United Kingdom Box Office for Hellboy (2019)
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| Theatrical Performance (US$) | ||
| United Kingdom Box Office | $2,472,969 | Details |
| Worldwide Box Office | $53,956,480 | Details |
| Home Market Performance | ||
| North America DVD Sales | $3,516,920 | Details |
| North America Blu-ray Sales | $8,666,082 | Details |
| Total North America Video Sales | $12,183,002 | |
| Further financial details... | ||
Synopsis
Hellboy is back, and he’s on fire. He is called to the English countryside to battle a trio of rampaging giants. There he discovers The Blood Queen, Nimue, a resurrected ancient sorceress thirsting to avenge a past betrayal. Suddenly caught in a clash between the supernatural and the human, Hellboy is now hell-bent on stopping Nimue without triggering the end of the world.
Metrics
Movie Details
| Production Budget: | $50,000,000 |
| United Kingdom Releases: | April 11th, 2019 (Wide) |
| Video Release: | July 23rd, 2019 by Lionsgate Home Entertainment |
| MPAA Rating: | R for strong bloody violence and gore throughout, and language (Rating bulletin 2567 (Cert #52002), 2/27/2019) |
| Running Time: | 120 minutes |
| Franchise: | Hellboy |
| Keywords: | Dark Horse Comics, Demons, Supernatural, Revenge, Shapeshifter, Witches, IMAX: DMR, Reboot, Action Horror |
| Source: | Remake |
| Genre: | Horror |
| Production Method: | Live Action |
| Creative Type: | Super Hero |
| Production/Financing Companies: | Summit Entertainment, Millennium Films, Campbell Grobman Films, Dark Horse Entertainment, Applebox Entertainment, Lawrence Gordon, Lloyd Levin, Nu Boyana |
| Production Countries: | United States |
| Languages: | English |
Home Market Releases for July 23rd, 2019
July 24th, 2019
We are still in the summer doldrums on the home market. The biggest first run release of the week is Alita: Battle Angel, which is much better than its box office numbers and one of the best releases on this week’s list. Other contenders for Pick of the Week include Do the Right Thing and Nichijou: My Ordinary Life: The Complete Series. In the end, I went with Nichijou: My Ordinary Life: The Complete Series. In part because it is an amazing series, but also in part in solidarity with the victims of the Kyoto Animation arson attack.
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Weekend Wrap-Up: Curse Tops Chart, but 2019 Suffers Another Loss
April 23rd, 2019
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Easter weekend gave box office watchers a few reasons to celebrate. The Curse of La Llorona topped expectations and earned first place with $26.35 million over the weekend. That’s a very strong debut for this time of year. Additionally, both Shazam and Captain Marvel held on amazingly well, which bodes well for their chances against Avengers: Endgame. Overall, the box office rose 1% from last weekend to $108 million. This was 14% lower than the same weekend last year, and it wasn’t Easter weekend last year. On a side note, I’ve seen some stories call this past weekend the worst Easter weekend in over a decade. However, this is misleading, as it was the first time Easter weekend was one weekend before the start of the Summer Blockbuster season. Avengers: Endgame opening on Friday had more to do with the weak box office than any other factor and if Endgame is as big as some box office analysts expect, then by this time next week, we will be talking about how quickly 2019 will turn things around rather than how bad 2019 has been. In the meantime, we’ve hopefully sunk to the low point in the year-over-year comparison, as 2019 is now behind 2018 by a $570 million or 17% margin at $2.84 billion to $3.41 billion.
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Weekend Wrap-Up: Shazam Shocks the New Releases
April 16th, 2019
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Shazam easily topped the weekend box office chart with $24.45 million. This is significantly more than the best new release of the week, Little, which managed $15.41 million during its opening weekend. That film will break even sometime during its home market run. The same can’t be said of Hellboy, After, and Missing Link, all of which will lose money. This caused the overall box office to fall 24% from last weekend to just $110 million. This is also 25% lower than this weekend last year. Year-to-date, 2019 has fallen further behind 2018 and it now behind with $550 million or 17% at $2.68 billion to $3.23 billion. Avengers: Endgame will have to be unreasonably big at the box office for 2019 to turn things around any time soon.
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Weekend Estimates: Shazam Stops New Releases Cold
April 14th, 2019
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Shazam really bounced back from a poor Friday performance. So much so that it almost match our prediction with an estimated $25.14 million over the weekend for a two-week total of $94.31 million. Internationally, the film is projected to earn $35.9 million on 23,752 screens in 79 markets to push its international total to $163.9 million. This means its worldwide total rose past $250 million after just two weeks of release. The film will have no trouble breaking even after a run like this, even with Avengers: Endgame looming large.
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Friday Estimates: Friday Results are More Little Than Needed
April 13th, 2019
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It’s going to be a terrible weekend at the box office with almost no film living up to expectations. Shazam fell faster than anticipated, down 69% from its opening Friday to just $6.37 million yesterday. Because it’s a holdover, it will bounce back more than the new releases, but it will still likely fail to match our prediction and is on pace for between $23 million and $24 million for the weekend. It is still going to break even, but if it doesn’t bounce back before Avengers: Endgame debuts, it will merely be very profitable and not amazingly profitable.
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Thursday Night Previews: Going Through Hell
April 12th, 2019
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Hellboy opened with $1.38 million in previews last night, which is not enough to be a hit. This would have only put the film in third place last Thursday, well behind both Shazam and Pet Sematary. Furthermore, due to the film’s terrible reviews, it will likely be more front-loaded. Fortunately, this wasn’t too far below expectations.
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Weekend Prediction: Will Hellboy have a Heavenly Start? Will Little open Large?
April 12th, 2019
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There are four wide releases this week, but it seems Shazam will remain the top draw, potentially by a significant margin. Hellboy was supposed to challenge for top spot, but its reviews are going to kill its box office chances. Little is earning better reviews, but its reviews are not good enough to overcome its smaller stature. Missing Link is earning amazing reviews, but that hasn’t helped other stop-motion animated films succeed in the recent past. After has the quietest buzz of the week and almost no reviews. This weekend last year wasn’t a great weekend at the box office, but it will certainly be better than this weekend will be. Avengers: Endgame can’t come soon enough.
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2019 Preview: April
April 1st, 2019
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March was a good month at the box office with most films beating expectations. The biggest hit was Captain Marvel, which is still on pace for $400 million domestically and may have crossed $1 billion worldwide by the time you read this. The biggest “miss” was Dumbo, but it is still going to top $100 million domestically with ease. This month, it is a battle between Avengers: Endgame and last year’s Infinity War. To be fair, A Quiet Place got last April off to a very fast start and Shazam! should do the same this year, so there will be more than one potential box office hit to talk about. That said, Endgame will almost certainly open with more than any other April release earns in total and if 2019 is going to cut into its deficit with 2018, it will be on the back of that one film.
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Hellboy Trailer
December 20th, 2018
Superhero action movie starring David Harbour opens April 12 ... 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 |
|---|---|---|---|---|---|---|---|
| 2019/04/12 | 4 | $1,294,899 | 480 | $2,698 | $1,294,899 | 1 | |
| 2019/04/19 | 11 | $330,456 | -74% | 490 | $674 | $2,234,934 | 2 |
| 2019/04/26 | - | $41,956 | -87% | 183 | $229 | $2,461,630 | 3 |
| 2019/05/03 | - | $7,439 | -82% | 66 | $113 | $2,547,646 | 4 |
| 2019/05/10 | - | $1,105 | -85% | 8 | $138 | $2,532,882 | 5 |
| 2019/05/17 | - | $197 | -82% | 2 | $99 | $2,472,969 | 6 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 4/12/2019 | $57,719 | 139 | 139 | 172 | $91,422 | 5/4/2019 |
| Australia | 4/12/2019 | $553,564 | 287 | 287 | 748 | $1,051,651 | 5/7/2019 |
| Brazil | 5/24/2019 | $302,185 | 446 | 446 | 652 | $627,494 | 6/8/2019 |
| Bulgaria | 4/12/2019 | $26,672 | 0 | 0 | 0 | $64,719 | 5/8/2019 |
| China | 11/7/2020 | $130,000 | 409 | 55998 | 76483 | $13,170,000 | 12/9/2020 |
| Czech Republic | 4/12/2019 | $146,440 | 126 | 126 | 256 | $268,625 | 5/6/2019 |
| France | 5/10/2019 | $1,078,112 | 410 | 415 | 1174 | $1,779,290 | 5/31/2019 |
| Germany | 4/12/2019 | $559,728 | 0 | 0 | 0 | $559,728 | 4/19/2019 |
| Italy | 4/11/2019 | $858,614 | 0 | 4 | 4 | $1,566,487 | 5/10/2019 |
| Lithuania | 4/12/2019 | $19,370 | 93 | 93 | 112 | $27,268 | 4/23/2019 |
| Mexico | 4/11/2019 | $702,545 | 0 | 0 | 0 | $1,562,208 | 4/22/2019 |
| Netherlands | 4/12/2019 | $207,077 | 90 | 90 | 238 | $395,474 | 4/30/2019 |
| North America | 4/12/2019 | $12,045,147 | 3,303 | 3,303 | 7,839 | $21,903,748 | |
| Poland | 4/12/2019 | $218,076 | 194 | 194 | 388 | $364,510 | 4/27/2019 |
| Portugal | 4/12/2019 | $180,205 | 76 | 76 | 202 | $361,564 | 5/14/2019 |
| Russia (CIS) | 4/11/2019 | $2,243,529 | 1578 | 1578 | 4389 | $3,811,848 | 6/21/2019 |
| Slovakia | 4/12/2019 | $76,756 | 67 | 67 | 123 | $134,301 | 4/30/2019 |
| South Korea | 4/10/2019 | $1,228,117 | 726 | 726 | 1243 | $2,309,424 | 4/25/2019 |
| Spain | 5/17/2019 | $563,057 | 342 | 342 | 870 | $1,057,555 | 6/7/2019 |
| Turkey | 4/12/2019 | $155,643 | 332 | 332 | 819 | $376,195 | 5/24/2019 |
| United Kingdom | 4/11/2019 | $1,294,899 | 480 | 490 | 1229 | $2,472,969 | 5/23/2019 |
| Worldwide Total | $53,956,480 | 12/9/2020 | |||||
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
| David Harbour | Hellboy |
Supporting Cast
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Neil Marshall | Director |
| Andrew Cosby | Screenwriter |
| Mike Mignola | Story based on the Dark Horse Comic Book Created by |
| Lawrence Gordon | Producer |
| Lloyd Levin | Producer |
| Mike Richardson | Producer |
| Philip Westgren | Producer |
| Carl Hampe | Producer |
| John Thompson | Producer |
| Matt O'Toole | Producer |
| Les Weldon | Producer |
| Yariv Lerner | Producer |
| Mike Mignola | Executive Producer |
| Marc Helwig | Executive Producer |
| Avi Lerner | Executive Producer |
| Trevor Short | Executive Producer |
| John Thompson | Executive Producer |
| Lati Grobman | Executive Producer |
| Christa Campbell | Executive Producer |
| Jeffrey Greenstein | Executive Producer |
| Lorenzo Senatore | Director of Photography |
| Martin Bernfeld | Editor |
| Paul Kirby | Production Designer |
| Stephanie Collie | Costume Designer |
| Benjamin Wallfisch | Composer |
| Steve Begg | Visual Effects Supervisor |
| Joel Harlow | Creature Designer |
| Joel Harlow | Special Make-up Effects |
| Dan Hubbard | Casting Director |
| Elena Melamed | Line Producer |
| Elena Melamed | Unit Production Manager |
| Neil Wallace | First Assistant Director |
| Helen Fraser | Second Assistant Director |
| Markos Rounthwaite | Stunt Coordinator |
| Lonnie Ramati | Co-Executive Producer |
| Martin Bernfeld | Co-Producer |
| Danail Hadzhiyski | Visual Effects Producer |
| Anna V. James* | Visual Effects Producer |
| Janet Muswell | Visual Effects Producer |
| Michael Solinger | Post-Production Supervisor |
| Selena Arizanovic | Music Supervisor |
| Tony Lewis | Supervising Music Editor |
| Luke Clare | First Assistant Editor |
| Gemma Bourne | Assistant Editor |
| Amar Ingreji | Assistant Editor |
| Matthew Collinge | Sound Supervisor |
| Andrew Stirk | Re-recording Mixer |
| Matthew Collinge | Re-recording Mixer |
| Rob Prynne | Sound Designer |
| Paul Carter | Sound Designer |
| Martin Cantwell | Sound Designer |
| Rob Turner | Sound Effects Editor |
| Matt Davies | Dialogue and ADR Supervisor |
| Lilly Blazewicz | Foley Editor |
| Ivan Rangelov | Supervising Art Director |
| Adriano Giombini | Art Director |
| Alessandro Troso | Art Director |
| Alexei Karaghiaur | Art Director |
| Andrew Ackland-Snow | Art Director |
| Vladimir Kaloyanov | Sound Mixer |
| Stefania Velichkova | Script Supervisor |
| Yosif Mladenov | Set Designer |
| Stefan Manchev | Set Designer |
| Valentina Mladenova* | Set Decorator |
| Anna Gelinova | Costume Supervisor |
| Ivo Jivkov | Special Effects Supervisor |
| Diyan Hristov | Second Unit Director |
| Benjamin Wallfisch | Music Producer |
| Arabella Winter | Music Editor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.