Bulgaria Box Office for Обир със стил (2017)
Theatrical Performance (US$) | ||
Bulgaria Box Office | $106,899 | Details |
Worldwide Box Office | $80,812,424 | Details |
Home Market Performance | ||
North America DVD Sales | $5,936,508 | Details |
North America Blu-ray Sales | $2,415,110 | Details |
Total North America Video Sales | $8,351,618 | |
Further financial details... |
Synopsis
Lifelong buddies Willie, Joe and Al, decide to buck retirement and step off the straight-and-narrow for the first time in their lives when their pension fund becomes a corporate casualty Desperate to pay the bills and come through for their loved ones, the three risk it all by embarking on a daring bid to knock off the very bank that absconded with their money.
Metrics
Movie Details
Production Budget: | $24,000,000 |
Bulgaria Releases: | April 7th, 2017 (Wide), released as Обир със стил |
Video Release: | July 11th, 2017 by Warner Home Video |
MPAA Rating: | PG-13 for drug content, language and some suggestive material. (Rating bulletin 2423 (Cert #50396), 5/4/2016) |
Running Time: | 96 minutes |
Keywords: | Remake, Heist, Money Troubles, White Collar Crime, Revenge, Autumn Years, Retirement, Crime Comedy, Crime Caper |
Source: | Remake |
Genre: | Comedy |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | New Line Cinema, Village Roadshow Productions, De Line Pictures, RatPac Entertainment, Dune Entertainment |
Production Countries: | United States |
Languages: | English |
Home Market Releases for August 1st, 2017
August 2nd, 2017
There is no monster hit coming out this week, but that doesn’t mean there are no new DVD / Blu-rays worth picking up. In fact, there are six Pick of the Week contenders. This includes Slither: Collector's Edition, which took home the title in a close race. There are also two co-winners of the Puck of the Week for best Canadian release, Colossal on Blu-ray Combo Pack and I am the Blues on DVD.
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Home Market Releases for July 11th, 2017
July 11th, 2017
This week, the home market is led by The Fate of the Furious, which is the number one film both in terms of worldwide box office and alphabetically. It earned well over $1 billion worldwide, but it is losing the charm the franchise thrived on during the past few installments. As for the Pick of the Week, I’m going with Underground, Season Two, or the Two-Season box set.
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Weekend Predictions: April Circles the Drain
April 27th, 2017
The last weekend in April is usually a terrible weekend and this year is no different. There is only one truly wide release this week, The Circle, although How to be a Latin Lover has a shot at the top five. There are also two films opening in approximately 500 theaters hoping to sneak into the top ten: Sleight and Baahubali 2: The Conclusion. However, while it seems like a busy week for new releases, The Fate of the Furious will easily remain in first place. In fact, the top five this week could be nearly identical to the top five last week, with The Circle being the only nearly guaranteed new addition. This weekend last year, The Jungle Book led the way with $44 million, while the biggest new release was Keanu with just under $10 million. The new releases might be stronger this time around, but there’s almost no way 2017 will be able to compete with The Jungle Book.
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Weekend Wrap-Up: Furious Slows and New Releases Stall, Leaving Box Office short by $60 million
April 25th, 2017
As expected, The Fate of the Furious dominated the weekend box office chart. It held up a little better than expected with $38.41 million over the weekend; however, this was still over 60% lower than its opening weekend and the overall weekend fell over $60 million or 36% from last weekend for a total of $107 million. A lot of the blame can be pushed onto the new releases, as none of them earned a spot in the top five. Born in China was the best of the new releases earning sixth place with $4.79 million. Year-over-year, 2017 was 16% lower than 2016, but fortunately, 2017 still has an impressive $200 million lead over 2016 at $3.53 billion to $3.33 billion.
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Friday Estimates: Furious Falls 75%, Still Dominates Friday with $11.2 million
April 22nd, 2017
The Fate of the Furious dominated the box office chart on Friday with $11.2 million. This could be more than any other film will earn during the entire weekend. That’s the good news. The bad news is this still represents a decline of just over 75% from its opening Friday. This is not good by any stretch of the word, but it is also not unexpected. The film will rebound on Saturday, and earn about $35.5 million over the weekend, according to Universal, which is close to our prediction and will lift the film’s running tally to $160 million. This keeps The Fate of the Furious on pace for $200 million and the film should become the third film released in 2017 to get to that milestone. It might overtake Logan on the yearly chart, but Guardians of the Galaxy, Vol. 2 will probably get there first.
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Weekend Estimates: Baby Continues to Boss at the Box Office
April 9th, 2017
The Boss Baby will score another win at the box office this weekend, with Fox predicting a total of $26.3 million for the weekend, down 48% from its debut, and $89.4 million to date. That’s a remarkably strong second weekend, considering that Beauty and the Beast will be down virtually the same proporation—45%—in its fourth weekend. Disney’s blockbuster will do $25 million for a cume of $432 million so far domestically. With $545.1 million internationally, the film now has $977.4 million worldwide, and will pass the billion dollar mark this week.
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Weekend Predictions: Will it be Smurfs and the New Releases Get Lost in the Crowd?
April 6th, 2017
It is the first weekend of April and there are two and a half films opening wide this week. The widest of these is Smurfs: The Lost Village, but direct competition is going to hurt it at the box office. Going in Style is aiming to be a sleeper hit, but its reviews will likely get in the way of that. Meanwhile, The Case for Christ is opening in barely more than 1,000 theaters and it is aiming for the churchgoing crowd and no one else. On the positive side, it is Easter next weekend, so it should have good legs. Unfortunately for the new releases, it looks like The Boss Baby will have a relatively easy time repeating in first place, while Beauty and the Beast will be close behind in second. This weekend last year, The Boss opened in first place with $23.59 million, while Batman v Superman: Dawn of Justice was right behind with $23.36 million. This week we should have at least two films top that, perhaps even three if Smurfs: The Lost Village is on the high end of expectations. 2017 should continue to add to its lead over 2016.
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2017 Preview: April
April 1st, 2017
March was a month of extremes, led by two strong performances: Beauty and the Beast breaking records and Logan cracking $200 million with ease. There were also two other $100 million hits and another potential $100 million hit that we don’t have significant box office numbers for yet. This is fantastic. On the opposite end, there were three films on last month’s list that didn’t even open truly wide. This month won’t be as lucrative at the top, as The Fate of the Furious is the only film expected to top $100 million. Fortunately, it is expected to open with over $100 million. On the other extreme, there are many, many films on this list that I’m not sure will open wide. Fortunately, last April wasn’t any better. The Jungle Book made nearly $1 billion worldwide, but the other nine films combined made less than half of that. To emphasize: the other nine films that opened last April averaged less than $50 million worldwide each. If The Fate of the Furious can just come close to the previous installment of the franchise, then 2017 has a solid shot at topping 2016.
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Contest: Smurf to the Smurf
March 31st, 2017
There are three wide releases opening next weekend, but only Smurfs: The Lost Village has a shot at topping the chart. Going in Style would be happy with a total of $50 million domestically, while The Case for Christ might not even open truly wide. Because of this, Smurfs: The Lost Village is the best choice for the target film in this week’s box office prediction contest. In order to win, one must simply predict the opening weekend box office number for Smurfs: The Lost Village.
April 1st is on Saturday, so we are starting our April Fools contests this week. Two of our winners will get movies from our prize pool, while one will be chosen at random to be the fool and receive an HD-DVD release.
Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going over, will win one of two previously reviewed movies, or be the winner of the Fool’s Prize. Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going under, will also be a potential winner of two previously reviewed movies, or the winner of the Fool’s Prize. Finally, we will be choosing an entrant from the group of people who haven't won, or haven't won recently, and they will win either the final of two previously reviewed movies, or be the winner of the Fool’s Prize.
Entries must be received by 10 a.m., Pacific Time on Friday to be eligible, so don't delay!
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Going in Style Trailer
February 16th, 2017
Heist comedy starring Morgan Freeman, Michael Caine, and Alan Arkin opens April 7, 2017 ... 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 |
---|---|---|---|---|---|---|---|
2017/04/07 | 4 | $28,158 | 0 | $28,158 | 1 | ||
2017/04/14 | 6 | $13,756 | -51% | 0 | $56,513 | 2 | |
2017/04/21 | 6 | $10,785 | -22% | 0 | $73,615 | 3 | |
2017/04/28 | 8 | $8,728 | -19% | 0 | $88,915 | 4 | |
2017/05/05 | 11 | $5,030 | -42% | 0 | $99,636 | 5 | |
2017/05/12 | 12 | $1,210 | -76% | 0 | $103,150 | 6 | |
2017/05/19 | 19 | $255 | -79% | 0 | $106,899 | 7 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 4/7/2017 | $254,000 | 0 | 0 | 0 | $532,592 | 1/1/2019 |
Australia | 4/21/2017 | $953,495 | 230 | 255 | 1251 | $3,656,635 | 6/22/2017 |
Brazil | 4/7/2017 | $243,000 | 0 | 0 | 0 | $65,700 | 5/8/2017 |
Bulgaria | 4/7/2017 | $28,158 | 0 | 0 | 0 | $106,899 | 2/26/2019 |
Czech Republic | 4/21/2017 | $53,938 | 79 | 79 | 174 | $153,865 | 1/1/2019 |
France | 5/5/2017 | $830,000 | 0 | 0 | 0 | $2,895,174 | 6/27/2018 |
Germany | 4/14/2017 | $958,000 | 0 | 0 | 0 | $3,600,000 | 5/15/2017 |
Italy | 5/5/2017 | $311,965 | 0 | 0 | 0 | $485,590 | 5/18/2017 |
Lithuania | 4/7/2017 | $16,204 | 67 | 67 | 118 | $51,697 | 5/12/2017 |
Mexico | 4/20/2017 | $868,250 | 0 | 0 | 0 | $2,503,480 | 5/25/2017 |
Netherlands | 4/5/2017 | $278,121 | 79 | 79 | 663 | $1,928,473 | 6/14/2017 |
New Zealand | 4/21/2017 | $153,564 | 67 | 75 | 429 | $736,500 | 6/12/2017 |
North America | 4/7/2017 | $11,932,330 | 3,061 | 3,076 | 17,204 | $45,018,541 | 7/2/2020 |
Poland | 6/30/2017 | $244,345 | 0 | 0 | 0 | $816,552 | 1/1/2019 |
Portugal | 4/7/2017 | $123,992 | 56 | 56 | 278 | $659,361 | 6/29/2017 |
Russia (CIS) | 4/7/2017 | $751,345 | 614 | 614 | 1302 | $1,475,556 | 1/1/2019 |
Slovakia | 4/7/2017 | $47,461 | 53 | 53 | 139 | $148,637 | 7/13/2017 |
Spain | 4/14/2017 | $343,479 | 158 | 175 | 786 | $1,513,161 | 6/15/2017 |
Switzerland | 4/13/2017 | $0 | 0 | 0 | 0 | $837,000 | 5/8/2017 |
Turkey | 4/21/2017 | $41,101 | 44 | 44 | 56 | $112,680 | 1/1/2019 |
United Arab Emirates | 4/6/2017 | $0 | 0 | 0 | 0 | $1,000,000 | 1/1/2019 |
United Kingdom | 4/7/2017 | $705,916 | 454 | 454 | 1539 | $3,800,000 | 5/15/2017 |
Rest of World | $8,714,331 | ||||||
Worldwide Total | $80,812,424 | 7/2/2020 |
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
Morgan Freeman | Willie |
Michael Caine | Joe |
Alan Arkin | Albert |
Supporting Cast
John Ortiz | Jesus |
Jorge Chapa | Bank Security Guard |
Joey King | Brooklyn |
Maria Dizzia | Rachel Harding |
Christopher Lloyd | Milton |
Anthony Chisholm | Knights Grandmaster Paul |
Jeremy Bobb | Donald Lewis |
Siobhan Fallon Hogan | Mitzi |
Matt Dillon | Hamer |
Seth Barrish | Dr. Helton |
Ashley Aufderheide | Kanika |
Gillian Glasco | Maya |
Jeremy Shinder | Ezra Bronkowski |
Ann-Margret | Annie Santori |
Nick Cordero | Butcher |
Barbara Ann Davison | Lady in Electric Shopping Cart |
Jojo Gonzalez | Male Security Guard |
Precious Sipin | Female Security Guard |
Kenan Thompson | Manager Keith Schonfeld |
Peter Serafinowicz | Murphy |
Meredith Antoian | Teller |
Annabelle Chow | Lucy |
Nancy Sun | Mandy |
Jessica Perez | Waitress at Steakhouse |
Marlon Perrier | Agent Cooper |
Kenneth Maharaj | FBI Crime Tech |
Lulu Picart | Nurse |
Anthony Arrigo | Tony |
Kieran Clark | Line-Up Agent |
Lolita Foster | O.R. Nurse |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Zach Braff | Director |
Theodore Melfi | Screenwriter |
Martin Brest | Based on “Going in Style” by |
Donald DeLine | Producer |
Tony Bill | Executive Producer |
Toby Emmerich | Executive Producer |
Samuel J. Brown | Executive Producer |
Michael Disco | Executive Producer |
Steven Mnuchin | Executive Producer |
Andrew Haas | Executive Producer |
Jonathan McCoy | Executive Producer |
Bruce Berman | Executive Producer |
Anne Ross | Production Designer |
Myron Kerstein | Editor |
Rob Simonsen | Composer |
Rodney Charters | Director of Photography |
Gary Jones | Costume Designer |
Jeffrey Lee Gibson | Stunt Coordinator |
Avy Kaufman | Casting Director |
Andrea von Foerster | Music Supervisor |
Jonathan McCoy | Unit Production Manager |
Alyson Latz | Unit Production Manager |
Christopher Surgent | First Assistant Director |
Takahide Kawakami | Second Assistant Director |
Frank Murray | Production Supervisor |
Laura Ballinger Gardner | Art Director |
Ann Bartek | Assistant Art Director |
Maite Perez-Nievas | Assistant Art Director |
Katya Blumenberg | Assistant Art Director |
Sara Parks | Set Decorator |
Danny Michael | Sound Mixer |
Tricia Miles Tharp | Post-Production Supervisor |
Annie Guidice | First Assistant Editor |
Zach Wolf | Assistant Editor |
Anthony Smedile | Assistant Editor |
Ron Bartlett | Re-recording Mixer |
Dean A. Zupancic | Re-recording Mixer |
Michael J. Benavente | Supervising Sound Editor |
Ben Wilkins | Supervising Sound Editor |
Adam Kopald | Sound Effects Editor |
Susan Dudeck | Dialogue Editor |
Andrew Silver | Music Editor |
Antony Zeller | Foley Mixer |
David Jobe | Foley Mixer |
Michael Kriaris | Location Manager |
Jessica Lichtner | Script Supervisor |
Tim McKelvey | Costume Supervisor |
Fionnuala M. Lynch | Costume Supervisor |
Donald Kozma | Make up |
Bernadette Mazur | Make up |
Kerrie Smith | Hairstylist |
Kat Percy | Hairstylist |
Harrison Nesbit | Casting Associate |
Conrad Brinks, Jr. | Special Effects Supervisor |
Jeff Brink | Special Effects Coordinator |
Nathaniel Brotherhood | Special Effects |
Doug Faccipointi | Special Effects |
Atsushi Nishijima | Still Photographer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.