Spain Box Office for El Justiciero (2018)
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| Theatrical Performance (US$) | ||
| Spain Box Office | $855,333 | Details |
| Worldwide Box Office | $48,575,965 | Details |
| Home Market Performance | ||
| North America DVD Sales | $3,754,119 | Details |
| North America Blu-ray Sales | $4,693,951 | Details |
| Total North America Video Sales | $8,448,070 | |
| Further financial details... | ||
Synopsis
Dr. Paul Kersey is a surgeon who only sees the aftermath of his city’s violence when it is rushed into his ER — until his wife and college-age daughter are viciously attacked in their suburban home. With the police overloaded with crimes, Paul, burning for revenge, hunts his family’s assailants to deliver justice. As the anonymous slayings of criminals grabs the media’s attention, the city wonders if this deadly avenger is a guardian angel or a grim reaper. Fury and fate collide in the intense action-thriller Death Wish. Paul Kersey becomes a divided person: a man who saves lives, and a man who takes them; a husband and father trying to take care of his family, and a shadowy figure fighting crime; a surgeon extracting bullets from suspects’ bodies, and a man seeking justice that detectives are quickly closing in on.
Metrics
Movie Details
| Production Budget: | $30,000,000 |
| Spain Releases: | March 30th, 2018 (Wide), released as El Justiciero |
| Video Release: | June 5th, 2018 by MGM Video |
| MPAA Rating: | R for strong bloody violence, and language throughout. (Rating bulletin 2472 (Cert #51023), 4/19/2017) |
| Running Time: | 107 minutes |
| Keywords: | Revenge, Death of a Son or Daughter, Death of Other Extended Family, Death of a Spouse or Fiancée / Fiancé, Vigilante, Remake, Development Hell, Action Thriller |
| Source: | Remake |
| Genre: | Action |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Metro-Goldwyn-Mayer Pictures, Cave 76 |
| Production Countries: | United States |
| Languages: | English |
Home Market Releases for June 5th, 2018
June 4th, 2018
This is a busier week than usual on the home market, but that’s only because there are a higher than usual number of box office flops coming out the same week. The biggest box office hit of the week is A Wrinkle in Time, which did okay here, but bombed internationally. I’m still waiting for a screener to see if it is at least worth a rental. As for Pick of the Week contenders, there’s My Hero Academia: Season Two, Part Two and Thoroughbreds on Blu-ray. In the end, I went with Thoroughbreds, but both are worth owning.
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Weekend Wrap-Up: Black Panther Hits Half a Billion Dollars
March 6th, 2018
Black Panther keeps beating expectations to the point where it is my fault for not being overly optimistic. This past weekend, it earned $66.31 million, becoming the third fastest film to reach $500 million. The two new releases weren’t bad either. Red Sparrow earned second place while Death Wish wasn’t that far behind in third. Overall, the box office still fell 24% from last weekend, earning $147 million. It was also down from this week last year last year by a similar 22% margin. Year-to-date, 2018’s lead shrunk by almost exactly $10 million, but we still have a $220 million / 12% lead over 2017 at $2.09 billion to $1.87 billion. That lead will shrink dramatically over the next few weeks.
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Weekend Estimates: Black Panther Tops $500 Million in Third Weekend
March 4th, 2018
Black Panther will add another $65.7 million this weekend, according to Disney’s Sunday morning estimate. That’ll be the 3rd-best 3rd weekend in history, behind Star Wars: The Force Awakens and Avatar. It also will make Panther the 3rd-fastest movie to
$500 million at the domestic box office, behind Force Awakens and The Last Jedi. It continues to track extremely closely to Jurassic World, which finished its domestic run with $652 million.
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Friday Estimates: Black Panther Adds $16.30 million
March 3rd, 2018
Black Panther matched predictions with $16.30 million on Friday. In fact, this is a little bit better than expected, so it should earn a little more than $60 million over the weekend. It now has a small shot of earning $500 million by the end of the weekend. It will likely have to wait to Monday to get there, on the other hand.
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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 Predictions: New Releases Battle for Season Place as Black Panther Completes Threepeat
March 1st, 2018
March will begin the same way February ended, with Black Panther on top of the box office. The two new releases, Red Sparrow and Death Wish, might not make as much over the full weekend as Black Panther will earn on Friday. This weekend last year, Logan opened with $88.41 million, while Get Out held on better than expected with $28.24 million. There’s little chance 2018 will be able to beat that at the top, so 2018’s winning streak might come to an end.
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2018 Preview: March
March 1st, 2018
February was an amazing month, thanks mainly to Black Panther, but Fifty Shades Freed and Peter Rabbit were also significant hits and overall the month was a massive improvement over last February. Looking forward, there’s nothing opening in March that will earn as much in total as Black Panther did during its opening weekend. That said, A Wrinkle in Time and Ready Player One should have no trouble getting to $100 million, while Tomb Raider has a 50/50 chance of getting there. Unfortunately, compared to last March, this is still a pittance. There’s a chance that no film opening this March will earn as much in total as Beauty and the Beast opened with last march. We will need Black Panther to have good legs to keep 2018 ahead of 2017 by the end of the month.
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Death Wish Trailer
August 3rd, 2017
Action remake starring Bruce Willis, directed by Eli Roth opens November 22 ... 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 |
|---|---|---|---|---|---|---|---|
| 2018/03/30 | 7 | $376,228 | 190 | $1,980 | $460,748 | 1 | |
| 2018/04/06 | 15 | $127,578 | -66% | 198 | $644 | $773,324 | 2 |
| 2018/04/13 | 23 | $37,547 | -71% | 114 | $329 | $855,333 | 3 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 3/9/2018 | $69,781 | 0 | 0 | 0 | $93,822 | 1/1/2019 |
| Australia | 3/9/2018 | $166,866 | 123 | 123 | 247 | $308,638 | 3/26/2018 |
| Brazil | 5/11/2018 | $299,787 | 0 | 0 | 0 | $505,567 | 6/14/2018 |
| Bulgaria | 3/9/2018 | $30,069 | 0 | 0 | 0 | $109,160 | 2/26/2019 |
| China | 9/21/2018 | $1,930,000 | 36708 | 36708 | 36708 | $3,250,029 | 10/11/2018 |
| Czech Republic | 3/9/2018 | $61,666 | 69 | 69 | 129 | $129,932 | 1/1/2019 |
| France | 5/11/2018 | $1,001,886 | 0 | 0 | 0 | $1,853,318 | 6/13/2018 |
| Germany | 3/9/2018 | $525,945 | 0 | 0 | 0 | $525,945 | 6/11/2018 |
| Hong Kong | 6/15/2018 | $0 | 0 | 0 | 0 | $0 | |
| Italy | 3/8/2018 | $899,696 | 0 | 0 | 0 | $1,692,982 | 3/26/2018 |
| Mexico | 3/9/2018 | $366,241 | 0 | 0 | 0 | $678,057 | 3/19/2018 |
| Netherlands | 3/9/2018 | $215,813 | 75 | 75 | 339 | $826,152 | 4/23/2018 |
| New Zealand | 3/9/2018 | $54,808 | 48 | 48 | 129 | $111,020 | 4/9/2018 |
| North America | 3/2/2018 | $13,010,267 | 2,847 | 2,882 | 10,577 | $34,017,028 | |
| Poland | 4/13/2018 | $67,313 | 0 | 0 | 0 | $67,313 | 1/1/2019 |
| Portugal | 4/20/2018 | $55,548 | 34 | 40 | 111 | $144,651 | 5/22/2018 |
| Russia (CIS) | 4/5/2018 | $460,838 | 916 | 916 | 2032 | $805,503 | 2/26/2019 |
| Slovakia | 3/9/2018 | $43,990 | 60 | 60 | 89 | $74,568 | 3/27/2018 |
| South Korea | 10/11/2018 | $28,500 | 97 | 97 | 97 | $53,973 | 11/14/2018 |
| Spain | 3/30/2018 | $376,228 | 190 | 198 | 502 | $855,333 | 4/19/2018 |
| Turkey | 3/16/2018 | $47,046 | 166 | 166 | 197 | $94,364 | 2/26/2019 |
| United Kingdom | 4/6/2018 | $220,900 | 209 | 209 | 209 | $220,900 | 4/11/2018 |
| Rest of World | $2,157,710 | ||||||
| Worldwide Total | $48,575,965 | 2/26/2019 | |||||
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
| Bruce Willis | Dr. Paul Kersey |
Supporting Cast
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Eli Roth | Director |
| Joe Carnahan | Screenwriter |
| Brian Garfield | Story based on the 1974 Motion Picture by Wendell Mayes from the Novel by |
| Roger Birnbaum | Producer |
| Stephen J. Eads* | Associate Producer |
| Ilona Herzberg | Executive Producer |
| Rogier Stoffers | Director of Photography |
| Paul Kirby | Production Designer |
| Mark Goldblatt | Editor |
| Ludwig Göransson | Composer |
| Mary Jane Fort | Costume Designer |
| Loic Bernard | Unit Production Manager |
| Mark Cotone | First Assistant Director |
| Fanny Hudon | Second Assistant Director |
| Carrie Holt De Lama | Unit Production Manager |
| Christopher T. Sadler | Second Assistant Director |
| Jean Frenette | Stunt Coordinator |
| Irene Litinsky | Supervising Producer |
| Mark Cotone | Associate Producer |
| Jean Kazemirchuk | Supervising Art Director |
| Veronique Meunier | Art Director |
| Caroline Alder | Art Director |
| Ann Smart | Key Set Decorator |
| Renaud Chamberland | Set Designer |
| Radia Slaimi | Set Designer |
| Vincent Gingras-Liberali | Set Designer |
| Louis Marion | Sound Mixer |
| Louis Craig | Special Effects Supervisor |
| Denis Lavigne | Special Effects Coordinator |
| Henri Aubertin | Costume Supervisor |
| Colleen Quinton | Make up |
| Adrien Morot | Head Special Effects Make-up Artist |
| Michelle Cote | Hairstylist |
| Lorette LeBlanc | Script Supervisor |
| Kim De Pietro | Location Manager |
| E.J. Foerster | Second Unit Director |
| Yvonne Valdez | Additional Editor |
| Nathalie Samanon | Post-Production Supervisor |
| Will Kaplan | Music Editor |
| Brit Delillo | Assistant Editor |
| Scott Janush | Visual Effects Producer |
| Steve Pederson | Re-recording Mixer |
| David Esparza | Re-recording Mixer |
| Mandell Winter | Supervising Sound Editor |
| David Esparza | Supervising Sound Editor |
| Martin Pelletier | Visual Effects Supervisor |
| Valerie Clement | Visual Effects Producer |
| John P. Nugent | Visual Effects Producer |
| Chris Fogel | Score Recordist |
| John Witt Chapman | Score Mixer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.