Italy Box Office for Pupazzi senza gloria (2018)
Theatrical Performance (US$) | ||
Italy Box Office | $1,570,165 | Details |
Worldwide Box Office | $27,506,412 | Details |
Home Market Performance | ||
North America DVD Sales | $1,949,512 | Details |
North America Blu-ray Sales | $2,012,827 | Details |
Total North America Video Sales | $3,962,339 | |
Further financial details... |
Synopsis
In a world where puppets and humans live side-by-side the puppet stars of the iconic TV show The Happytime Gang are some of the biggest celebrities around. But off camera, the family-friendly cast leads the kinds of lives that would make a tabloid writer blush. When the stars of “The Happytime Gang” are mysteriously murdered, two mismatched detectives--one a type-A, take-no-prisoners human with a secret, and the other a crass, hard-drinking puppet with a connection to one of the victims—must put aside their huge differences to stop the killings and catch the culprit, while resisting the temptation to murder each other.
Metrics
Movie Details
Production Budget: | $40,000,000 |
Italy Releases: | October 18th, 2018 (Wide), released as Pupazzi senza gloria |
Video Release: | November 20th, 2018 by Universal Home Entertainment |
MPAA Rating: | R for strong crude and sexual content and language throughout, and some drug material. (Rating bulletin 2536 (Cert #51709), 7/18/2018) |
Running Time: | 91 minutes |
Keywords: | Puppets in a Live-Action World, Private Investigator, Serial Killer, Police Detective, Murder Mystery, Framed, Fugitive / On the Run, Buddy Cop, Death of a Sibling, TV Industry, Discrimination, Film Noir, Surprise Twist, Outtakes During Credits, Scene in End Credits |
Source: | Original Screenplay |
Genre: | Black Comedy |
Production Method: | Live Action |
Creative Type: | Fantasy |
Production/Financing Companies: | STX Entertainment, On The Day Productions, Henson Alternative, Huayi Brothers Pictures Ltd, Black Bear |
Production Countries: | United States |
Languages: | English |
Home Market Releases for December 4th, 2018
December 4th, 2018
It’s not a bad week when it comes to the home market. The biggest release is Mission: Impossible—Fallout and while I didn’t like it as much as most critics, the Blu-ray / 4K Ultra HD Combo Packs are still worth picking up. There were also a trio of releases that were contenders for Pick of the Week, all of which were TV on DVD release: The Handmaid’s Tale: Season Two, Love, Chunibyo & Other Delusions: Take On Me, and Westworld: Season Two: The Door. In the end, it came down to a roll of the dice, with The Handmaid’s Tale coming out on top.
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Featured Blu-ray and DVD Review: The Happytime Murders
December 4th, 2018
The screener for The Happytime Murders arrived technically on time, but late enough that I was barely able to get the review finished on Tuesday. The film failed to connect with audiences or with critics. Is it as bad as its Tomatometer Score would indicate? Or should more people have watched it in theaters.
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Home Market Releases for November 20th, 2018
November 20th, 2018
This Friday is Black Friday, one of the biggest shopping days of the year. However, while there will be tons of sales, DVDs and Blu-rays that come out on Tuesday tend not to be part of the sales, because they have only been out for a few days. Because of this, it is usually a slow week on the home market. This is certainly true this year, as there’s only one significant first-run release, Crazy Rich Asians (Buy from Amazon). On the positive side, it is a pick of the week contender. Its only competition for that title is the Criterion Collection release for Some Like it Hot (Buy from Amazon). It was close, but in the end I went with Crazy Rich Asians. On a side note, both are lucky they are in competition for Pick of the Week, as it was going to be K-ON Complete Collection Premium Box Set, but it got pushed back from this week till February. I pre-ordered it in July and I’ve been waiting a long, long time for this box set.
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Weekend Wrap-Up: Summer Ends on a Sweet Note with Crazy Rich Asians Crossing $100 million
September 5th, 2018
Crazy Rich Asians came close enough to our predictions over the weekend that I’m willing to call it a victory. The only other film to earn more than $10 million over the three-date weekend was The Meg. This wasn’t enough to help the overall box office grow, but the overall box office only fell 3.6% when compared to last weekend earning $99 million. It is a little disappointing to drop below the $100 million mark, but it could have been much worse. Speaking of much worse, this weekend last year, the overall box office was just $76 million, meaning 2018 improved on the three-day mark by 29% and stretched its year-to-date lead. 2018 now sits 10.6% or $790 million ahead of 2017 at $8.22 billion to $7.43 million. The lead won’t remain this large for long, not with It’s opening on the horizon. That said, it would take a spectacular collapse for 2018 to completely lose this lead.
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Weekend Wrap-Up: Crazy Rich Asians Continues Box Office Dominance with Nearly $25 million
August 28th, 2018
Summer officially ends next weekend with Labor Day, but Crazy Rich Asians is keeping the summer going with a sophomore stint of $24.80 million over the weekend. This is nearly twice as much as the second place film, The Meg. Meanwhile, the only true wide release of the week, The Happytime Murders, missed low end expectations with $9.53 million. The overall box office is down 21% from last weekend to just $103 million. That’s a sharp decline, but not uncommon for this time of year. More importantly, it was 49% more than the same weekend last year. That’s not as impressive as it seems, as this weekend last year one of the worst weekends in the past decade. Year-to-date, 2018 extended its lead to 10.1% or $740 million at $8.05 billion to $7.19 billion. On the down side, it won’t be long before 2017 really starts to eat into that lead.
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Weekend Estimates: Crazy Rich Nearly Matches Opening Weekend with $25 million
August 26th, 2018
Crazy Rich Asians led the way over the weekend with $25.01 million for a two-week total of $76.82 million. This is way more than expected and actually in line with our opening weekend prediction. Its sophomore stint decline was just a 6% from its opening three-day weekend; it’s just a 29% decline from its opening five-day weekend. On the downside, this is such an amazing hold that it is hard for analysts to figure out where it will go from here. We can safely say it will continue to pull in millions of dollars for weeks to come, but we don’t know if it will soar past $150 million or not. If it has a more normal decline next week, we will be able to be more sure. Regardless of what it does over the rest of its domestic run or how well it performs internationally, it will be a massively profitable movie and one of Warner Bros.’ biggest hits of the year.
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Friday Estimates: The Rich Keep Getting Richer
August 25th, 2018
Crazy Rich Asians is this year’s The Hitman’s Bodyguard, at least in terms of legs. The film fell just 4% from its opening Friday earning $7.0 million on this Friday. The film was a Wednesday opening, so it likely won’t perform better on Saturday compared to last weekend, but the film will still earn about $23 million over the weekend. The book Crazy Rich Asians is based on is the first in a trilogy and I would be amazed if Warner Bros. hasn’t already begun work on the next two installments.
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Thursday Night Previews: Happytime has a Melancholy Debut
August 24th, 2018
The Happytime Murders only managed $950,000 during its Thursday previews. I was really expecting a little more than $1 million during previews. This is close enough that matching our $13 million prediction is still possible, but $12 million is more likely. Its also means Crazy Rich Asians will have no problem repeating on top of the box office chart. In fact, it appears to be headed for an amazing sophomore stint, but more on that tomorrow.
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Weekend Predictions: Can Happytime Overtake Crazy Rich Asians at the Box Office?
August 23rd, 2018
Summer is winding down and there are only one and a half wide releases this week. The Happytime Murders is a high-concept, lowbrow comedy that is probably too out there to find an audience. Meanwhile, A.X.L. is opening in less than 2,000 theaters and tracking has it opening below the Mendoza Line. This does mean Crazy Rich Asians has a real shot at repeating on top of the box office chart. This weekend last year, The Hitman’s Bodyguard was the only film to earn more than $10 million. This year, we should have two or three films do the same and 2018 should easily win in the year-over-year chart.
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2018 Preview: August
August 1st, 2018
Overall, July was a a little weaker than expected. Ant-Man and the Wasp appears to be on pace for $200 million, while it is too soon to tell if Mission: Impossible—Fallout will also get there. That said, 2018 is still ahead of 2017 by $550 million, so the month of July was a success in that regard. As for August, there’s only one movie that is expected to earn $100 million, Christopher Robin, and maybe a few others that could hit $50 million. It’s a rather sad slate of movies. Fortunately, last August was even worse, so 2018 should at least maintain its lead. Maybe we can get lucky and come away with a $600 million lead by the end of the month.
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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 |
---|---|---|---|---|---|---|---|
2018/10/19 | 3 | $705,602 | 0 | $705,602 | 1 | ||
2018/10/26 | 10 | $402,173 | -43% | 0 | $1,291,889 | 2 | |
2018/11/02 | 19 | $121,687 | -70% | 0 | $1,511,869 | 3 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 8/24/2018 | $13,552 | 0 | 0 | 0 | $17,132 | 1/1/2019 |
Australia | 8/24/2018 | $496,554 | 237 | 241 | 701 | $1,045,264 | 9/27/2018 |
France | 9/21/2018 | $89,237 | 0 | 0 | 0 | $89,237 | 9/28/2018 |
Italy | 10/18/2018 | $705,602 | 0 | 4 | 6 | $1,570,165 | 12/23/2018 |
Lithuania | 8/24/2018 | $14,668 | 68 | 68 | 87 | $29,871 | 9/4/2018 |
Netherlands | 8/24/2018 | $80,318 | 80 | 80 | 155 | $149,028 | 9/4/2018 |
North America | 8/24/2018 | $9,532,425 | 3,256 | 3,256 | 8,784 | $20,706,452 | |
Portugal | 8/24/2018 | $13,164 | 35 | 39 | 74 | $30,865 | 9/4/2018 |
Russia (CIS) | 9/27/2018 | $139,945 | 531 | 531 | 539 | $213,815 | 1/8/2019 |
South Korea | 5/23/2019 | $13,020 | 57 | 57 | 57 | $15,935 | 5/30/2019 |
Spain | 8/24/2018 | $161,573 | 263 | 263 | 501 | $395,555 | 9/6/2018 |
Turkey | 8/24/2018 | $5,847 | 69 | 69 | 74 | $10,612 | 2/26/2019 |
United Kingdom | 8/27/2018 | $899,720 | 500 | 500 | 500 | $899,720 | 9/5/2018 |
Rest of World | $2,332,761 | ||||||
Worldwide Total | $27,506,412 | 5/30/2019 |
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
Melissa McCarthy | Detective Connie Edwards |
Bill Barretta | Phil Phillips/Junkyard/Boar |
Supporting Cast
Joel McHale | Agent Campbell |
Maya Rudolph | Bubbles |
Leslie David Baker | Lt. Banning |
Elizabeth Banks | Jenny |
Michael McDonald | Ronovan Scargle |
Mitch Silpa | Tommy |
Hemky Madera | Tito |
Benjamin Cole Royer | Rick |
Brekkan Spens | Dick |
Ryan Tran | Phil |
Emily Fortune Feimster* | Robin |
Brian Palermo | Paramedic |
Jimmy O. Yang | Officer Delancey |
Dennis Keiffer | Junior |
Jim Palmer | Caesar |
H. Michael Croner | Jack Cook |
Barry Rothbart | Fireman |
Steve Mallory | Kerry |
Jaye Razor | Razor |
Jen Kuo Sung Outerbridge | Sandra’s Bodyguard |
Bryan Cartago | Sandra’s Bodyguard |
Ben Falcone | Donny |
Brett Wagner | Rio |
Ryan Gaul | Officer Milligan |
Cynthy Wu | Brittenie Marlowe |
Dorien Davies | Sandra/Core Puppeteer |
Drew Massey | Goofer/Vinny/Core Puppeteer |
Ted Michaels | Sexist Thug/Ezra/Core Puppeteer |
Pamela Mitchell | Pamela |
Colleen Smith | Dalmatian/Cara/Core Puppeteer/Carol |
Victor Yerrid | Larry/Old Man Puppet/Core Puppeteer |
Kevin Clash | Bumblypants/Lyle/Puppet Doctor |
Brian Henson | Crab |
Donna Kimball | Roxy/Cow/Rotten Cotton Girl/Additional Puppeteer |
Patty Guggenheim | Roxy |
Alice Dinnean | Rotten Cotton Girl/Core Puppeteer |
Allan Trautman | Octopus/Puppet Doctor/Core Puppeteer |
Damon Jones | Puppet Doctor/Police Station Guard (Human) |
Jayden Libran | Core Puppeteer |
Grant Baciocco | Additional Puppeteer |
Greg Ballora | Additional Puppeteer |
Tim Blaney | Additional Puppeteer |
Kevin Carlson | Additional Puppeteer |
Kristin Charney | Additional Puppeteer |
Artie Esposito | Additional Puppeteer |
Peggy Etra | Additional Puppeteer |
Dan Garza | Additional Puppeteer |
Patrick Johnson | Additional Puppeteer |
Sean Johnson | Additional Puppeteer |
Tim Lagasse | Additional Puppeteer |
Bruce Lanoil | Additional Puppeteer |
Lara Maclean | Additional Puppeteer |
Amanda Maddock | Additional Puppeteer |
Paul McGinnis | Additional Puppeteer |
Michael Oosterom | Additional Puppeteer |
Nicolette Santino | Additional Puppeteer |
John Tartaglia | Additional Puppeteer |
Russ Walko | Additional Puppeteer |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Brian Henson | Director |
Todd Berger | Screenwriter |
Todd Berger | Story by |
Dee Robertson | Story by |
Brian Henson | Producer |
Melissa McCarthy | Producer |
Ben Falcone | Producer |
Jeffrey Hayes | Producer |
Robert Simonds | Executive Producer |
Adam Fogelson | Executive Producer |
Wang Zhongjun | Executive Producer |
Wang Zhonglei | Executive Producer |
Felice Bee | Executive Producer |
Teddy Schwartzman | Executive Producer |
Ben Stillman | Executive Producer |
Michael Heimler | Executive Producer |
Lisa Henson | Executive Producer |
John Hyde | Executive Producer |
Dee Robertson | Executive Producer |
Donald Tang | Executive Producer |
Mitchell Amundsen | Director of Photography |
Chris Spellman | Production Designer |
Brian Olds | Editor |
Arjun Bhasin | Costume Designer |
Christopher Lennertz | Composer |
Jason Markey | Music Supervisor |
Vincent J. Raisa | Co-Producer |
Basil Grillo* | Co-Producer |
Divya D’Souza | Co-Producer |
Jeanne McCarthy | Casting Director |
Nicole Abellera | Casting Director |
Charles Rapp | Unit Production Manager |
Basil Bryant-Grillo | Unit Production Manager |
Daniel Silverberg | First Assistant Director |
Lisa Tobey | Second Assistant Director |
Sam Nicholson | Visual Effects Supervisor |
Melissa Brockman | Visual Effects Producer |
Walter Garcia | Stunt Coordinator |
Luci Romberg | Stunt Coordinator |
Alex Rockwell | Associate Producer |
Christopher Burian-Mohr | Art Director |
Kelly Berry | Set Decorator |
Gretel Twombly | Production Supervisor |
Jane Goldsmith | Script Supervisor |
Jim Stuebe | Sound Mixer |
Ron Trost | Special Effects Supervisor |
Stephenson Crossley | Location Manager |
Paula Truman | Costume Supervisor |
Gigi Williams | Make-up and Hair Designer |
Michelle Audrina Kim | Make-up and Hair Designer |
Gabriella Pollino Rodman | Hairstylist |
Christi Cagle | Hairstylist |
Philip Toolin | Set Designer |
Geoff Hubbard | Set Designer |
Liz Calandrello | First Assistant Editor |
Tammy Fearing | Supervising Sound Editor/ADR Supervisor |
Marc Fishman | Re-recording Mixer |
Andy Hay | Re-recording Mixer |
James Thomas | Additional Editor |
Jennifer Scudder Trent | Post-Production Supervisor |
Tom Yamamoto | Assistant Editor |
Brooke Rupe | Assistant Editor |
George H. Anderson | Sound Designer |
Joe Schiff | Dialogue Editor |
Alison Fisher | Dialogue Editor |
Daniel DiPrima* | Additional Music |
Alex Geringas | Additional Music |
Dara Taylor | Additional Music |
Daniel DiPrima* | Supervising Music Editor |
Jeffrey Hayes | Second Unit Director |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.