Australia Box Office for It Comes At Night (2017)
Theatrical Performance (US$) | ||
Australia Box Office | $320,185 | Details |
Worldwide Box Office | $19,720,203 | Details |
Home Market Performance | ||
North America DVD Sales | $774,563 | Details |
North America Blu-ray Sales | $524,501 | Details |
Total North America Video Sales | $1,299,064 | |
Further financial details... |
Synopsis
Imagine the end of the world—now imagine something worse. Secure within a desolate home as an unnatural threat terrorizes the world, the tenuous domestic order a man has established with his wife and son is put to the ultimate test with the arrival of a desperate young family seeking refuge. Despite the best intentions of both families, paranoia and mistrust boil over as the horrors outside creep ever-closer, awakening something hidden and monstrous within him as he learns that the protection of his family comes at the cost of his soul.
Metrics
Movie Details
Production Budget: | $5,000,000 |
Australia Releases: | July 7th, 2017 (Wide), released as It Comes At Night |
Video Release: | August 29th, 2017 by A24 |
MPAA Rating: | R for violence, disturbing images, and language. (Rating bulletin 2473 (Cert #50950), 4/26/2017) |
Running Time: | 91 minutes |
Keywords: | Cabin in the Woods, Post Apocalypse, Paranoia, Isolation Horror, Epidemic |
Source: | Original Screenplay |
Genre: | Horror |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | Animal Kingdom |
Production Countries: | United States |
Languages: | English |
Home Market Releases for September 12th, 2017
September 13th, 2017
Apparently it is Halloween, because there are a lot of horror titles on this week’s list. Some of them are good, some are not. As for Pick of the Week contenders, there are a few of them. If you have kids, then Captain Underpants: The First Epic Movie on DVD, Blu-ray Combo Pack, or 4K Ultra Combo Pack is your best bet. If you are a fan of Sci-fi, then go with the final season for Orphan Black. However, in the end I went with Phenomena on Blu-ray. You can also buy the movie from the Official Site in a Steelbox with soundtrack and pamphlet.
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Home Market Releases for August 29th, 2017
August 29th, 2017
It’s one of those weeks that are deceptively busy. The biggest new release of the week is Wonder Woman, but it is only coming out on Video on Demand. The biggest overall release is the The Lion King franchise on separate Blu-ray releases, but it’s at least a double-dip on Blu-ray. I think a triple-dip on Blu-ray. If it weren’t for these circumstances, they would be clear Pick of the Week contenders. Without those two movies, the next best is... My Cousin Rachel on Blu-ray. Its reviews are not quite Pick of the Week level, but it is the best of what we've got.
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Thursday Night Previews: Apes Battle for $5 million Debut
July 14th, 2017
War for the Planet of the Apes started its box office run with $5 million in Thursday previews, which is a little lower than expected, but not tragically so. For example, Alien: Covenant earned $4.2 million during its previews on its was to a $36.16 million weekend. If War for the Planet of the Apes has the same legs, it would make $43 million this weekend. On the other hand, The Mummy earned $2.66 million pulling in $31.67 million during its opening weekend. If War for the Planet has the same legs as that film, it would earn just shy of $60 million during its opening weekend. War has much better reviews than either of those films, to it could have better legs than either of those films. That said, it is also the third installment in the reboot franchise and that tends to shrink legs. The average is just over $50 million, which sounds about right.
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Weekend Wrap-Up: Cars 3 Crosses the Finish Line with $53.69 million
June 20th, 2017
As expected, Cars 3 earned first place over the weekend, but it did so with just $53.69 million, which is lower than anticipated. On the other hand, Wonder Woman remains one of the most impressive wide releases of 2017 when it comes to legs. Even if it didn’t earn another dollar, it would still have above average legs. All Eyez on Me went off to a fast start, but has a troubling internal multiplier, which doesn’t bode well for its future. Overall, the box office rose 31% from last weekend to $189 million. Unfortunately, it fell 19% from the same weekend last year and that’s more important. Fortunately, 2017 still has a sizable lead over 2016 at $5.16 billion to $5.00 billion.
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Thursday Night Previews: The Eyez Have it earning $3.1 million
June 16th, 2017
All Eyez on Me surprised analysts earning $3.1 million during its previews last night. This is better than The Mummy’s $2.66 million earned last weekend, while its reviews are also marginally better. Granted, its Tomatometer score is just 27% positive, so that could kill the film’s legs by Saturday, but this is still a very positive start and the movie will almost assuredly top our prediction of just under $20 million.
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Weekend Wrap-Up: Wonder Woman is the Spider-Man of Super Heroes
June 13th, 2017
The weekend box office had a few surprises, some positive and some negative. On the positive side, Wonder Woman had the best hold for a major super hero movie since Spider-Man and is on pace for $340 million to $375 million. On the negative side were all three new releases. The Mummy finished on the low side of already low expectations, while It Comes At Night pleased critics, but not moviegoers. Meanwhile, Megan Leavey missed the Mendoza Line. Overall, the box office fell 22% from last weekend to $144 million. This is 5.7% lower than this weekend last year. Fortunately, since this time last week, 2017 expanded its lead over 2016 by about $20 million at $4.90 billion to $4.73 billion. We are almost halfway through the year, so a $175 million / 3.7% lead is solid. It isn’t impossible for that lead to evaporate, but it is enough to be cautiously optimistic about the final tally.
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Weekend Estimates: Mummy’s $32 Million Debut No Match for Wonder Woman
June 11th, 2017
There are precious few crumbs of comfort to be found from Universal’s launch of The Mummy this weekend. The studio is projecting a $32.2 million opening this weekend from 4,035 theaters. That will be a fairly distant second to Wonder Woman, which is expected to earn about $57.1 million. Even the bright news—that this is Tom Cruise’s biggest global opening weekend—comes with an asterisk.
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Friday Estimates: Wonder Woman Wows Again with $15.8 million
June 10th, 2017
At the beginning of the month, I assumed this weekend would be a close race between Wonder Woman and The Mummy. I assumed The Mummy would at least win on Friday, but that’s not the case, as Wonder Woman remains the number one box office draw. The film earned $15.8 million on Friday, which is 59% lower than its opening Friday. It should bounce back on Saturday and finish the weekend with $53 million, which is just a 49% sophomore stint drop-off. A super hero movie falling less than 50% during its second weekend of release is simply stunning. Granted, its reviews are among the best of the year, so having better than average legs was expect. That said, a 49% drop-off is still an amazing performance and should lead to more than a few movie executives to look for ways to copy its success.
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Thursday Night Previews: Is The Mummy Dead on Arrival with $2.66 million?
June 9th, 2017
The Mummy started its domestic box office run last night earning $2.66 million in previews. This is well below expectations and it was already expected to struggle. To put this into perspective, it only earned approximately a quarter of what Wonder Woman managed last week and less than half of what Pirates of the Caribbean: Dead Men Tell No Tales earned the weekend before that. Add in reviews that are just 20% positive and there’s a chance the film’s word-of-mouth will kill the film’s legs by this evening. At this point, a $30 million opening could be asking too much. $25 million isn’t even a sure thing anymore.
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Weekend Predictions: Can Mummy Bury the Competition?
June 8th, 2017
Last weekend was a great one at the box office with Wonder Woman earning over $100 million during its opening. This weekend isn’t expected to be nearly as potent. The biggest new release is The Mummy, which is supposed to be the start of the Dark Universe, but its reviews suggest this combined universe will be short-lived. It Comes At Night could become A24’s biggest hit, although that’s not a particularly high bar. Finally there’s Megan Leavey. It isn’t expected to open truly wide, but it only needs about $2 million to reach the top ten. This weekend last year was similar in terms of box office strength. The Conjuring 2: The Enfield Poltergeist led the way with barely more than $40 million, while there were two other new releases to top $20 million. This year’s crop of new films is nowhere near as good as that; however, the holdovers should make up the difference leaving 2017 ahead in the year-over-year comparison.
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It Comes at Night Trailer
June 7th, 2017
Horror movie starring Joel Edgerton, Riley Keough, and Christopher Abbott opens on Friday ... Full Movie Details.
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2017 Preview: June
June 1st, 2017
May was a really soft month with only one unqualified hit, Guardians of the Galaxy, Vol. 2, which is climbing towards $375 million domestically. The second biggest hit of the month will be Pirates of the Caribbean: Dead Men Tell No Tales and I would be surprised if it tops $150 million by any serious margin. June looks a lot more profitable. There are five weeks and every week there is at least one film with a great shot at $100 million or more. In fact, there are four films with at least a decent shot at $200 million and we could double the number of $300 million hits released so far this year. Wonder Woman is widely expected to start the month with an explosive debut and pulling in more than $100 million during its opening weekend is more and more likely. That said, Despicable Me 3 will probably end up being the biggest hit overall with over $300 million. Meanwhile, Cars 3 and Transformers: The Last Knight are both aiming for $200 million. Last June was not particularly strong, outside of one hit. Finding Dory earned nearly $500 million domestically, while the second best film, Central Intelligence, barely earned a quarter of that. I don’t think any film will come close to Finding Dory, but there’s a lot more depth this time around and I have high hopes 2017 will extend its lead.
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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 |
---|---|---|---|---|---|---|---|
2017/07/07 | 10 | $102,998 | 34 | $3,029 | $102,998 | 1 | |
2017/07/14 | 12 | $68,100 | -34% | 39 | $1,746 | $225,153 | 2 |
2017/07/21 | 20 | $31,562 | -54% | 32 | $986 | $282,889 | 3 |
2017/07/28 | - | $13,304 | -58% | 21 | $634 | $310,348 | 4 |
2017/08/04 | - | $5,823 | -56% | 12 | $485 | $320,185 | 5 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 6/30/2017 | $145,559 | 0 | 0 | 0 | $214,681 | 1/1/2019 |
Australia | 7/7/2017 | $102,998 | 34 | 39 | 138 | $320,185 | 8/7/2017 |
Brazil | 6/23/2017 | $77,085 | 0 | 0 | 0 | $86,821 | 6/26/2018 |
France | 6/23/2017 | $401,494 | 0 | 0 | 0 | $1,096,907 | 6/27/2018 |
Mexico | 6/30/2017 | $178,690 | 0 | 0 | 0 | $408,814 | 10/12/2018 |
Netherlands | 6/16/2017 | $75,501 | 44 | 44 | 166 | $290,068 | 7/21/2017 |
North America | 6/9/2017 | $5,988,370 | 2,533 | 2,533 | 6,228 | $13,985,117 | 4/11/2018 |
Poland | 7/7/2017 | $85,745 | 0 | 0 | 0 | $238,346 | 1/1/2019 |
Portugal | 12/29/2017 | $33,547 | 22 | 23 | 51 | $67,699 | 1/22/2018 |
Russia (CIS) | 8/25/2017 | $224,609 | 490 | 490 | 895 | $439,779 | 1/1/2019 |
South Korea | 10/12/2017 | $0 | 0 | 225 | 225 | $62,771 | 10/31/2017 |
Spain | 7/7/2017 | $250,536 | 258 | 258 | 617 | $639,467 | 10/30/2018 |
Turkey | 9/14/2018 | $20,187 | 83 | 83 | 105 | $23,892 | 2/26/2019 |
United Kingdom | 7/7/2017 | $291,973 | 222 | 222 | 396 | $783,517 | 9/25/2018 |
Rest of World | $1,062,139 | ||||||
Worldwide Total | $19,720,203 | 2/26/2019 |
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
Joel Edgerton | Paul |
Riley Keough | Kim |
Supporting Cast
Kelvin Harrison Jr | Travis |
David Pendleton | Bud |
Griffin Robert Faulkner | Andrew |
Christopher Abbott | Will |
Carmen Ejogo | Sarah |
Mikey | Stanley |
Chase Joliet | Man #1 |
Mick O Rourke | Man #2 |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Trey Edward Shults | Director |
Trey Edward Shults | Screenwriter |
David Kaplan | Producer |
Andrea Roa | Producer |
Joel Edgerton | Executive Producer |
Chase Joliet | Associate Producer |
Justin Chan | Associate Producer |
Brian McOmber | Composer |
Drew Daniels | Cinematographer |
Karen Murphy | Production Designer |
Avy Kaufman | Casting Director |
Meghan Kasperlik | Costume Designer |
Trey Edward Shults | Co-Editor |
Matthew Hannam | Co-Editor |
Naomi Munro | Art Director |
Sally Levi | Set Decorator |
Mary Beth Minthorn | Unit Production Manager |
David Ketterer | First Assistant Director |
Alice Johnson | Second Assistant Director |
Drew Leary | Stunt Coordinator |
Brandon Smith | Stunt Coordinator |
T.J. Larson | Script Supervisor |
Dimitri Kouri | Sound Mixer |
Justin Stowell | Location Manager |
Tommy Love | Additional Art Direction |
Jessie Eden | Special Make-up Effects |
Brian Schuley | Special Effects Supervisor |
Kara Janeczko | Production Supervisor |
Eric McNatt | Stills Photographer |
Aaron Peer | Assistant Editor |
Michael Sweeney | Assistant Editor |
Damian Volpe | Re-recording Mixer |
Mary Ellen Porto | Dialogue Editor |
Tony Martinez | Dialogue Editor |
Micah Blaichman | Foley Mixer |
Bridget Fullan | Visual Effects by |
John Bair | Visual Effects Supervisor |
Vivian Connolly | Visual Effects Executive Producer |
Matt Griffin | Visual Effects Producer |
Katherine Miller | Music Editor |
Ben Greenberg | Score Recordist |
Brian McOmber | Score Recordist |
Jordan Dykstra | Score Recordist |
Paul Wiancko | Score Recordist |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.