New Zealand Box Office for Booksmart (2019)
Theatrical Performance (US$) | ||
New Zealand Box Office | $94,007 | Details |
Worldwide Box Office | $24,948,141 | Details |
Home Market Performance | ||
North America DVD Sales | $805,561 | Details |
North America Blu-ray Sales | $1,014,393 | Details |
Total North America Video Sales | $1,819,954 | |
Further financial details... |
Synopsis
Two academic superstars and best friends, on the eve of their high school graduation, suddenly realize that they should have worked less and played more. Determined never to fall short of their peers, the girls set out on a mission to cram four years of fun into one night.
Metrics
Movie Details
Production Budget: | $6,000,000 |
New Zealand Releases: | July 25th, 2019 (Wide) |
Video Release: | August 20th, 2019 by Fox Home Entertainment |
MPAA Rating: | R for strong sexual content and language throughout, drug use and drinking - all involving teens. (Rating bulletin 2574 (Cert #51993), 4/17/2019) |
Running Time: | 102 minutes |
Keywords: | Loss Of Virginity, Narcotics, Bad Trip, High School, Graduation, LGBTQ+, Buddy Comedy, Actors Making Their Directorial Debut |
Source: | Original Screenplay |
Genre: | Comedy |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | Gloria Sanchez, Annapurna Pictures |
Production Countries: | United States |
Languages: | English |
2020 Awards Season: Golden Globes Nominations
December 11th, 2019
The Golden Globes nominations are the second major Awards Season set to come out. It is still very early in the year and the predictive value of the Golden Globes is a little suspect, but there are still some things to learn here. (This is especially true on the TV end, as there’s talk about how strange the nominations are this year.) Marriage Story led the way with six nominations, just ahead of The Irishman and Once Upon a Time... in Hollywood, both of which picked up five nods.
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2019 - Holiday Gift Guide - Part I - First-Run Releases and Franchise Box Sets
November 27th, 2019
It's Thanksgiving weekend, which means Black Friday, Cyber Monday, and of course the first installment of our Holiday Gift Guide. This year, Thanksgiving is as late as it could have been, which means there’s no way to squeeze in four weeks of regular installments of the gift guide, as well as the December monthly preview, etc. So we are going to have a condensed list this year. That said, there weren’t a ton of first-run releases that would have made this list regardless.
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Home Market Releases for September 3rd, 2019
September 4th, 2019
It’s another short week with not a lot to talk about. The biggest release of the week is Men in Black International, but it missed expectations by a significant margin. The best first-run release is Booksmart, which also missed expectations by a significant margin, but it is still good enough to be a Pick of the Week contender. In fact, it’s only competition is My Hero Academia: Season Three, Part Two. It came down to a literal coin toss and My Hero Academia won, but both deserve the title.
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Home Market Releases for August 20th, 2019
August 21st, 2019
I don’t like awarding the Pick of the Week to films only coming out on Video on Demand, but John Wick: Chapter 3 — Parabellum is the best release of the week and it isn’t even particularly close.
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Weekend Wrap-Up: Godzilla Tops Weekend Chart and Helps 2019 to Rare Win
June 4th, 2019
Godzilla: King of the Monsters didn’t live up to expectations, but it did well enough to earn first place on the weekend box office chart. King of the Monsters opened with $47.78 million, while Aladdin was right behind with $42.84 million. This helped the overall box office hold on a lot better than expected, down just 4.3% to $174 million, which is a fantastic hold for a post-holiday weekend. The box office was also a huge improvement from this weekend last year, up 63% in the year-over-year comparison. Year-to-date, 2019 has pulled in $4.54 billion, which is still 7.4% or $380 million behind last year’s pace, but a few more wins like this and that gap won’t seem so bad anymore. That said, as anyone who’s read our monthly preview will know, I’m not expecting too many weekends like this in June.
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Weekend Wrap-Up: Aladdin Earns $100 million Opening
May 28th, 2019
It was a great weekend for Aladdin and an okay weekend for the box office as a whole. Aladdin made more over the three-day portion of the weekend than most predicted it would make over four days. Unfortunately, not all of the rest of the films were able to pull their weight. The overall box office still grew 23% from last weekend reaching $181 million, but it slipped when compared to last year. Granted, it fell less than $1 million or 0.5% when compared to the same weekend last year, which is such a small gap that it is practically a tie. Year-to-date, 2019 has pulled in $4.31 billion, which is 9.2% or $440 million lower than 2018’s running tally of $4.75 million and this number needs to improve over the coming weeks.
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Weekend Estimates: Aladdin Goes Long with $86 million over Three-Day Weekend
May 26th, 2019
Aladdin’s box office continues to grow with Disney projecting $86.1 million over the three-day weekend, putting it on pace for $105 million including Monday. Its reviews are fine, but its A from CinemaScore is really telling a story here and it should lead to long legs, especially with school holidays starting soon. Internationally, the film earned $121.0 million, not including Monday, for a $207.1 million global debut. The film did okay in China with $18.7 million, but clearly the lack of nostalgia was hurting it here. The film was a much bigger hit in Mexico with $9.2 million, but it was also a smash in the U.K. ($8.4 million); Italy ($6.6 million); and others. More on that during our International Top Five column.
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Friday Estimates: Aladdin Has a Memorable Start with $31 Million
May 25th, 2019
Aladdin is looking stellar after a $31.0 million opening Friday. The film’s reviews are nothing special, but it scored an A from CinemaScore, so clearly audiences are loving the movie much more than critics did. The word-of-mouth should help its legs and this puts it on pace to top $100 million over the four-day weekend and even top last year’s top film, Solo: A Star Wars Story, with about $107 million. This is much better than most predictions and a return to form for live-action Disney remakes after Dumbo’s disappointing run earlier in the year. It could even help 2019 top 2018 in the year-over-year comparison, but that depends on the rest of the new releases and holdovers also matching or exceeding expectations. That doesn’t look as promising.
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Thursday Night Previews: Aladdin Opens with a Lucky $7 million - Update
May 24th, 2019
Aladdin got off to a great start, earning $7 million from previews last night. Granted, this is just half of what Solo: A Star Wars Story made during its previews last year. However, that film was the definition of the Fanboy Film, while Aladdin is clearly aimed at families and it should therefore have better legs as a result. We could also compare the film to Dumbo, which managed $2.6 million, or Beauty and the Beast with its $16.3 million in previews. If this film can have similar legs as those two films did, then it will have a great opening and top our prediction. Here’s hoping that’s the case.
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Weekend Predictions: Can Aladdin Grant the Box Office its Wish?
May 23rd, 2019
It’s Memorial Day long weekend, which is historically one of the biggest weekends of the year. However, this year there are not a lot of prime new releases to talk about. Aladdin is the only new release expected to become even a midlevel hit, while both Booksmart and Brightburn are expected to struggle in their counter-programming roles. The three new releases will be competing for spots in the top five with three holdovers, John Wick: Chapter 3 - Parabellum, Avengers: Endgame, and Pokémon: Detective Pikachu. That’s six films competing for five slots, so one of them will miss out. This weekend last year, Solo: A Star Wars Story led the way with $84.42 million over the three-day weekend. There are many who think Aladdin won’t make that much over four days. I’m a little more bullish than most, but I don’t think 2019 will get back in the winning column this weekend. Aladdin’s numbers haven’t picked up as they should have.
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2019 Preview: May
May 1st, 2019
April got off to a fast start with Shazam! opening the first weekend of the month. Meanwhile, Avengers: Endgame ended the month with a record-breaking debut. Unfortunately for 2019, last April had a very similar result leaving 2019 behind 2018’s pace by over $400 million. Will May be able to turn things around? Last May, there were only two films that reached $200 million, Deadpool 2 and Solo: A Star Wars Story. Meanwhile, this May there are three such films, Detective Pikachu, Aladdin, and Godzilla: King of the Monsters. There are two points we need to make. Firstly, the only reason there are more potential $200 million hits this year is because May has five Fridays this year. Secondly, this May also has a lot better depth with films like John Wick: Chapter 3 - Parabellum and Rocketman being potential $100 million hits. Even if we ignore the final weekend, May should do well enough to cut into 2018’s lead over 2019. It’s not going to be able to cut it in half, but it could do well enough to make box office analysts a little more positive about the year’s chances overall.
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Booksmart Trailer
April 18th, 2019
Comedy starring Beanie Feldstein and Kaitlyn Dever opens May 24 ... Full Movie Details.
Two academic superstars and best friends, on the eve of their high school graduation, suddenly realize that they should have worked less and played more. Determined never to fall short of their peers, the girls set out on a mission to cram four years of fun into one night.
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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 |
---|---|---|---|---|---|---|---|
2019/08/09 | 20 | $6,694 | 29 | $231 | $85,432 | 3 | |
2019/08/16 | 28 | $1,929 | -71% | 12 | $161 | $88,931 | 4 |
2019/08/23 | 33 | $1,520 | -21% | 4 | $380 | $90,672 | 5 |
2019/08/30 | 35 | $860 | -43% | 4 | $215 | $91,247 | 6 |
2019/09/06 | - | $524 | -39% | 2 | $262 | $94,487 | 7 |
2019/09/13 | - | $177 | -66% | 1 | $177 | $94,007 | 8 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Australia | 7/12/2019 | $311,062 | 221 | 221 | 669 | $785,205 | 10/3/2019 |
Bulgaria | 6/7/2019 | $3,504 | 0 | 0 | 0 | $11,063 | 7/3/2019 |
Czech Republic | 5/31/2019 | $13,867 | 48 | 48 | 119 | $41,372 | 6/25/2019 |
Germany | 6/14/2019 | $0 | 0 | 32 | 95 | $238,535 | 2/7/2020 |
Italy | 8/21/2019 | $188,375 | 0 | 9 | 9 | $373,936 | 10/19/2022 |
Mexico | 8/16/2019 | $61,359 | 0 | 0 | 0 | $61,359 | 10/19/2022 |
Netherlands | 6/28/2019 | $44,153 | 68 | 68 | 181 | $194,106 | 10/19/2022 |
New Zealand | 7/25/2019 | $0 | 0 | 29 | 52 | $94,007 | 10/19/2022 |
North America | 5/24/2019 | $6,933,620 | 2,505 | 2,518 | 8,201 | $22,680,962 | 2/26/2020 |
Portugal | 8/16/2019 | $14,089 | 15 | 15 | 29 | $31,631 | 10/19/2022 |
Slovakia | 5/31/2019 | $13,892 | 35 | 35 | 75 | $32,305 | 6/26/2019 |
South Korea | 1/27/2021 | $36,728 | 163 | 163 | 309 | $96,155 | 3/26/2021 |
Spain | 7/26/2019 | $50,509 | 104 | 104 | 175 | $102,613 | 8/8/2019 |
Rest of World | $204,892 | ||||||
Worldwide Total | $24,948,141 | 10/19/2022 |
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
Beanie Feldstein | Molly |
Kaitlyn Dever | Amy |
Supporting Cast
Jessica Williams | Miss Fine |
Lisa Kudrow | Charmaine |
Will Forte | Doug |
Jason Sudeikis | Principal Brown |
Billie Lourd | Gigi |
Diana Silvers | Hope |
Skyler Gisondo | Jared |
Molly Gordon | Triple A |
Noah Galvin | George |
Austin Crute | Alan |
Victoria Ruesga | Ryan |
Eduardo Franco | Theo |
Nico Hiraga | Tanner |
Mason Gooding | Nick |
Mike O'Brien | The Valley Strangler |
Ben Harris | Yacht Waiter |
Kyle Samples | Butler |
Deb Hiett | George’s Mom |
Bluesy Burke | Cindy |
Christopher Avila | Rob |
Stephanie Styles | Alison |
John Hartman | Yacht Waiter #2 |
Adam Simon Krist | Dick |
Gideon Lang | Skip |
Ellen Doyle | Murder Mystery Nurse |
Maya Rudolph | Motivational Voice |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Olivia Wilde | Director |
Sarah Haskins | Screenwriter |
Katie Silberman | Screenwriter |
Emily Halpern | Screenwriter |
Susanna Fogel | Screenwriter |
Megan Ellison | Producer |
David Distenfeld | Producer |
Chelsea Barnard | Producer |
Jessica Elbaum | Producer |
Katie Silberman | Producer |
Adam McKay | Executive Producer |
Will Ferrell | Executive Producer |
Jillian Longnecker | Executive Producer |
Scott Robertson | Executive Producer |
Alex G Scott | Executive Producer |
Jason McCormick | Director of Photography |
Katie Byron | Production Designer |
Brent White | Editor |
Jamie Gross | Editor |
April Napier | Costume Designer |
Dan the Automator* | Composer |
Bryan Ling | Music Supervisor |
Allison Jones | Casting Director |
Tracy Dashnaw | Stunt Coordinator |
Denna Thomsen | Choreography |
Katie Ballaine | Associate Producer |
Dane R. Naimy | First Assistant Editor |
Erika Toth Ham | Art Director |
Rachael Ferrara | Set Decorator |
Kristin Calabrese | Script Supervisor |
Lisa Pinero | Sound Mixer |
Betty S. Krul | Set Designer |
Tom Wagman | Set Designer |
Patricia Klawonn | Set Designer |
Jeremy Hays | Special Effects Coordinator |
Liz Lash | Make up |
Ashlee Mullen | Make up |
Aubrey Marie | Hairstylist |
Stephanie Rives | Hairstylist |
Michael Wesley | Location Manager |
Onnalee Blank | Supervising Sound Editor |
Skip Lievsay | Re-recording Mixer |
Paul Urmson | Re-recording Mixer |
Onnalee Blank | Additional Sound Re-recording Mixer |
Mathew Waters | Additional Sound Re-recording Mixer |
Russell Farmarco | Supervising Dialogue/ADR Editor |
Daniel S. Irwin | Dialogue Editor |
Shaughnessy Pancho Hare | Sound Effects Editor |
Hector Gika | Sound Effects Editor |
Matthew Wilson | Sound Effects Editor |
Bradley C. Katona | Sound Effects Editor |
Geordy Sincavage | Foley Supervisor/Mixer |
Jordan McClain | Foley Editor |
Raoul Yorke Bolognini | Visual Effects Producer |
Richard Ivan Mann | Visual Effects Producer |
Kimberly Church | Visual Effects Producer |
Raoul Yorke Bolognini | Visual Effects Supervisor |
Jeff Goldman | Visual Effects Supervisor |
Culley Bunker | Visual Effects Supervisor |
Jed Hathaway | Animation Supervisor |
Sara Crowley | Line Producer |
Alex Swain | Additional Music |
Louie Schultz | Music Editor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.