United Kingdom Box Office for King Arthur: Legend of the Sword (2017)
| Theatrical Performance (US$) | ||
| United Kingdom Box Office | $6,338,331 | Details |
| Worldwide Box Office | $139,630,336 | Details |
| Home Market Performance | ||
| North America DVD Sales | $9,532,285 | Details |
| North America Blu-ray Sales | $7,834,276 | Details |
| Total North America Video Sales | $17,366,561 | |
| Further financial details... | ||
Synopsis
When the child Arthur’s father is murdered, Vortigern, Arthur’s uncle, seizes the crown. Robbed of his birthright and with no idea who he truly is, Arthur comes up the hard way in the back alleys of the city. But once he pulls the sword from the stone, his life is turned upside down and he is forced to acknowledge his true legacy…whether he likes it or not.
Metrics
Movie Details
| Production Budget: | $175,000,000 |
| United Kingdom Releases: | May 19th, 2017 (Wide) |
| Video Release: | August 8th, 2017 by Warner Home Video |
| MPAA Rating: | PG-13 for sequences of violence and action, some suggestive content and brief strong language. (Rating bulletin 2466 (Cert #50330), 3/8/2017) |
| Running Time: | 126 minutes |
| Keywords: | Royalty, Prophecy, Orphan, Sword & Sorcerer, Footage Shown in Reverse, Young Child Dealing with the Death of a Parent, Revenge, Middle Ages, 3-D, 3-D - Post-production Conversion, Heroic Adventure |
| Source: | Based on Folk Tale/Legend/Fairytale |
| Genre: | Adventure |
| Production Method: | Live Action |
| Creative Type: | Fantasy |
| Production/Financing Companies: | Warner Bros., Village Roadshow Productions, Weed Road Pictures, RatPac Entertainment, Dune Entertainment, Safehouse Pictures |
| Production Countries: | Australia, United States |
| Languages: | English |
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The Big Sick is the biggest limited release of the year earning over $40 million. This puts it ahead of many wide releases, including Ghost in the Shell, Valerian and the City of a Thousand Planets, and King Arthur Legend of the Sword, all of which cost more than $100 million to make. Is this film as good as its box office numbers? Or did it benefit from an historically weak summer?
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Home Market Releases for August 8th, 2017
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In Defense of Rotten Tomatoes
July 4th, 2017
I’ve seen a lot of people attacking Rotten Tomatoes recently saying it is bad for the movie business. Some even point to Transformers: The Last Knight as proof that the site can ruin a film’s box office chances. Besides that charge, the other two main complaints I’m hearing over and over again are A.) Rotten Tomatoes is a very shallow site, especially the Tomatometer. And B.) It is killing in-depth critical examination of movies. I’ll tackle those claims below.
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International Box Office: Dangal Dominates China in Groundbreaking Run
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International Box Office: Guardians Completes the Hat Trick with $52.2 million
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For the third weekend in a row, Guardians of the Galaxy Vol 2 led the international box office chart, earning $52.2 million in 56 markets for totals of $384.4 million internationally and $632.8 million worldwide. This pushes it into seventh place on the MCU chart. The film opened in second place in Japan, where it pulled in $3.0 million, which is 15% better than the original Guardians of the Galaxy did. On the downside, this is the film’s last market to open in, so it will be coasting on holdovers from now on. Speaking of holdovers, the film’s biggest market is China, where it added $15.16 million over the weekend for a total of $80.56 million. This is the film’s biggest single market and it could hit $100 million there shortly.
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Contest: Sharp as a Sword: Winning Announcement
May 17th, 2017
The winners of our Sharp as a Sword contest were determined and the entrants with the closest predictions for King Arthur: Legend of the Sword’s opening weekend were...
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Weekend Wrap-Up: Guardians Matches Original’s Hold Earning $65.26 million
May 16th, 2017
As expected, Guardians of the Galaxy Vol 2 crushed the competition this weekend earning more than Snatched and King Arthur: Legend of the Sword’s combined openings. However, it held on better than expected down 55% to $65.26 million. The overall box office still fell by 30% from last weekend to $136 million. This is 3.8% higher than the same weekend last year. Guardians of the Galaxy Vol 2 held on better than Captain America: Civil War did during its sophomore stint, but it was strong depth that helped 2017 win the year-over-year comparison. It didn’t win by much, so the overall lead still shrunk to 3.4% at $4.07 billion to $3.93 billion, but any lead is good news.
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Weekend Estimates: Second Place Snatched from King Arthur
May 14th, 2017
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King Arthur: Legend of the Sword has proved to be a costly bet gone wrong for Warner Bros. and Village Roadshow. The film had a long gestation period, and ended up costing $175 million to make. Once another $100 million or so of marketing is added in, that makes for a target of at least $550 million at the global box office before anyone starts recouping anything from the film. A domestic opening of $14.7 million, and $29.1 million overseas, makes that a laughably-distant prospect. Adding to the embarrassment, King Arthur will start out in third place, behind Mothers Day-play Snatched, and even that film isn’t doing particularly well, when all is said and done.
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Friday Estimates: New Releases are Feeling Low as Guardians Dominates with $16.43 million
May 13th, 2017
The Friday box office had a couple of surprises, but not at the top. Guardians of the Galaxy Vol 2 easily won the race for number one with $16.43 million. This is 70% lower than its opening Friday, which is distressing. Granted, Sunday is Mother’s Day, so it could bounce back more than it would during the average weekend, and our prediction of just over $60 million is still a solid bet.
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Thursday Night Previews: King Arthur Pulls $1.15 million from Previews
May 12th, 2017
As expected, King Arthur: Legend of the Sword topped Snatched at the box office during Thursday night previews earning $1.15 million. This is lower than anticipated and only about half what John Wick: Chapter Two managed earlier this year. Furthermore, its reviews are much worse at 26% positive, so even though it is not a sequel, it likely won’t have a strong multiplier during its opening weekend. It appears our prediction of just over $20 million is a little too optimistic. We will know more tomorrow when Friday’s estimates are released.
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Weekend Predictions: Can the New Releases Snatch Victory Away from Guardians?
May 11th, 2017
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There are two wide releases coming out this week, King Arthur: Legend of the Sword and Snatched. However, Guardians of the Galaxy Vol 2 will likely destroy them at the box office. The real question is whether or not the top three films this year will out-earn the three films from this weekend last year. At the beginning of the month, I thought that would happen, but now I’m not so sure. Guardians of the Galaxy Vol 2 missed expectations last weekend and King Arthur: Legend of the Sword and Snatched haven’t seen their buzz grow like most new releases do. I don’t think 2017 will get crushed like it did last weekend, but I also don’t think it will end its mini-losing streak either.
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Contest: Guard These Prizes: Winning Announcement
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Contest: Sharp as a Sword
May 4th, 2017
There are two wide releases coming out next week: King Arthur: Legend of the Sword and Snatched. Neither is expected to be a monster hit, but both at least have faint hope to earn $100 million domestically, assuming they earn good reviews. Unfortunately, there are no reviews for either film at the moment. Because of this, there’s a lot of guesswork regarding the film’s box office potential. King Arthur’s target audience is more likely to show up on the opening weekend than moviegoers interested in Snatched. Because of that, I think it is the best choice for the target film in this week’s box office prediction contest. In order to win, one must simply predict the opening weekend box office number for King Arthur: Legend of the Sword.
Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going over, will win a Frankenprise consisting of their choice of either one TV on DVD release, two movies, or a kids package (could be a theatrical release, a couple of single-disc TV on DVD releases, or a full season TV on DVD release). Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going under, will also win a Frankenprize, as described above. Finally, we will be choosing an entrant from the group of people who haven't won, or haven't won recently, and they will win the final Frankenprize, as described above.
Entries must be received by 10 a.m., Pacific Time on Friday to be eligible, so don't delay!
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2017 Preview: May
May 1st, 2017
April is over and thank god for that. The Fate of the Furious is currently the only film that was better than a midlevel hit, while Going in Style might end up being the second-biggest release of the month. On the low end, there were seven films on last month’s list that didn’t even manage to open in truly wide release (2,000 or more theaters). Fortunately, May looks a lot brighter. Guardians of the Galaxy, Vol. 2 should dominate the chart and get the month off to a fast start. Furthermore, every week there’s at least one film with a reasonable chance of earning $100 million domestically. Additionally, last May wasn’t particularly strong, so that should help 2017 overall. Granted, Captain America: Civil War earned more than $400 million, so the month got off to a fast start, but films struggled the rest of the way. The second-biggest film was X-Men: Apocalypse at just $155 million, while only one other movie, The Angry Birds Movie, earned more than $100 million. Guardians of the Galaxy, Vol. 2 should at least be competitive with Captain America: Civil War, allowing 2017 to win thanks to its superior depth.
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King Arthur Trailer
July 25th, 2016
Medieval adventure starring Charlie Hunnam, directed by Guy Ritchie opens March 24, 2017 ... 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 |
|---|---|---|---|---|---|---|---|
| 2017/05/19 | 1 | $3,256,955 | 564 | $5,775 | $3,256,955 | 1 | |
| 2017/05/26 | 5 | $759,694 | -77% | 568 | $1,337 | $4,880,672 | 2 |
| 2017/06/02 | 8 | $269,813 | -64% | 350 | $771 | $5,971,094 | 3 |
| 2017/06/09 | - | $51,778 | -81% | 121 | $428 | $6,142,274 | 4 |
| 2017/06/16 | - | $24,900 | -52% | 84 | $296 | $6,209,476 | 5 |
| 2017/06/23 | - | $9,879 | -60% | 44 | $225 | $6,210,215 | 6 |
| 2017/06/30 | - | $704 | -93% | 3 | $235 | $6,347,418 | 7 |
| 2017/07/14 | - | $651 | 3 | $217 | $6,390,745 | 9 | |
| 2017/07/21 | - | $235 | -64% | 1 | $235 | $6,338,331 | 10 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 5/12/2017 | $582,470 | 0 | 0 | 0 | $1,415,069 | 1/1/2019 |
| Australia | 5/19/2017 | $1,739,059 | 406 | 406 | 1195 | $4,137,259 | 7/13/2017 |
| Brazil | 5/19/2017 | $2,300,000 | 0 | 0 | 0 | $4,800,000 | 6/12/2017 |
| Bulgaria | 5/11/2017 | $78,027 | 0 | 0 | 0 | $312,894 | 2/26/2019 |
| China | 5/12/2017 | $5,380,000 | 40168 | 40168 | 40168 | $8,300,000 | 6/26/2017 |
| Czech Republic | 5/12/2017 | $156,695 | 134 | 134 | 317 | $501,664 | 1/1/2019 |
| France | 5/19/2017 | $2,400,000 | 0 | 0 | 0 | $6,000,000 | 6/26/2017 |
| Germany | 5/12/2017 | $2,000,000 | 0 | 0 | 0 | $5,600,000 | 6/12/2017 |
| Indonesia | 5/12/2017 | $1,500,000 | 0 | 0 | 0 | $3,000,000 | 1/1/2019 |
| Italy | 5/12/2017 | $775,609 | 0 | 0 | 0 | $2,100,000 | 6/5/2017 |
| Japan | 6/16/2017 | $763,833 | 0 | 0 | 0 | $1,997,102 | 6/30/2018 |
| Lithuania | 5/12/2017 | $27,937 | 146 | 146 | 355 | $104,607 | 7/27/2017 |
| Mexico | 5/12/2017 | $2,012,897 | 0 | 0 | 0 | $5,900,000 | 6/26/2017 |
| Netherlands | 5/11/2017 | $558,981 | 111 | 111 | 736 | $2,063,975 | 7/4/2017 |
| New Zealand | 5/19/2017 | $277,175 | 108 | 108 | 381 | $782,807 | 6/19/2017 |
| North America | 5/12/2017 | $15,371,270 | 3,702 | 3,702 | 12,290 | $39,175,066 | |
| Poland | 6/16/2017 | $265,652 | 0 | 0 | 0 | $1,178,967 | 1/1/2019 |
| Portugal | 5/12/2017 | $228,689 | 70 | 72 | 326 | $717,792 | 6/29/2017 |
| Russia (CIS) | 5/12/2017 | $5,264,710 | 1252 | 1307 | 4575 | $12,200,046 | 1/1/2019 |
| Slovakia | 5/12/2017 | $95,765 | 74 | 74 | 178 | $263,037 | 7/6/2017 |
| South Korea | 5/17/2017 | $0 | 0 | 588 | 901 | $2,988,048 | 6/13/2017 |
| Spain | 8/11/2017 | $1,163,897 | 421 | 421 | 1929 | $5,152,585 | 9/28/2017 |
| Thailand | 5/12/2017 | $1,100,000 | 0 | 0 | 0 | $1,100,000 | 5/15/2017 |
| Turkey | 5/12/2017 | $271,383 | 425 | 425 | 963 | $1,222,723 | 2/26/2019 |
| United Arab Emirates | 5/12/2017 | $1,000,000 | 0 | 0 | 0 | $2,100,000 | 1/1/2019 |
| United Kingdom | 5/19/2017 | $3,256,955 | 564 | 568 | 1738 | $6,338,331 | 7/26/2017 |
| Rest of World | $20,178,364 | ||||||
| Worldwide Total | $139,630,336 | 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
| Charlie Hunnam | King Arthur |
Supporting Cast
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Guy Ritchie | Director |
| Akiva Goldsman | Producer |
| Joby Harold | Producer |
| Tory Tunnell | Producer |
| Steve Clark-Hall | Producer |
| Guy Ritchie | Producer |
| Lionel Wigram | Producer |
| Joby Harold | Screenwriter |
| Guy Ritchie | Screenwriter |
| Lionel Wigram | Screenwriter |
| David Dobkin | Story by |
| Joby Harold | Story by |
| David Dobkin | Executive Producer |
| Bruce Berman | Executive Producer |
| Steven Mnuchin | Executive Producer |
| John Mathieson | Director of Photography |
| Gemma Jackson | Production Designer |
| James Herbert | Editor |
| Annie Symons | Costume Designer |
| Daniel Pemberton | Composer |
| Eunice Huthart | Stunt Coordinator |
| Nick Davis | Visual Effects Supervisor |
| Reg Poerscout-Edgerton | Casting Director |
| Brian Donovan | Unit Production Manager |
| Max Keene | First Assistant Director |
| Alex Bicknell | Visual Effects Producer |
| Max Keene | Associate Producer |
| James Herbert | Associate Producer |
| Denis Schnegg | Supervising Art Director |
| Thomas Brown | Art Director |
| Andrew Palmer | Art Director |
| Lizzie Kilham | Art Director |
| Anthony Caron-Delion | Art Director |
| Oliver Carroll | Art Director |
| James Collins | Art Director |
| Luke Hull | Art Director |
| Hayley Easton-Street | Art Director |
| Georgia Warner | Art Director |
| Claudio Campana | Assistant Art Director |
| Patrick Harris | Assistant Art Director |
| Samuel Leake | Assistant Art Director |
| Katrina Mackay | Assistant Art Director |
| Simon Hayes | Sound Mixer |
| Elizabeth West* | Script Supervisor |
| Marianne Jenkins | Post-Production Executive |
| Siobhan Boyes | Post-Production Supervisor |
| Philip Hedgecock | First Assistant Editor |
| Simon Changer | Music Editor |
| Dominic Gibbs | Supervising Sound Editor |
| Jimmy Boyle | Sound Designer |
| Ben Meechan | Sound Effects Editor |
| Danny Sheehan | Dialogue Editor |
| Matt Skelding | Dialogue Editor |
| Chris Burdon | Re-recording Mixer |
| Andrew Stirk | Re-recording Mixer |
| Lesa Warrener | Make up |
| Tina Jones | Set Decorator |
| Katherine Tibbetts | Production Manager |
| Lillie Jeffrey | Casting Associate |
| Ollie Gilbert | Casting Assistant |
| Mark Holt | Special Effects Supervisor |
| Carmila Gittens | Special Effects Coordinator |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.