Lithuania Box Office for Mirties APPS'AS (2019)
Theatrical Performance (US$) | ||
Lithuania Box Office | $113,646 | Details |
Worldwide Box Office | $42,176,201 | Details |
Further financial details... |
Synopsis
When a young nurse downloads an app that claims to predict exactly when a person is going to die, it tells her she only has three days to live. With time ticking away and death closing in, she must find a way to save her life before time runs out.
Metrics
Movie Details
Production Budget: | $6,500,000 |
Lithuania Releases: | October 25th, 2019 (Wide), released as Mirties APPS'AS |
Video Release: | January 7th, 2020 by Universal Home Entertainment |
MPAA Rating: | PG-13 for terror, violence, bloody images, suggestive material, language and thematic elements. (Rating bulletin 2598 (Cert #52409), 10/2/2019) |
Running Time: | 90 minutes |
Keywords: | Slasher Horror, Internet, Predicted Death |
Source: | Original Screenplay |
Genre: | Horror |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | Boies/Schiller, Two Grown Men Productions, Wrigley Pictures, STX Films |
Production Countries: | United States |
Languages: | English |
Home Market Releases for January 21st, 2020
January 21st, 2020
It’s an odd week for the home market, as there are four wide releases coming out this week, which is more than most weeks. However, none of them were $100 million hits domestically, so it feels slow on top. That said, The Addams Family did come close to that mark and Zombieland: Double Tap was a solid midlevel hit. As for high quality releases, Jay And Silent Bob Reboot will very likely please fans of the franchise, but I’m unsure about its ability draw in newcomers. Finally, the Pain & Glory is the best of the best and only the lack of substantial extras prevents it from winning Pick of the Week with ease. Zombieland: Double Tap has much better extras, so it a contender for Pick of the Week as well. Pain & Glory does win, but it is relatively close.
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Weekend Wrap-Up: Dark Fate Might have Terminated the Franchise
November 5th, 2019
It was a bad weekend at the box office, with Terminator: Dark Fate missing expectations by a significant degree. Harriet was able to beat expectations, but it wasn’t enough to truly compensate. Furthermore, Arctic Dogs and Motherless Brooklyn were practically non-factors at the box office. The box office did grow 9.5% from last weekend reaching $115 million. More importantly, this was 21% lower than this weekend last year. 2019’s deficit grew to 5.6% or $540 million and is now behind 2018’s pace by $9.15 billion to $9.70 billion. It is important to point out that while 2019 is being crushed by 2018, it is still on pace to be the second largest box office of all time, while its ticket sales are better than 2017’s pace, so as disappointing as the year as been so far, there are still reasons to celebrate.
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Weekend Wrap-Up: Maleficent Holds Off Joker for Top Spot
October 28th, 2019
It was a super close race for top spot on the weekend box office chart with Maleficent: Mistress of Evil and Joker neck-and-neck. In fact, they changed positions over the weekend and even reversed positions from the weekend estimates. Both of these films topped expectations by a small degree, as did most of the new releases. Unfortunately, this wasn’t enough, as the box office fell 24% from last weekend to $105 million. This is also lower than the same weekend last year, but by a tiny 0.7% margin. I’m not going to get upset about a decline this small, but it does mean 2019 has fallen further behind 2018’s pace with the deficit growing to $520 million / 5.4% at $9.00 billion to $9.52 billion.
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Weekend Estimates: Joker Wrestles First Place from Maleficent, Probably
October 27th, 2019
Joker is returning to first place on the weekend chart with $18.9 million, which is a tiny bit ahead of expectations. However, it is in a close enough race with Maleficent: Mistress of Evil that the pair could switch places when the final numbers show up tomorrow and I wouldn’t be too surprised. Internationally, the film is earning an estimated $47.8 million on 14,000 screens in 79 markets for totals of $571.5 million internationally and $849.1 million worldwide. It is now the highest-grossing R-rated film of all time worldwide, and is on pace to become the first R-rated film to reach $1 billion globally.
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Friday Estimates: Joker Returns to the Top
October 26th, 2019
Joker wasn’t gone from top spot for long, as it earned first place on Friday with $5.46 million, putting it on pace for close to $19 million over the weekend. This is very close to our prediction, but it is ranking better, due to marginally-weaker-than-expected competition. It also reportedly became the highest grossing R-rated movie of all time, at least worldwide. It is not going to catch up to The Passion of the Christ domestically.
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Thursday Night Previews: Black and Blue in the Green
October 25th, 2019
Black and Blue had the best previews on Thursday with $675,000. I was not expecting the film to have the best previews last night, nor was I expecting it to earn this much. Additionally, its reviews are have improved and are now mixed, in fact, they are currently exactly 50% positive, so it could surprise and top $10 million during its opening weekend. Just over $8 million is more likely, but this is still a solid debut for this time of year.
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Weekend Predictions: Halloween Scares Away Wide Releases
October 25th, 2019
The final weekend before Halloween is rarely a good time to release a film and the paltry selection of new releases on this list shows this year will be no different. The Current War: Director’s Cut is the only film earning good reviews, but it is opening in the fewest theaters by far. Countdown has the worst reviews, but it is a horror film opening just before Halloween, so its opening weekend could be okay. Black and Blue is in the middle in terms of reviews, theater count, and box office chances. Sadly, it is very likely all three films will open below $10 million over the weekend. There’s a slim chance none of them open in the top five. By comparison, this weekend last year saw only one wide release, Hunter Killer, which bombed. This year will be much better in terms of new releases, but none of the holdovers will match Halloween on top. 2019 does have much better depth, so I think we will get a small win in the year-over-year comparison.
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2019 Preview: October
October 1st, 2019
September ended on a bit of a weak note, but overall the month was excellent helping 2019 gain some ground on 2018. Can October continue this trend? There are certainly some potential box office hits coming out this month, starting with Joker, which opens the first weekend of the month and should be the biggest hit of the month. Maleficent: Mistress of Evil is aiming for $150 million and should be a hit, even if it doesn’t match the original at the box office. There are also a handful of films with an outside shot at getting to $100 million and I wouldn’t be shocked if one of them made it to that milestone. Meanwhile, last October, Venom broke records during its opening weekend, while A Star is Born had stellar legs helping both earn more than $200 million domestically. I don’t think the top two films will be able to match that this year, but we do have better depth, for the most part, so perhaps 2019 will continue its winning ways and close ground, at least by a little bit.
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Countdown Trailer
September 16th, 2019
Horror movie starring Elizabeth Lail opens October 25 ... 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 |
---|---|---|---|---|---|---|---|
2019/10/25 | - | $26,620 | 9 | $2,958 | $26,620 | 1 | |
2019/11/01 | - | $20,135 | -24% | 8 | $2,517 | $81,709 | 2 |
2019/11/08 | - | $15,242 | -24% | 7 | $2,177 | $101,606 | 3 |
2019/11/15 | - | $4,878 | -68% | 4 | $1,220 | $111,120 | 4 |
2019/11/22 | - | $1,456 | -70% | 3 | $485 | $113,646 | 5 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 1/17/2020 | $0 | 0 | 28 | 33 | $119,629 | 2/29/2020 |
Australia | 11/22/2019 | $94,215 | 98 | 98 | 210 | $203,808 | 12/17/2019 |
Brazil | 2/28/2020 | $193,663 | 305 | 305 | 428 | $351,478 | 3/14/2020 |
Bulgaria | 10/25/2019 | $16,372 | 0 | 0 | 0 | $102,853 | 11/28/2019 |
Czech Republic | 11/1/2019 | $122,451 | 75 | 75 | 216 | $367,045 | 10/19/2022 |
France | 11/14/2019 | $980,000 | 0 | 243 | 905 | $3,149,695 | 1/3/2020 |
Germany | 1/31/2020 | $583,764 | 0 | 3 | 9 | $2,545,604 | 6/7/2021 |
Hong Kong | 11/22/2019 | $0 | 0 | 0 | 0 | $289,554 | 1/5/2020 |
Italy | 11/21/2019 | $424,896 | 0 | 3 | 3 | $758,612 | 12/28/2019 |
Lithuania | 10/25/2019 | $26,620 | 9 | 9 | 31 | $113,646 | 11/29/2019 |
Mexico | 1/31/2020 | $423,504 | 0 | 0 | 0 | $423,504 | 10/19/2022 |
Middle East Region | 10/25/2019 | $455,000 | 31 | 31 | 31 | $455,000 | 10/27/2019 |
Netherlands | 10/25/2019 | $130,232 | 61 | 62 | 303 | $614,645 | 10/19/2022 |
North America | 10/25/2019 | $8,865,082 | 2,675 | 2,675 | 9,038 | $25,621,766 | 11/10/2020 |
Portugal | 11/8/2019 | $60,086 | 34 | 34 | 150 | $250,242 | 10/19/2022 |
Romania | 10/25/2019 | $96,644 | 50 | 50 | 222 | $433,286 | 10/19/2022 |
Russia (CIS) | 11/21/2019 | $228,073 | 581 | 581 | 1042 | $405,012 | 10/19/2022 |
Slovakia | 11/22/2019 | $59,151 | 54 | 54 | 133 | $145,441 | 10/19/2022 |
South Korea | 12/12/2019 | $298,148 | 210 | 210 | 289 | $526,433 | 1/2/2020 |
United Kingdom | 10/25/2019 | $501,634 | 357 | 357 | 662 | $1,347,524 | 11/6/2019 |
Rest of World | $3,951,424 | ||||||
Worldwide Total | $42,176,201 | 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
Elizabeth Lail | Quinn |
Supporting Cast
Jordan Calloway | Matt Monroe |
Talitha Bateman | Jordan Harris |
Tichina Arnold | Nurse Amy |
P.J. Byrne | Father John |
Peter Facinelli | Dr. Sullivan |
Dillon Lane | Evan |
Matt Letscher | Charlie |
Valente Rodriguez | Father David |
Tom Segura | Derek |
Anne Winters | Courtney |
Charlie McDermott | Scott |
Lana McKissack | Rachel |
Louisa Abernathy | Mrs. Talbot |
Jonny Berryman | Jeff |
Cornell Adams | Dave |
John Bishop | Gerry |
Allen Zwolle | Patient |
Chuck Filipov | Roberto |
Jeannie Elise Mai | Allie |
Ramsay Philips | Glenn |
Britt Rentschler | Rosie |
Candice Daniels | ER Nurse |
Marisela Zumbado | Kate |
Nathan Moore | Jack |
Anne McCarthy (Actress) | Evan’s Mom |
Christina Pazsitzky | Krissy |
Brian Tran | Waiter |
Alexander Dominguez | Joe |
Lisa Linke | Margot |
Andrea Anders | Jamie |
John Barbolla | Pickup Driver |
Samantha Hanratty* | Vlogger |
Lora Lee | Terrified Woman |
Kevin William Paul | Youtuber |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Justin Dec | Director |
Justin Dec | Screenwriter |
Zack Schille | Producer |
John Morris | Producer |
Sean Anders | Producer |
John Rickard | Producer |
Robert Simonds | Executive Producer |
Adam Fogelson | Executive Producer |
Gregory Plotkin | Executive Producer |
Tyler Zacharia | Executive Producer |
Matthew Medlin | Executive Producer |
Alex Boies | Executive Producer |
Maxime Alexandre | Director of Photography |
Clayton Hartley | Production Designer |
Brad Wilhite | Editor |
Abby O'Sullivan | Costume Designer |
Danny Bensi | Composer |
Saunder Jurriaans | Composer |
Jason Markey | Music Supervisor |
Max Jacoby | Co-Producer |
Devin Andre | Co-Producer |
Nicolas Harvard | Co-Producer |
Rich Delia | Casting Director |
Matthew Medlin | Unit Production Manager |
Nicolas Harvard | First Assistant Director |
Cyndi Cutter Martin* | Second Assistant Director |
Marc Scizak | Stunt Coordinator |
Harrison Hartley | Art Director |
Jon Bush | Set Decorator |
Melissa Brockman | Visual Effects Producer |
Sean McCormack | Supervising Sound Editor |
Joel Dougherty | Re-recording Mixer |
Jane Goldsmith | Script Supervisor |
Thomas Curley | Sound Mixer |
Jeremy D. Hays* | Special Effects Coordinator |
Jay Traynor | Location Manager |
Deborah Goldstein | Costume Supervisor |
Tami Lane | Make up |
Erica Preus | Make up |
Stacy Schneiderman | Hairstylist |
Anna Milhouse | Hairstylist |
May Nejati | Production Supervisor |
Yaminah McKessey | Post-Production Supervisor |
Gene Lewis Jr | First Assistant Editor |
Hector Gika | Sound Designer |
Michael Payne | Sound Effects Editor |
Laura Atkinson | Dialogue Editor |
Jamie Famularo | Foley Editor |
Adam Shaw | Foley Editor |
Alex Jongbloed | Foley Editor |
Brendan Croxon | Foley Mixer |
Jason Coleman | Foley Mixer |
Phil McGowan | Score Mixer |
James Newberry | Additional Music |
Trey Toy | Additional Music |
Chase Deso | Additional Music |
Mary Parker | Music Editor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.