Lithuania Box Office for Šaltas kraujas (2019)
Theatrical Performance (US$) | ||
Lithuania Box Office | $36,620 | Details |
Worldwide Box Office | $62,599,159 | Details |
Home Market Performance | ||
North America DVD Sales | $2,561,483 | Details |
North America Blu-ray Sales | $3,092,237 | Details |
Total North America Video Sales | $5,653,720 | |
Further financial details... |
Synopsis
A family man’s quiet life with his wife is upended following the mysterious death of their son. Nels’ search for justice turns into a vengeful hunt for Viking, a drug lord he believes is connected to the death. As one by one each of Viking's associates “disappear,” Nels goes from upstanding citizen to ice-cold vigilante, letting nothing— and no one—get in his way.
Metrics
Movie Details
Production Budget: | $60,000,000 |
Lithuania Releases: | February 8th, 2019 (Wide), released as Šaltas kraujas |
Video Release: | May 14th, 2019 by Lionsgate Home Entertainment |
MPAA Rating: | R for strong violence, drug material, and some language including sexual references. (Rating bulletin 2560 (Cert #51744), 1/9/2019) |
Running Time: | 118 minutes |
Keywords: | Drug Dealer, Revenge, Crime Boss, Set in Colorado, Remake, Foreign-Language Remake, Death of a Son or Daughter, Drug Overdose, Action Thriller |
Source: | Based on Movie |
Genre: | Thriller/Suspense |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | StudioCanal, MAS , Paradox, Summit Entertainment |
Production Countries: | United States |
Languages: | English |
Weekend Wrap-Up: Alita Battles Disbelievers and Wins
February 20th, 2019
The weekend wasn’t as bad as it could have been, at least not at the top. Alita: Battle Angel topped all but the most bullish expectations with $42.25 million from Thursday through Sunday. Isn’t It Romantic matched expectations nearly perfectly, while Happy Death Day 2U struggled, but should still break even, eventually. Overall, the box office rose 8.4% from last weekend, but plummet 57% from the same weekend last year. On the positive side, that was the weekend Black Panther debuted, so we knew a drop-off like this was to be expected. On the negative side, as of the end of business on Monday, 2019 was behind 2018’s pace by a margin of over $350 million or nearly 23%. 2019 will need to turn things around soon if it wants any chance of completing a comeback. Hell, it will need to turn things around soon if it wants any chance to avoid a worst-in-a-decade end result.
More...
Weekend Wrap-up: 2019 Continues its Slump
February 12th, 2019
The Lego Movie 2: The Second Part missed expectations over the weekend, leading to yet another disappointing overall performance at the box office. Granted, the box office did climb by 55% from last weekend to $112 million. However, last weekend was the worst weekend at the box office in more than a year. Additionally, $112 million is still 20% lower than the same weekend last year. Year-to-date, 2019 has pulled in $1.01 billion; however, this is still 15% lower than last year’s pace and the slowest pace since 2011, in terms of raw dollars. If we go by ticket sales, we have to look all the way back to 1999 to find a slower start to the year.
More...
Weekend Estimates: Lego Tops Chart, but Fails to Match the Original
February 10th, 2019
The Lego Movie 2: The Second Part reportedly cost $99 million to make and it will earn that much domestically, so it will very likely make a profit and Warner Bros. will be fine. That said, it is estimated to only manage $34.4 million over the weekend, which is about 40% lower than expectations and almost exactly 50% lower than the first film opened with. Its reviews are 84% positive, while it managed an A minus from CinemaScore, so it really should have done better than this. This hopefully isn’t a sign that the overall box office is unhealthy, but just a sign that WB has pushed the franchise too much too soon. Internationally, the film started with $18.1 million in 63 markets. This includes a first place, $5.2 million on 1,301 screens in the U.K. It also managed first place in Russia with $1.7 million on 2,493 screens. On the other hand, it only managed fourth place in Brazil with just $707,000 on 854 screens, which is the weakest start in the franchise.
More...
Friday Estimates: New Releases Receive a Cold Welcome
February 9th, 2019
Friday’s box office can best be described as “What happened?” Thursday previews looked promising, but then the Friday numbers arrived and it looks like most of the new releases will miss expectations. This includes The Lego Movie 2: The Second Part, which opened with $8.5 million on Friday, $9.1 million including its paid previews from January. This is well below expectations and puts the film on pace for about $32 million over the weekend. Its reviews are 85% positive, but its early CinemaScore is just A minus, which isn’t particularly good for a family film. Next weekend is a long weekend, so I think it will still get to $100 million domestically, which is more than it cost to make. However, a lot of people thought it had a real shot at $200 million domestically, so this is a real disappointment.
More...
Thursday Night Previews: Lego Lifts Off with $2.1 million in Combined Previews
February 8th, 2019
The Lego Movie 2: The Second Part got off to a solid start with $2.1 million in previews. This includes $1.5 million last night and $600,000 from the January paid preview. This is a good result for a family film opening without the benefit of a school holiday. Granted, The Lego Batman Movie opened with $2.2 million during its previews in 2017, but as a comic book movie, it had more drawing power with adults and would be slightly more front-loaded. We don’t know for sure if The Second Part will make up the difference over the full weekend and match our $55 million prediction, but we will have a better idea tomorrow when the Friday estimates show up.
More...
Weekend Predictions: Can Lego Save 2019?
February 8th, 2019
I’m of two minds when it comes to this weekend. On the one hand, The Lego Movie 2: The Second Part should be the biggest hit of the year so far and could be the first true monster hit of the year. On the other hand, it might not be enough to keep pace with last year. Only one other new release, What Men Want, has a shot at $20 million, while the other two releases, Cold Pursuit and The Prodigy, might not reach $10 million. This weekend last year, wasn’t quite as strong when it came to new releases, but it had a massive advantage when it came to holdovers. I think 2019 has a small advantage here, but I’ve been burned before, so I won’t be too surprised if 2019 loses in the year-over-year comparison, again.
More...
Preview: February
February 1st, 2019
2019 got off to a slow start as the biggest release of January, Glass, missed expectations and as a result, 2019 lost every weekend in the year-over-year comparison. Unfortunately, 2019 isn’t going to turn things around this month, as last February, Black Panther broke all of the records. That doesn’t mean there are no bright spots this month. Both The Lego Movie 2: The Second Part and How to Train Your Dragon: The Hidden World are virtually guaranteed to reach $100 million domestically, while I wouldn’t be too surprised if one or both hit $200 million. Meanwhile, there are several midlevel hits, one of which could turn into a surprise $100 million hit. That said, there’s a chance all nine movies opening this month combined will earn less than Black Panther did last year.
More...
Cold Pursuit Trailer
October 26th, 2018
Thriller starring Liam Neeson opens February 8 ... Full Movie Details.
More...
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 |
---|---|---|---|---|---|---|---|
2019/02/08 | 6 | $17,189 | 50 | $344 | $18,463 | 1 | |
2019/02/15 | 14 | $5,029 | -71% | 24 | $210 | $31,841 | 2 |
2019/02/22 | - | $1,247 | -75% | 5 | $249 | $36,620 | 3 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 2/22/2019 | $207,336 | 190 | 190 | 527 | $589,783 | 4/19/2019 |
Australia | 2/8/2019 | $720,255 | 240 | 240 | 927 | $1,776,352 | 3/26/2019 |
Brazil | 3/15/2019 | $432,184 | 316 | 316 | 467 | $708,517 | 3/30/2019 |
Bulgaria | 2/22/2019 | $44,912 | 0 | 0 | 0 | $155,810 | 4/17/2019 |
China | 9/6/2019 | $610,000 | 22818 | 22818 | 22818 | $750,853 | 10/9/2019 |
Czech Republic | 2/22/2019 | $53,456 | 80 | 80 | 139 | $113,396 | 3/19/2019 |
France | 3/1/2019 | $1,223,281 | 300 | 300 | 873 | $2,383,631 | 3/23/2019 |
Germany | 3/1/2019 | $1,066,833 | 0 | 0 | 0 | $2,832,980 | 3/23/2019 |
Italy | 2/21/2019 | $878,873 | 0 | 17 | 17 | $1,593,528 | 3/30/2019 |
Lithuania | 2/8/2019 | $17,189 | 50 | 50 | 79 | $36,620 | 2/26/2019 |
Mexico | 2/22/2019 | $1,406,095 | 0 | 0 | 0 | $3,646,440 | 3/11/2019 |
Netherlands | 2/22/2019 | $397,586 | 100 | 101 | 584 | $1,465,286 | 5/4/2019 |
North America | 2/8/2019 | $11,030,233 | 2,630 | 2,630 | 11,048 | $32,138,862 | |
Portugal | 2/8/2019 | $238,383 | 69 | 69 | 285 | $699,641 | 3/26/2019 |
Russia (CIS) | 2/7/2019 | $360,105 | 496 | 496 | 845 | $586,272 | 3/9/2019 |
Slovakia | 2/22/2019 | $59,241 | 68 | 68 | 118 | $134,095 | 3/26/2019 |
South Korea | 2/20/2019 | $344,696 | 470 | 470 | 524 | $668,108 | 4/25/2019 |
Spain | 5/10/2019 | $0 | 0 | 309 | 1079 | $2,069,775 | 8/29/2019 |
Turkey | 3/22/2019 | $31,256 | 92 | 92 | 180 | $67,090 | 4/12/2019 |
United Kingdom | 2/22/2019 | $825,123 | 417 | 417 | 1113 | $2,268,489 | 3/13/2019 |
Rest of World | $7,913,631 | ||||||
Worldwide Total | $62,599,159 | 10/9/2019 |
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
Liam Neeson | Nelson “Nels” Coxman |
Supporting Cast
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Hans Petter Moland | Director |
Frank Baldwin | Screenwriter |
Kim Fupz Aakeson | Story based on the movie “Kraftidioten” by |
Michael Shamberg | Producer |
Ameet Shukla | Producer |
Finn Gjerdrum | Producer |
Stein B. Kvae | Producer |
Paul Schwartzman | Executive Producer |
Michael Dreyer | Executive Producer |
Ron Halpern | Executive Producer |
Didier Lupfer | Executive Producer |
Shana Eddy-Grou | Executive Producer |
George Fenton | Composer |
Philip Ogaard | Director of Photography |
Jorgen Stangebye Larsen | Production Designer |
Nicolai Moland | Editor |
Anne Pedersen | Costume Designer |
Avy Kaufman | Casting Director |
Warren Carr | Unit Production Manager |
Michael Dreyer | Unit Production Manager |
Jason Furukawa | First Assistant Director |
Emily Silver | Second Assistant Director |
Nicolai Moland | Associate Producer |
Mark Vanselow | Second Unit Director |
Mark Vanselow | Stunt Coordinator |
Owen Walstrom | Stunt Coordinator |
Tania Blunden | Post-Production Supervisor |
Emma Zee | Post-Production Supervisor |
Ian Neil | Music Supervisor |
Kendelle Elliott | Supervising Art Director |
Gwendolyn Margetson | Art Director |
Michael Toby | Set Designer |
Gaby Miegeville-Little | Set Designer |
Daniel Kobylka | Set Designer |
Sara-Jo Baugh | Set Designer |
Peter Lando | Set Decorator |
Corey Jones | Script Supervisor |
Shelly Shaw | Sets Supervisor |
Robert Spina | Hairstylist |
Krista Young | Make up |
Jim Greenhorn | Sound Mixer |
Jason Paradis | Special Effects Coordinator |
Dan Kuzmenko | Location Manager |
Brian Dunne | Location Manager |
Jason Nolan | Location Manager |
Jimmy Boyle | Supervising Sound Editor |
Jimmy Boyle | Sound Designer |
Gisle Tveito | Sound Designer |
Nigel Mills | Sound Designer |
Steve Little | Supervising Dialogue and ADR Editor |
Nigel Mills | Supervising Dialogue and ADR Editor |
Rowan Watson | Sound Effects Editor |
Glen Gathard | Foley Mixer |
Mike Dowson | Re-recording Mixer |
Max Walsh | Re-recording Mixer |
Simon Hughes | Visual Effects Supervisor |
Dillan Nicholls | Visual Effects Supervisor |
Tim Caplan | Visual Effects Executive Producer |
Noga Alon Stein | Visual Effects Producer |
Jan Guilfoyle | Visual Effects Producer |
Drew Jones | Visual Effects Producer |
Dan Carey | Music Producer |
Dan Carey | Additional Music |
Graham Sutton | Music Editor |
Nick Wollage | Score Mixer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.