Netherlands Box Office for The Commuter (2018)
Theatrical Performance (US$) | ||
Netherlands Box Office | $2,312,904 | Details |
Worldwide Box Office | $118,509,836 | Details |
Home Market Performance | ||
North America DVD Sales | $3,534,337 | Details |
North America Blu-ray Sales | $4,220,929 | Details |
Total North America Video Sales | $7,755,266 | |
Further financial details... |
Synopsis
Michael is an insurance salesman whose daily commute home quickly becomes anything but routine. After being confronted by a mysterious stranger, Michael is blackmailed into finding the identity of a passenger on his train before the last stop. As he works against the clock to solve the puzzle, Michael is unwittingly caught up in a criminal conspiracy that carries life and death stakes for himself and his fellow passengers.
Metrics
Movie Details
Production Budget: | $40,000,000 |
Netherlands Releases: | January 12th, 2018 (Wide) |
Video Release: | April 3rd, 2018 by Lionsgate Home Entertainment |
MPAA Rating: | PG-13 for some intense action/violence, and language. (Rating bulletin 2485 (Cert #51144), 7/19/2017) |
Running Time: | 105 minutes |
Keywords: | Organized Crime, Trains, Trapped, Ex-cop, IMAX: DMR, Action Thriller |
Source: | Original Screenplay |
Genre: | Action |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | StudioCanal, The Picture Company, Ombra Films, Lionsgate |
Production Countries: | United States |
Languages: | English |
Home Market Releases for April 17th, 2018
April 17th, 2018
It’s a slow week on the home market, which is common for this time of year. The biggest release of the week, The Post, is also one of the best and one of only three contenders for Pick of the Week. In the end, I went with MST3K: Season 11 and awarded it the honor.
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Home Market Releases for April 3rd, 2018
April 3rd, 2018
It’s a short week for one reason: Star Wars: The Last Jedi, which came out last week, but it is still scaring away top-notch releases. There are only a couple of first-run releases coming out this week, Father Figures and Insidious: The Last Key. However, there are also a few films in the main section that wouldn’t even be included in the secondary releases on a normal week. There are a trio of Pick of the Week contenders, including Jumanji: Welcome to the Jungle, but that’s a late review. The best of this week’s releases are Jane and My Hero Academia Season Two, Volume One. Both are absolutely worth picking up, but in the end, I went with My Hero Academia.
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Thursday Night Previews: Red Sparrow Pulls In $1.2 million, Death Wish not as Lively
March 2nd, 2018
Red Sparrow had a respectable start at the box office with $1.2 million during Thursday night previews. Although this is an acceptable start; although it is lower than the $1.52 million earned by Atomic Blonde. However, that film was a summer release and opening in the summer helps midnight showings. I’m still comfortable with our $18 million prediction.
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Weekend Wrap-Up: New Releases Can’t Outshine Jumanji’s $19.51 million Weekend Haul
January 23rd, 2018
Nearly every film we talked about in our predictions beat expectations over the weekend. This includes Jumanji: Welcome to the Jungle, which earned first place with $19.51 million. All three wide releases did better than expected, with 12 Strong leading the way with $15.82 million. The overall box office still fell 15% from last weekend to $135 million. A 15% drop-off for a post-holiday weekend isn’t bad. Compared to this weekend last year, 2018 was down by 7.0%, which isn’t good, but it could have been much worse. Year-to-date, 2018 still has a small lead of 2.9% or $20 million at $725 million to $704 million. Granted, it is still way too early for this to matter, but an early lead means you won’t need to fight back late in the year like we did last year.
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Weekend Wrap-Up: Jumanji Nears $300 million after $35.18 million MLK Long Weekend
January 16th, 2018
Jumanji: Welcome to the Jungle continues to surprise analysts earning $35.18 million over the MLK long weekend. At this point, I would be shocked if it didn’t finish with $350 million domestically, while I assume Sony has a planned trilogy in the works. The best “new” release of the week was The Post, which expanded into second place with $23.06 million, while the best truly new release of the week was The Commuter at $15.80 million. Overall, the box office fell 4.7% from last weekend, earning $165 million over the the three-day weekend. This was still 5.9% higher than the same weekend last year, and that’s the more important number. It is still very early in the year, extremely early, but 2018 does have a $27 million / 5.1% lead over 2017 at $553 million to $526 million. 2018 could lose that entire lead next weekend, but I chose to focus on the positive for now.
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Weekend Estimates: Jumanji Rules MLK Weekend
January 14th, 2018
Jumanji: Welcome to the Jungle will come out an easy winner at the box office this MLK weekend. Over three days, the family adventure is headed for an estimated $27 million, for $283 million to date. With another $8 million or so on Monday, the film will finish the holiday on the threshold of $300 million domestically. Partly helped by the long weekend, it will record the 10th-best fourth weekend of all time—remarkable strength for a movie that ran the risk of being over-shadowed by The Last Jedi when it came out at Christmas.
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Friday Estimates: Post Nearly Ties Jumanji $6.13 million to $5.9 million
January 13th, 2018
There was a two-horse race on the Friday box office chart. In the end, Jumanji: Welcome to the Jungle came out on top with $6.13 million, for $262.26 million after 24 days of release. Because it is a holdover, it should have better legs over the rest of the weekend, putting it on pace for just over $30 million over the weekend, matching our prediction perfectly.
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Thursday Night Previews: Mixed Results for New Releases
January 12th, 2018
The Post led the way during previews with $775,000. Dramas aimed at a more mature target audience tend to not do as well in previews as most other films, so this is a good sign. Additionally, the film’s reviews are right on the border of award-worthy, so the word of mouth should be strong. This is right in line with our prediction, so I’m happy with this result.
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Weekend Predictions: Paddington and Post take on Jumanji over MLK Long Weekend
January 11th, 2018
It is the first long weekend of 2018 and we have four films trying to take advantage of the MLK holiday. However, only Paddington 2 and The Post have a real shot at box office success. The Commuter’s buzz is so quiet that its box office chances have taken a real hit. Worse still, Sony’s treatment of Proud Mary is almost bizarre. I’ve seen limited releases with more marketing push than Proud Mary is getting. Jumanji: Welcome to the Jungle’s legs will likely remain really long, helping it repeat as box office champion. More importantly, it should help the 2018 box office get a sizable win in the year-over-year comparison. This weekend last year, there were seven films that earned more than $10 million over the long weekend, but only one film, Hidden Figures, earned more than $20 million. This year, not only will we match that number of $10 million films, Jumanji: Welcome to the Jungle should top $30 million, while Paddington 2 and The Post should top $20 million.
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2018 Preview: January
January 1st, 2018
2017 wasn’t a good year. It started out well and ended on a high note, but the summer was a disaster and that proved to be too much for the rest of the year to overcome. Fortunately, The Last Jedi and Jumanji: Welcome to the Jungle are still doing very well and will help January get off to a fast start. Unfortunately, the biggest new release of January is Paddington 2 and it isn’t expected to match its predecessor at the box office; it certainly won’t top $100 million domestically. It is unlikely any of the Oscar contenders will hit the century mark in January either. This is really bad news, as last January, we had a new release, Split and an Oscar contender, Hidden Figures, which both topped that milestone with ease. 2018 should get off to a faster start in the first two weeks, but overall, this month will end with a loss.
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The Commuter Trailer
December 5th, 2017
Thriller starring Liam Neeson opens January 12 ... 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 |
---|---|---|---|---|---|---|---|
2018/01/12 | 1 | $637,910 | 85 | $7,505 | $637,910 | 1 | |
2018/01/19 | 1 | $452,590 | -29% | 85 | $5,325 | $1,261,026 | 2 |
2018/01/26 | 5 | $299,406 | -34% | 87 | $3,441 | $1,684,001 | 3 |
2018/02/02 | 8 | $221,475 | -26% | 89 | $2,488 | $1,982,156 | 4 |
2018/02/09 | 10 | $135,951 | -39% | 86 | $1,581 | $2,116,242 | 5 |
2018/02/16 | 16 | $89,329 | -34% | 74 | $1,207 | $2,285,757 | 6 |
2018/02/23 | - | $38,097 | -57% | 53 | $719 | $2,312,904 | 7 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 1/19/2018 | $268,525 | 0 | 0 | 0 | $801,993 | 1/1/2019 |
Australia | 1/19/2018 | $889,326 | 210 | 210 | 733 | $2,401,349 | 3/19/2018 |
Brazil | 3/9/2018 | $663,918 | 0 | 0 | 0 | $1,510,563 | 6/14/2018 |
Bulgaria | 1/12/2018 | $75,217 | 0 | 0 | 0 | $266,882 | 2/26/2019 |
China | 3/30/2018 | $4,080,000 | 43877 | 43877 | 49296 | $7,163,071 | 8/10/2018 |
Czech Republic | 1/19/2018 | $90,813 | 82 | 82 | 198 | $300,494 | 1/1/2019 |
France | 1/26/2018 | $0 | 0 | 165 | 165 | $5,088,564 | 4/11/2019 |
Germany | 1/12/2018 | $2,037,197 | 449 | 458 | 907 | $5,274,419 | 6/11/2018 |
Italy | 1/25/2018 | $1,332,429 | 0 | 0 | 0 | $4,056,337 | 9/22/2018 |
Japan | 3/30/2018 | $582,693 | 0 | 0 | 0 | $772,073 | 6/8/2018 |
Lithuania | 1/12/2018 | $24,925 | 49 | 49 | 93 | $61,108 | 2/13/2018 |
Mexico | 1/19/2018 | $1,826,007 | 0 | 0 | 0 | $4,723,263 | 2/5/2018 |
Netherlands | 1/12/2018 | $637,910 | 85 | 89 | 559 | $2,312,904 | 2/26/2018 |
New Zealand | 1/19/2018 | $148,154 | 65 | 66 | 254 | $436,676 | 3/19/2018 |
North America | 1/12/2018 | $13,701,452 | 2,892 | 2,892 | 10,148 | $36,343,858 | 9/25/2019 |
Poland | 1/12/2018 | $268,308 | 0 | 0 | 0 | $629,148 | 1/1/2019 |
Portugal | 1/19/2018 | $278,843 | 63 | 73 | 284 | $801,757 | 3/20/2018 |
Romania | 11/27/2020 | $0 | 0 | 1 | 2 | $748,541 | 2/17/2021 |
Russia (CIS) | 3/8/2018 | $1,191,464 | 510 | 519 | 1610 | $2,432,595 | 2/26/2019 |
Slovakia | 1/19/2018 | $72,140 | 64 | 64 | 134 | $185,679 | 2/21/2018 |
South Korea | 1/11/2018 | $0 | 0 | 575 | 754 | $2,106,692 | 5/22/2018 |
Spain | 1/26/2018 | $542,846 | 231 | 234 | 645 | $1,264,711 | 2/15/2018 |
Turkey | 1/12/2018 | $81,140 | 64 | 64 | 119 | $230,573 | 2/26/2019 |
United Kingdom | 1/19/2018 | $2,220,701 | 472 | 472 | 1539 | $5,501,290 | 3/21/2018 |
Rest of World | $33,095,296 | ||||||
Worldwide Total | $118,509,836 | 2/17/2021 |
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 | Michael MacCauley |
Supporting Cast
Vera Farmiga | Joanna |
Patrick Wilson | Alex Murphy |
Jonathan Banks | Walt |
Sam Neill | Captain Hawthorne |
Elizabeth McGovern | Karen MacCauley |
Killian Scott | Dylan |
Shazad Latif | Vince |
Andy Nyman | Tony |
Clara Lago | Eva |
Roland Møller | Jackson |
Florence Pugh | Gwen |
Dean-Charles Chapman | Danny MacCauley |
Ella-Rae Smith | Sofia |
Nila Aalia | Sherri |
Colin McFarlane | Conductor Sam |
Kobna Holdbrook-Smith | Oliver |
Adam Nagaitis | Conductor Jimmy |
Kingsley Ben-Adir | Agent Garcia |
Damson Idris | Agent Denys |
Andy Lucas | Manny Engineer |
Zaak Conway | Caleb O’Malley |
Ben Caplan | Frank |
Letitia Wright | Jules Skateboarder |
Simon Hibbs | Sean O’Malley |
Nathan Wiley | Sniper |
Jamie Beamish | Nathan |
Ben Nathan | Police Officer |
David Alwyn | Platform Trooper |
John Alastair | Officer O’Neal |
Edward Bluemel | Gwen’s Boyfriend |
Aoife Hinds | Jeanie |
Alana Maria | Officer Jones |
Jaime Menendez | Enrique Mendez |
Cameos
Pat Kiernan | Himself |
Natalie Duddridge | Herself |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Jaume Collet-Serra | Director |
Byron Willinger | Screenwriter |
Phil de Blasi | Screenwriter |
Byron Willinger | Story by |
Phil de Blasi | Story by |
Andrew Rona | Producer |
Alex Heineman | Producer |
Michael Dreyer | Executive Producer |
Juan Sola | Executive Producer |
Jaume Collet-Serra | Executive Producer |
Ron Halpern | Executive Producer |
Didier Lupfer | Executive Producer |
Roque Banos | Composer |
Paul Cameron | Director of Photography |
Richard Bridgland | Production Designer |
Nicolas de Toth | Editor |
Jill Taylor | Costume Designer |
Reg Poerscout-Edgerton | Casting Director |
Mark Vanselow | Stunt Coordinator |
Simon Fraser | Unit Production Manager |
Alexander Oakley | First Assistant Director |
Lacey Darlene Paulson | Associate Producer |
Rupert Smith | Visual Effects Producer |
Emma Zee | Post-Production Supervisor |
Adam O'Neill | Supervising Art Director |
John King | Art Director |
Stephen Dobric | Art Director |
Tina Jones | Set Decorator |
Irene Chawko | Script Supervisor |
Tracy McGregor | Costume Supervisor |
Dana Kalder | Hairstylist |
Jim Greenhorn | Sound Mixer |
Stefano Pepin | Special Effects Supervisor |
Laura Davison | Special Effects Coordinator |
Finlay Bradbury | Location Manager |
Julia Tomlinson | Location Manager |
Tom Davis | First Assistant Editor |
Jeremy Richardson | First Assistant Editor |
James Harrison | Supervising Sound Editor |
Steve Little | Supervising Dialogue Editor |
Chris Burdon | Re-recording Mixer |
Gilbert Lake | Re-recording Mixer |
Adam Mendez | Foley Mixer |
Stephane Paris | Visual Effects Supervisor |
Caroline Garrett | Visual Effects Executive Producer |
Marc A. Rousseau | Visual Effects Executive Producer |
Audrey Boivin | Visual Effects Producer |
Fiona Foster | Visual Effects Producer |
John Warhurst | Music Editor |
Anele Onyekwere | Music Editor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.