Spain Box Office for Destroyer. Una mujer herida (2018)
Theatrical Performance (US$) | ||
Spain Box Office | $316,119 | Details |
Worldwide Box Office | $5,865,489 | Details |
Further financial details... |
Synopsis
The receipt of an ink-marked bill in the office mail propels veteran LAPD detective Erin Bell on a perilous journey to find the murderer and gang leader, Silas, and perhaps to finally make peace with her tortured past. The odyssey through the underbelly of Los Angeles and nearby desert communities reunites Bell with members of the criminal gang she once joined as an undercover FBI agent; an assignment which ended disastrously and has taken a heavy emotional and physical toll on her life. One by one, she tracks down the gang leader’s former cohorts including Petra, Silas’ onetime lover and current errand girl. During her obsessive search, Bell is flooded with memories of her undercover days with Silas’ gang and her involvement in a bank heist gone tragically wrong.
Metrics
Movie Details
Production Budget: | $9,000,000 |
Spain Releases: | February 22nd, 2019 (Wide), released as Destroyer. Una mujer herida |
Video Release: | April 9th, 2019 by Fox Home Entertainment |
MPAA Rating: | R for language throughout, violence, some sexual content and brief drug use. (Rating bulletin 2551 (Cert #51777), 10/31/2018) |
Running Time: | 123 minutes |
Keywords: | Police Detective, Set in Los Angeles, Undercover, The Past Catching up with You, Gangs, Redemption, Crime Thriller |
Source: | Original Screenplay |
Genre: | Thriller/Suspense |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | Automatik, Annapurna Pictures, 30 West, Familystyle, Rocket Science |
Production Countries: | United States |
Languages: | English |
Home Market Releases for April 23rd, 2019
April 24th, 2019
It is another slow week on the home market, but that gave me a chance to complete a couple of late reviews. The best release on this week’s list is A Face in the Crowd and it is the Pick of the Week. However, both of the late reviews, On the Basis of Sex and Willie Dynamite, are worth picking up.
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Theater Averages: Most New Releases were Left Out in the Cold
February 6th, 2019
Never Look Away held up well earning $19,033 in its lone theater. Its Oscar Nod is helping, but its real test is when the film tries to expand. The only new release in the $10,000 club was Arctic, with an average of $12,720 in four theaters.
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Theater Averages: New Releases were Destroyed
January 10th, 2019
Destroyer rose to first place on the theater average chart with an average of $16,383 in six theaters. Cold War actually saw its average grow to $15,127, also in six theaters. Last week’s winner, On the Basis of Sex was next with an average of $14,370 in 112 theaters. It’s rare for a limited release to land in the $10,000 club while playing in more than 100 theaters. The final member of the $10,000 club was Stan and Ollie with an average of $10,920 in 8 theaters.
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Theater Averages: This Week’s Chart is Feeling Sexy
January 2nd, 2019
It was a busy week on the theater average chart, as there were three new releases and three holdovers in the $10,000 club. On the Basis of Sex led the way with an average of $20,799 in 33 theaters. That’s an excellent start for a limited release playing in that many theaters. Second place went to Destroyer with an average of $18,449 in three theaters. The final new release in the $10,000 club was Stan and Ollie, which earn an average of $15,935 in five theaters. Cold War held on really well earning an average of $14,777 in three theaters. The overall box office leader, Aquaman, was next with an average of $12,634. If Beale Street Could Talk rounded out the $10,000 with an average of $11,788, and it managed this despite expanding its theater count to 65.
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Weekend Estimates: Aquaman and Entire Top Five have a Repeat Performance
December 30th, 2018
It has been an even more predictable weekend than expected, as every film in the top five finished in the same order as last weekend. This includes Aquaman topping the chart with an estimated $51.55 million over the weekend for a ten-day total of $188.79 million. It will cross $200 million shortly and overtake A Star is Born as Warner Bros.’ biggest domestic hit of the year. Internationally, the film added $85.4 million this weekend to push its global running tally to just shy of $750 million at $748.8 million. It is already ahead of Man of Steel and Suicide Squad on the DCEU chart and should soon step into first place.
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Theater Averages: Box Office Feels the Winter Chill
December 27th, 2018
There were not many new limited releases releases, which let If Beale Street Could Talk remain on top with an average of $21,853 in five theaters. Cold War was the best of the new releases with an average of $18,118 in three theaters. The only other film in the $10,000 club over the weekend was Aquaman with an average of $16,485. Two films had averages of over $10,000 during their Christmas Day debuts, On the Basis of Sex (average of $14,483 in 33 theaters) and Destroyer (average of $10,246 in three).
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Limited and VOD Releases: Awards Season Doesn’t Help Limited Releases
December 21st, 2018
There is not a lot of time for Oscar contenders to come out in theaters and usually this time of year there are a few Oscar-bait films getting last minute runs. This is sort of true this year. There are three films coming out till the end of the year that have been earning Awards Season buzz, but none of them are earning award-worthy reviews. Besides these three films, there are almost no limited releases. Even if you include all of next week, there are only eight films opening this week in total.
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2018 - Awards Season: Golden Globes - Nominations
December 6th, 2018
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. For example Vice led the way with six nominations, so its Oscar chances have gone up, but don’t expect it to lead the way when the Oscars nominations are announced.
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Destroyer Trailer
October 18th, 2018
Thriller starring Nicole Kidman opens December 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 |
---|---|---|---|---|---|---|---|
2019/02/22 | 10 | $132,400 | 90 | $1,471 | $132,400 | 1 | |
2019/03/01 | 15 | $65,717 | -50% | 99 | $664 | $251,497 | 2 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 1/18/2019 | $26,010 | 41 | 41 | 41 | $40,473 | 2/12/2019 |
Australia | 3/22/2019 | $138,102 | 70 | 72 | 302 | $454,112 | 5/30/2019 |
France | 2/22/2019 | $168,089 | 107 | 107 | 107 | $168,089 | 3/5/2019 |
Germany | 3/15/2019 | $113,028 | 109 | 109 | 109 | $273,267 | 4/13/2019 |
Lithuania | 2/15/2019 | $3,587 | 37 | 37 | 49 | $6,536 | 2/26/2019 |
Netherlands | 3/15/2019 | $81,161 | 49 | 49 | 133 | $226,789 | 4/27/2019 |
North America | 12/25/2018 | $55,347 | 3 | 235 | 607 | $1,533,324 | 3/29/2021 |
Portugal | 2/1/2019 | $20,333 | 17 | 17 | 39 | $41,599 | 2/28/2019 |
Russia (CIS) | 3/14/2019 | $166,613 | 493 | 493 | 821 | $255,684 | 4/19/2019 |
South Korea | 9/19/2019 | $12,795 | 92 | 92 | 92 | $21,968 | 9/25/2019 |
Spain | 2/22/2019 | $132,400 | 90 | 99 | 189 | $316,119 | 3/30/2019 |
Turkey | 4/19/2019 | $30,326 | 106 | 106 | 181 | $57,021 | 5/16/2019 |
United Kingdom | 1/25/2019 | $140,198 | 113 | 113 | 113 | $308,083 | 3/30/2019 |
Rest of World | $2,162,425 | ||||||
Worldwide Total | $5,865,489 | 3/29/2021 |
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
Nicole Kidman | Erin Bell |
Supporting Cast
Toby Kebbell | Silas |
Tatiana Maslany | Petra |
Scoot McNairy | Ethan |
Beau Knapp | Jay |
Jade Pettyjohn | Shelby |
James Jordan | Toby |
Toby Huss | Gil Lawson |
Zach Villa | Arturo |
Shamier Anderson | Antonio |
Bradley Whitford | DiFranco |
Sebastian Stan | Chris |
Natalia Cordova-Buckley | Detective Gavras |
Colby French | Detective Kudra |
Kelvin Han Yee | Lt. Oshima |
Joseph Fatu | Taz |
Cuete Yeska | Taz’s Guy |
Doug Simpson | Other Agent |
Kale Clauson | Informant Cousin |
Jan Hoag | Toby’s Mother |
Peter Vasquez* | Man at Church |
Mickey O'Hagan | Gang House Woman |
McCabe Slye | Ryan |
Brandon Morales | Running Officer |
Chido Nwokocha | Cop |
Cecily Breaux | Bank Teller |
Kenley Smyth | Young Shelby |
Jay Hieron | Bouncer |
Dan Southworth | Bodyguard |
Brett Easton | Male Officer |
Chris Fiore | Ice Cream Shop Customer |
Justin Rivera | Skateboarder |
Alex Marshall | Female Officer |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Karyn Kusama | Director |
Phil Hay | Screenwriter |
Matt Manfredi | Screenwriter |
Fred Berger | Producer |
Phil Hay | Producer |
Matt Manfredi | Producer |
Micah Green | Executive Producer |
Dan Steinman | Executive Producer |
Dan Friedkin | Executive Producer |
Nathan Kelly | Executive Producer |
Brian Kavanaugh-Jones | Executive Producer |
Thorsten Schumacher | Executive Producer |
Nik Bower | Executive Producer |
Julie Kirkwood | Director of Photography |
Plummy Tucker | Editor |
Kay Lee | Production Designer |
Audrey Fisher | Costume Designer |
Theodore Shapiro | Composer |
Randall Poster | Music Supervisor |
Mark Bennett | Casting Director |
Nathan Kelly | Unit Production Manager |
Rachel Jensen | First Assistant Director |
Randin Brown | Second Assistant Director |
David Diliberto | Co-Producer |
Mike Smith | Stunt Coordinator |
Caroline Connor | Production Supervisor |
Lyn Matsuda Norton | Script Supervisor |
Robert Foulkes | Location Manager |
Eric Jeon | Art Director |
Lisa Son | Set Decorator |
Rachel Watson | First Assistant Editor |
Phillip Bladh | Sound Mixer |
Leslie Sungail | Costume Supervisor |
Chris Wells | Visual Effects Supervisor |
Anwei Chen | Visual Effects Producer |
Thomas Nittmann | Visual Effects Executive Producer |
Onnalee Blank | Supervising Sound Editor |
Paul Bercovitch | Supervising Dialogue and ADR Editor |
Eliza Zebert | Dialogue Editor |
John Matter | Sound Editor |
Paula Fairfield | Sound Designer |
Shaughnessy Pancho Hare | Sound Effects Editor |
Benjamin L. Cook | Sound Effects Editor |
Geordy Sincavage | Foley Mixer |
Michael Head | Foley Mixer |
Onnalee Blank | Re-recording Mixer |
Tony Lamberti | Re-recording Mixer |
Thomas Drescher | Music Editor |
John Witt Chapman | Score Recordist |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.