Mexico Box Office for Jexi: Un Celular Sin Filtro (2019)
Theatrical Performance (US$) | ||
Mexico Box Office | $2,944,909 | Details |
Worldwide Box Office | $10,601,127 | Details |
Home Market Performance | ||
North America DVD Sales | $309,444 | Details |
North America Blu-ray Sales | $2,126,815 | Details |
Total North America Video Sales | $2,436,259 | |
Further financial details... |
Synopsis
Phil is a smart, funny, lovable guy with a major dependency issue. From the time he gets up in the morning until the minute his head hits the pillow at night, every waking moment is made possible by his mobile device. When he is forced to buy a new phone, the latest model comes with a digital assistant named Jexi. At first, his new artificially intelligent friend is helpful and solicitous, challenging Phil to change his life for the better, whether it be asking for a promotion at work or pursuing the girl of his dreams. But as Phil becomes more independent, Jexi turns from helpful to hostile… and suddenly Phil is confronted with a trash-talking tech nightmare who has very specific ideas about what constitutes a service contract.
Metrics
Movie Details
Production Budget: | $5,000,000 |
Mexico Releases: | December 25th, 2019 (Wide), released as Jexi: Un Celular Sin Filtro |
Video Release: | December 24th, 2019 by Lionsgate Home Entertainment |
MPAA Rating: | R for strong/crude sexual content and language throughout, some drug use and graphic nudity. (Rating bulletin 2597 (Cert #52249), 9/25/2019) |
Running Time: | 84 minutes |
Keywords: | Romance, Artificial Intelligence, Relationships Gone Wrong, Love Triangle, Romantic Comedy, Fired, Revenge, Internet |
Source: | Original Screenplay |
Genre: | Romantic Comedy |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | CBS Films, Entertainment One, Suzanne Todd |
Production Countries: | United States |
Languages: | English |
Home Market Releases for January 14th, 2020
January 13th, 2020
It’s a really bad week on the home market. Granted, there are three wide releases on this week’s list, which is better than most weeks. However, Maleficent: Mistress of Evil is the biggest and the best of these three releases. That’s not a good sign. There are not even a lot of smaller releases to make up for the weakness at the top.
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Home Market Releases for December 24th, 2019
December 26th, 2019
This year, Christmas Eve landed on a Tuesday. Christmas Eve is the busiest shopping day of the year, but that’s most people buying last minute groceries and the rest of the retail sector suffers as a result. This is true this year and there are so few releases to talk about that there will only be two sections in this week’s report: the main section and VOD releases. Judy is the only release on this week’s list that a majority will have heard of. It is also the best new release of the week.
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Weekend Wrap-Up: It Took a Trio of Hits for 2019 to Win
October 22nd, 2019
The weekend went about as well as expected, overall. Maleficent: Mistress of Evil didn’t open as well as expected, but Zombieland: Double Tap helped make up the difference. The overall box office was still down 6.5% from last weekend at $140 million; however, this was 5.3% higher than the same weekend last year and that is a much more important number. 2019 is still behind 2018’s pace by 5.3% or $500 million at $8.86 billion to $9.35 billion, but that’s not as bad as it has been this year.
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Weekend Wrap-Up: Joker’s Hold is No Laughing Matter
October 15th, 2019
Joker dominated the weekend box office, crushing expectations and setting records in the process. The Addams Family also beat expectations and this really helped 2019. Granted, the box office was still down 7.8% from last weekend to $138 million; however, this was 3.8% higher than the same weekend last year.
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Weekend Estimates: Joker Setting October Sophomore Record with $55 million
October 13th, 2019
Joker is setting the record for the biggest sophomore weekend in October. It is estimated to earn $55.0 million over the weekend, which is nearly $12 million more than the current record held by Gravity. It is also nearly $20 million more than Venom earned during its second weekend of release. If this estimate holds, then Joker will have earned nearly $192.7 million after just ten days of release. Furthermore, its international numbers are just as potent with a weekend haul of $123.7 million on 24,000 screens in 79 markets giving it totals of $351.2 million internationally and $543.9 million worldwide. Given its legs so far, $1 billion worldwide seems like a safe bet. It would be nice to get a billion dollar hit from 2019 that isn’t from Disney / Marvel. The film had a pair of stunning debuts in France ($10.3 million on 630 screens) and Germany ($9.3 million on 912). However, its biggest weekend haul was in the U.K., where it was down just 22%, earning $12.0 million on 1,472 screens for a two-week total of $36.9 million.
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Friday Estimates: The Joker Laughs at the Competition
October 12th, 2019
Joker remained in first place earning $17 million on Friday. This is 57% lower than the film’s opening Friday, which is a really good hold and puts it on pace for $58 million over the full weekend. This would lift its running tally to nearly $200 million after just 10 days of release and might even be enough to cover the film’s entire combined production and advertising budget.
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Thursday Night Previews: Gemini Has No Equal, For Now
October 11th, 2019
As expected, Gemini Man, got off to the fastest start of any of the three films opening this weekend. After all, it is an action film with a bankable star. Unfortunately, it didn’t open as fast as expected, earning $1.6 million. Because it is an action film with weak reviews that will likely turn into poor word-of-mouth, it will very likely have short legs. It needed about $2 million to match our $24 million prediction, so with this opening, I’m not convinced it will get to $20 million during its opening weekend.
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Weekend Predictions: It Looks Like a Scary Weekend
October 11th, 2019
There are three wide releases coming out, two of which have terrible reviews, The Addams Family and Gemini Man, while the third film, Jexi, as no reviews. It’s one of those weekends. Joker is widely expected to earn first place and it should hold better than Venom did during its second weekend of release, which is great news for 2019. Furthermore, this weekend last year, there were three wide releases with a total opening of $40 million. We should be able to top that this year by a significant margin, but A Star is Born is the one reason why 2018 could win in the year-over-year competition.
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2019 Preview: October
October 1st, 2019
September ended on a bit of a weak note, but overall the month was excellent helping 2019 gain some ground on 2018. Can October continue this trend? There are certainly some potential box office hits coming out this month, starting with Joker, which opens the first weekend of the month and should be the biggest hit of the month. Maleficent: Mistress of Evil is aiming for $150 million and should be a hit, even if it doesn’t match the original at the box office. There are also a handful of films with an outside shot at getting to $100 million and I wouldn’t be shocked if one of them made it to that milestone. Meanwhile, last October, Venom broke records during its opening weekend, while A Star is Born had stellar legs helping both earn more than $200 million domestically. I don’t think the top two films will be able to match that this year, but we do have better depth, for the most part, so perhaps 2019 will continue its winning ways and close ground, at least by a little bit.
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Jexi Trailer
September 5th, 2019
Comedy starring Adam DeVine and Alexandra Shipp opens October 11 ... Full Movie Details.
Phil is a smart, funny, lovable guy with a major dependency issue. From the time he gets up in the morning until the minute his head hits the pillow at night, every waking moment is made possible by his mobile device. When he is forced to buy a new phone, the latest model comes with a digital assistant named Jexi. At first, his new artificially intelligent friend is helpful and solicitous, challenging Phil to change his life for the better, whether it be asking for a promotion at work or pursuing the girl of his dreams. But as Phil becomes more independent, Jexi turns from helpful to hostile… and suddenly Phil is confronted with a trash-talking tech nightmare who has very specific ideas about what constitutes a service contract.
More...
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 |
---|---|---|---|---|---|---|---|
2019/12/27 | 11 | $201,924 | 0 | $313,513 | 1 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Lithuania | 10/11/2019 | $17,661 | 13 | 13 | 23 | $31,531 | 10/30/2019 |
Mexico | 12/25/2019 | $201,924 | 0 | 0 | 0 | $2,944,909 | 1/3/2020 |
North America | 10/11/2019 | $3,106,730 | 2,332 | 2,332 | 5,864 | $6,546,159 | |
Portugal | 12/26/2019 | $75,149 | 45 | 45 | 126 | $188,895 | 10/19/2022 |
Romania | 11/29/2019 | $89,535 | 60 | 60 | 238 | $316,627 | 2/5/2020 |
Russia (CIS) | 10/17/2019 | $172,221 | 423 | 423 | 676 | $280,319 | 10/19/2022 |
Slovakia | 11/29/2019 | $28,377 | 38 | 38 | 102 | $72,886 | 6/16/2020 |
South Korea | 2/19/2020 | $62,198 | 182 | 182 | 316 | $189,572 | 3/11/2020 |
Turkey | 2/28/2020 | $16,358 | 95 | 95 | 103 | $30,229 | 10/19/2022 |
Worldwide Total | $10,601,127 | 10/19/2022 |
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
Adam DeVine | Phil |
Alexandra Shipp | Cate |
Supporting Cast
Michael Peña | Kai |
Rose Byrne | Jexi |
Ron Funches | Craig |
Charlyne Yi | Elaine |
Wanda Sykes | Denice |
Justin Hartley | Brody |
Gavin Root | Phil (10 Years) |
Blake Grunder | Phil (5 Years) |
Richard Harder | Kickball Umpire |
Ray Reinhardt | Old Man |
Diana Jackson | Phil’s Mother |
Aaron Wilton | Phil’s Father |
Kenny Lorenzetti | Fillmore Security Guard |
A.J. Kirsch | Big SUV Driver |
C.J. Stuart | Neon Rider |
Cameos
Scott Mescudi | Himself |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Jon Lucas | Director |
Scott Moore | Director |
Jon Lucas | Screenwriter |
Scott Moore | Screenwriter |
Suzanne Todd | Producer |
Mark Kamine | Executive Producer |
Ben Kutchins | Director of Photography |
Marcia Hinds | Production Designer |
James Thomas | Editor |
Julia Caston | Costume Designer |
Christopher Lennertz | Composer |
Philip White | Composer |
Maggie Phillips | Music Supervisor |
Cathy Sandrich Gelfond* | Casting Director |
Amanda Mackey | Casting Director |
Mark Kamine | Unit Production Manager |
Michele Ziegler | First Assistant Director |
Xanthus Valan | Key Second Assistant Director |
Andy Gill | Stunt Coordinator |
Buddy Joe Hooker | Stunt Coordinator |
Michael E. Goldman | Art Director |
Bo Johnson | Set Designer |
Alexandra Brandenburg | Set Decorator |
Nancy Jarzynko | Costume Supervisor |
Gretchen Davis | Make up |
Lisa Patnoe | Make up |
Yvette Rivas | Hairstylist |
Robert A. Mrazik | Hairstylist |
Carol DePasquale | Script Supervisor |
Fred Runner | Sound Mixer |
Sharlene F. Duale | Location Manager |
Simon Lake | Location Manager |
Shadi Enayati | Post-Production Supervisor |
Delaney Del Vecchio | First Assistant Editor |
Clarence Deng | Assistant Editor |
Sean McCormack | Supervising Sound Editor |
Erin Oakley | Supervising Sound Editor |
Julian Slater | Re-recording Mixer |
David Esparza | Re-recording Mixer |
Paul Pirola | Sound Designer |
Tom Scott-Toft | Sound Effects Editor |
Harvey James | Sound Effects Editor |
Robert Chen* | Dialogue Editor |
Adam Shaw | Foley Editor |
Jamie Famularo | Foley Editor |
Scott Hemming | Foley Mixer |
Craig Becket | Foley Mixer |
Matt Heron | Special Effects Coordinator |
Heidi Anna Erl | Production Supervisor |
Ben Schor | Supervising Music Editor |
Jay B. Richardson | Music Editor |
Matt Bowen | Score Producer |
Dara Taylor | Score Coordinator |
Damon Tedesco | Score Mixer |
Andy Gill | Second Unit Director |
David Van Dyke | Visual Effects Supervisor |
David Lebensfeld | Visual Effects Supervisor |
Grant Miller | Visual Effects Supervisor |
Bill Georgiou | Visual Effects Supervisor |
Craig Weiss | Visual Effects Supervisor |
Shane Strickman | Visual Effects Producer |
Chad Hudson | Visual Effects Producer |
Amol Parulekar | Visual Effects Producer |
Mary Joy Macalintal | Visual Effects Producer |
Chris Tezber | Visual Effects Producer |
Sarah Paul | Visual Effects Producer |
Senior Visual Effects Producer* | Visual Effects Producer |
James Kinnings | Animation Supervisor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.