2019 |
India | 6/28/2019 | $2,600,000 | 1650 | 1650 | 1650 | $4,600,000 | 9/24/2019 |
Indonesia | 6/26/2019 | $4,900,000 | 1150 | 1150 | 1662 | $8,900,000 | 9/24/2019 |
Italy | 7/3/2019 | $1,174,070 | 420 | 420 | 867 | $3,858,760 | 8/31/2019 |
Japan | 9/20/2019 | $902,000 | 169 | 169 | 169 | $3,152,419 | 10/11/2019 |
Lithuania | 7/12/2019 | $75,456 | 116 | 116 | 300 | $275,487 | 10/19/2022 |
Malaysia | 6/27/2019 | $2,200,000 | 487 | 487 | 808 | $4,320,000 | 9/24/2019 |
Mexico | 6/28/2019 | $5,507,864 | 2660 | 2660 | 3852 | $16,500,000 | 9/24/2019 |
Netherlands | 6/28/2019 | $412,831 | 84 | 86 | 594 | $1,722,187 | 10/19/2022 |
New Zealand | 6/27/2019 | $0 | 0 | 11 | 27 | $750,362 | 10/19/2022 |
North America | 6/26/2019 | $20,269,723 | 3,613 | 3,613 | 15,742 | $74,152,591 | 7/19/2021 |
Poland | 7/12/2019 | $737,000 | 202 | 202 | 805 | $2,322,563 | 10/19/2022 |
Portugal | 6/28/2019 | $294,737 | 75 | 75 | 341 | $1,078,475 | 10/19/2022 |
Romania | 7/12/2019 | $0 | 0 | 19 | 55 | $687,318 | 12/31/2019 |
Russia (CIS) | 6/27/2019 | $2,540,255 | 1424 | 1424 | 4238 | $5,700,000 | 10/19/2022 |
Slovakia | 6/28/2019 | $160,571 | 67 | 67 | 223 | $496,208 | 11/5/2019 |
Slovenia | 6/28/2019 | $0 | 0 | 5 | 16 | $119,557 | 9/25/2019 |
South Korea | 6/26/2019 | $1,364,045 | 644 | 644 | 1135 | $3,354,768 | 8/1/2019 |
Spain | 7/12/2019 | $1,402,104 | 305 | 320 | 1599 | $5,600,000 | 9/24/2019 |
Taiwan | 6/28/2019 | $1,500,000 | 168 | 168 | 168 | $2,300,000 | 7/9/2019 |
Thailand | 6/28/2019 | $1,510,000 | 696 | 696 | 696 | $1,510,000 | 10/19/2022 |
Turkey | 6/28/2019 | $199,064 | 320 | 320 | 1196 | $910,854 | 10/19/2022 |
United Arab Emirates | 6/27/2019 | $0 | 0 | 0 | 0 | $376,000 | 6/28/2019 |
United Kingdom | 7/10/2019 | $2,791,215 | 527 | 527 | 2064 | $8,300,000 | 9/24/2019 |
Vietnam | 6/26/2019 | $2,100,000 | 623 | 623 | 623 | $3,000,000 | 7/15/2019 |
Rest of World | $43,074,130 | ||||||
Worldwide Total | $230,779,191 | 10/24/2022 |
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.
Leading Cast
Mckenna Grace | Judy Warren |
Supporting Cast
Madison Iseman | Mary Ellen |
Vera Farmiga | Lorraine Warren |
Patrick Wilson | Ed Warren |
Samara Lee | Annabelle “Bee” Mullins |
Katie Sarife | Daniela |
Kenzie Caplan | Nurse |
Sade Katarina | Nurse |
Michael Patrick McGill | Cop |
Brittany Hoza | Young Woman in Car |
Sheila McKellan | Cemetery Ghost |
Eddie J. Fernandez | Truck Driver |
Steve Coulter | Father Gordon |
Luca Luhan | Anthony Rios |
Gary-7 | Ghostly Priest |
Paul Dean | Mr. Palmeri |
Alison White | Mrs. Faley |
Oliver Dauberman | School Bully |
Lou Lou Safran | Little Girl (Rebecca) |
Anthony Wemyss | Daniela’s Dad |
Natalia Safran | Bride |
Edwin Scheibner | Exorcism Guy |
Bill Kottkamp | Pizza Guy |
Douglas Tait | Werewolf |
Alexander Ward | Demon |
Ava Hamada | Party Guest |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Gary Dauberman | Director |
Gary Dauberman | Screenwriter |
Gary Dauberman | Story by |
James Wan | Story by |
Gary Dauberman | Character Creator |
James Wan | Producer |
Peter Safran | Producer |
Richard Brener | Executive Producer |
Dave Neustadter | Executive Producer |
Victoria Palmeri | Executive Producer |
Michael Clear | Executive Producer |
Michelle Morrissey | Executive Producer |
Judson Scott | Executive Producer |
Jennifer Spence | Production Designer |
Kirk Morri | Editor |
Joseph Bishara | Composer |
Michael Burgess | Director of Photography |
Leah Butler | Costume Designer |
Rich Delia | Casting Director |
Leigh Shanta | Unit Production Manager |
Jeffrey Wetzel | First Assistant Director |
Joann Connolly | Second Assistant Director |
A. Todd Holland | Art Director |
Al Hobbs | Set Designer |
Robert Sharman | Sound Mixer |
Becca Sale | Post-Production Supervisor |
Liz Calandrello | Additional Editor |
Stuart Sperling | First Assistant Editor |
Julie Pearce | Music Editor |
Joe E. Rand | Music Editor |
Stephen Perone | Music Editor |
Aaron Glascock | Sound Designer |
Aaron Glascock | Sound Supervisor |
Tim LeBlanc | Re-recording Mixer |
Aaron Glascock | Re-recording Mixer |
Albert Gasser | Dialogue Editor |
Albert Gasser | Sound Effects Editor |
Mitch Osias | Sound Designer |
Mitch Osias | Sound Effects Editor |
Walter Spencer | Foley Mixer |
Ralph Meyer | Location Manager |
Jody Blose | Script Supervisor |
Susan Bertram | Costume Supervisor |
Kate Samhat | Costume Supervisor |
Melanie DeForrest | Key Make Up Artist |
Eleanor Sabaduquia | Make up |
Mara Rouse | Make up |
Justin Raleigh | Special Make-up Effects |
Shimmy Osman | Hairstylist |
Tuen Osman | Hairstylist |
Jacob Eaton | Visual Effects Producer |
Mark Hawker | Special Effects Coordinator |
Chris Spilfogel | Score Recordist |
Chris Spilfogel | Score Mixer |
Art Codron | Visual Effects Supervisor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.