Romania Box Office for The Hurricane Heist (2018)
Theatrical Performance (US$) | ||
Romania Box Office | $159,746 | Details |
Worldwide Box Office | $33,222,314 | Details |
Home Market Performance | ||
North America DVD Sales | $1,495,511 | Details |
North America Blu-ray Sales | $1,326,168 | Details |
Total North America Video Sales | $2,821,679 | |
Further financial details... |
Synopsis
A crew of thieves plans the ultimate heist, to steal $600 million from the U.S. treasury facility located on the Gulf Coast of Alabama using a hurricane as their cover. When the storm blows up into a lethal CATEGORY 5 and their well-made plans go awry, they find themselves needing a vault code known only by one female Treasury Agent, a need that turns murderous. But the Treasury agent has picked up an unlikely ally, a meteorologist terrified of hurricanes but determined to save his estranged brother kidnapped by the thieves. He uses his knowledge of the storm as a weapon to defeat the bad guys in this non-stop action/thriller.
Metrics
Movie Details
Production Budget: | $40,000,000 |
Romania Releases: | December 4th, 2020 (Wide) |
Video Release: | May 29th, 2018 by Lionsgate Home Entertainment |
MPAA Rating: | PG-13 for sequences of gun violence, action, destruction, language and some suggestive material. (Rating bulletin 2500 (Cert #51161), 11/1/2017) |
Running Time: | 103 minutes |
Keywords: | Heist, Extreme Weather, Hackers, Same Role, Multiple Actors, Action Thriller, Prologue, 1990s |
Source: | Original Screenplay |
Genre: | Thriller/Suspense |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | Foresight Unlimited, Parkside Pictures, Windfall Productions, Signature Pictures, RSVP Entertainment, Head Gear Films, Metrol Technology, Lipsync Productions, Double Negative Films |
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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Home Market Releases for May 29th, 2018
May 29th, 2018
This is one of the shortest lists I can remember. Not only are there only 8 releases in the main section, many of them would be secondary releases, at best, during a normal week. That’s not to say there are no releases worth checking out. This list is led by Annihilation on Blu-ray Combo Pack, while the second best new release is ... probably a secondary VOD title?
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Weekend Wrap-Up
March 20th, 2018
As predicted, Black Panther remained in first place on the weekend chart. Tomb Raider had an okay opening in second place, while I Can Only Imagine was the biggest positive surprise of the weekend. Love, Simon had a solid opening, especially compared to its production budget. The less said about 7 Days in Entebbe, the better. Overall, the weekend box office was down 4.8% from last weekend to just $132 million. This is 49% lower than this weekend last year. A 49% decline usually only happens when there is a misalignment in holidays, but in this case it’s due to Beauty and the Beast’s debut. 2018 is still ahead of 2017, albeit by a fraction of last week’s lead at just $66 million or 2.8%. In fact, with a margin of just $2.46 billion to $2.39 billion, it is very likely 2018 will lose its lead before the next weekend begins.
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Weekend Wrap-Up: Black Panther and Wrinkle in Time have Record-Breaking Weekend
March 13th, 2018
For the first time ever, the top two films at the weekend box office were both directed by African-American directors. That’s amazing and should be the big story. Unfortunately for A Wrinkle in Time, the big story is Black Panther’s continued box office dominance, as that film earned first place over Wrinkle with $40.82 million to $33.12 million. Disney should be happy with both results. The only other new release that didn’t bomb was The Strangers: Prey at Night, which earned third place with $10.40 million, which is excellent for a low-budget horror movie. The less said about The Hurricane Heist and Gringo, the better. Overall, the box office fell 8.3% from last weekend to $138 million. Compared to this weekend last year, the box office fell 16%. Year-to-date, 2018 has earned $2.27 billion, which is still 8.3% or $170 million ahead of 2017’s pace. That lead could be cut in half by this time next week.
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Weekend Estimates: Black Panther Bests Wrinkle in Time, in Disney vs. Disney Battle
March 11th, 2018
A Wrinkle in Time got out the gate a little more slowly than hoped for this weekend, and Disney is projecting an opening weekend of $33.3 million, as of Sunday morning. That’s actually in line with our prediction on Thursday of just under $35 million, but well below what pre-release interest in the film would have made seem possible. That relatively subdued debut left the door open for Black Panther, which will pick up another $41.1 million this weekend to top the chart, and continues breaking records.
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Friday Estimates: Wrinkle Tops Panther for a Limited Time
March 10th, 2018
A Wrinkle in Time earned first place on Friday with $10.21 million, which was enough for first place over Black Panther by a small margin. Unfortunately, this lead likely won’t last long, as the film’s reviews are only 42% positive and it only managed a B from CinemaScore. This is the best scores among the new releases this weekend, but not good for a family film and will hurt its legs. Look for a $33 million opening weekend.
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Thursday Night Previews: Timely Start for Wrinkle
March 9th, 2018
A Wrinkle in Time opened with $1.3 million during its previews. This might seem like a low amount; however, it is a live action family film and those tend to struggle during previews, but bounce back during the weekend. For example, Paddington 2 only managed $325,000 during its previews, but it went on to make $11 million during its opening weekend. A Wrinkle in Time won’t have the same legs, because its reviews are mixed. That said, it has a shot at first place with $35 million or more, which is in line with what we predicted.
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Weekend Predictions: Is It Time for Panther to Relinquish Top Spot?
March 8th, 2018
There are four wide releases coming out this week, but only one of them, A Wrinkle in Time, has a shot at dethroning Black Panther. Only one other, The Strangers: Prey at Night, has a shot at the top five. The other two, Gringo and The Hurricane Heist, are just hoping to not embarrass themselves. This weekend last year, the top two movies earned nearly $100 million. This year, the top five likely won’t earn that much. 2018 will lose the year-over-year comparison, but hopefully it will be close.
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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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The Hurricane Heist Trailer
February 1st, 2018
Action movie starring Toby Kebbell and Maggie Grace, opens March 9 ... 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 |
---|---|---|---|---|---|---|---|
2021/01/29 | - | $25 | 3 | $8 | $159,746 | 9 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 6/8/2018 | $0 | 0 | 0 | 0 | $434,728 | 1/1/2019 |
Brazil | 6/8/2018 | $412,407 | 0 | 0 | 0 | $746,227 | 6/25/2018 |
Bulgaria | 3/9/2018 | $18,583 | 0 | 0 | 0 | $63,466 | 2/26/2019 |
China | 11/2/2018 | $7,030,000 | 47806 | 47806 | 57448 | $13,655,054 | 12/6/2018 |
France | 3/2/2018 | $958,849 | 0 | 0 | 0 | $1,628,209 | 6/13/2018 |
Hong Kong | 3/16/2018 | $0 | 0 | 0 | 0 | $0 | |
Italy | 6/27/2018 | $153,769 | 0 | 0 | 0 | $311,950 | 7/10/2018 |
Lithuania | 3/9/2018 | $18,584 | 65 | 65 | 99 | $33,559 | 4/4/2018 |
Mexico | 4/6/2018 | $1,423,973 | 0 | 0 | 0 | $3,046,013 | 4/23/2018 |
Netherlands | 4/6/2018 | $175,878 | 87 | 87 | 242 | $458,079 | 4/23/2018 |
North America | 3/9/2018 | $3,024,399 | 2,402 | 2,402 | 4,878 | $6,115,824 | 2/11/2021 |
Poland | 4/13/2018 | $37,675 | 0 | 0 | 0 | $37,675 | 1/1/2019 |
Portugal | 3/9/2018 | $105,204 | 57 | 57 | 155 | $233,919 | 4/11/2018 |
Romania | 12/4/2020 | $0 | 0 | 3 | 3 | $159,746 | 2/3/2021 |
Russia (CIS) | 3/8/2018 | $503,688 | 658 | 658 | 1108 | $679,800 | 2/26/2019 |
South Korea | 3/8/2018 | $0 | 0 | 544 | 831 | $1,612,524 | 4/27/2018 |
Spain | 5/11/2018 | $162,703 | 203 | 203 | 487 | $331,830 | 6/7/2018 |
Turkey | 6/1/2018 | $74,611 | 218 | 218 | 434 | $199,052 | 2/26/2019 |
United Kingdom | 4/6/2018 | $32,894 | 57 | 57 | 57 | $32,894 | 4/11/2018 |
Rest of World | $3,441,765 | ||||||
Worldwide Total | $33,222,314 | 2/11/2021 |
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
Toby Kebbell | Will |
Maggie Grace | Casey |
Supporting Cast
Ryan Kwanten | Breeze |
Ralph Ineson | Perkins |
Melissa Bolona | Sasha |
James Cutler* | Clement Rice |
Ben Cross | Dixon |
James Barriscale | Deputy Michaels |
Mark 'Rhino' Smith | Deputy Baldwin |
Natacha Karam | Cassie |
Jimmy Walker | Xander Rice |
Leonardo Dickens | Young Will |
Luke Judy | Young Will |
Stuart McQuarrie | Niles |
Christian Contreras | Moreno |
Ed Birch | Frears |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Rob Cohen | Director |
Jeff Dixon | Screenwriter |
Scott Windhauser | Screenwriter |
Anthony Fingleton | Story by |
Carlos Davis | Story by |
Karen Baldwin | Producer |
Moshe Diamant | Producer |
Christopher Milburn | Producer |
Danny Roth | Producer |
William J. Immerman | Producer |
Rob Cohen | Producer |
Mark Damon | Producer |
Michael Tadross, Jr. | Producer |
Damiano Tucci | Producer |
Byron Allen | Executive Producer |
Carolyn Folks | Executive Producer |
Jennifer Lucas | Executive Producer |
Terence Hill | Executive Producer |
Mark Borde | Executive Producer |
Chris Charalambous | Executive Producer |
Mark Devitre | Executive Producer |
Carlos Davis | Executive Producer |
Anthony Fingleton | Executive Producer |
Alastair Burlingham | Executive Producer |
Charlie Dombek | Executive Producer |
Tamara Birkemoe | Executive Producer |
Jenna Sanz-Agero | Executive Producer |
Christopher Conover* | Executive Producer |
Norman Merry | Executive Producer |
Peter Hampden | Executive Producer |
Namit Malhotra | Executive Producer |
Greg Gavanski | Executive Producer |
Phil Hunt | Executive Producer |
Compton Ross | Executive Producer |
Gabriel Georgiev | Line Producer |
Shelly Johnson | Director of Photography |
Kess Bonnett | Production Designer |
Niven Howie | Editor |
Irina Kotcheva | Costume Designer |
Lorne Balfe | Composer |
Nancy Foy | Casting Director |
Kate Dowd | Casting Director |