Spain Box Office for Love the Coopers (2015)
Theatrical Performance (US$) | ||
Spain Box Office | $622,670 | Details |
Worldwide Box Office | $44,263,413 | Details |
Home Market Performance | ||
North America DVD Sales | $2,625,026 | Details |
North America Blu-ray Sales | $1,134,616 | Details |
Total North America Video Sales | $3,759,642 | |
Further financial details... |
Synopsis
Four generations of the extended family Cooper clan come together for their annual Christmas Eve celebration. As the evening unfolds, a series of unexpected visitors and unlikely events turn the night upside down, leading them all toward a surprising rediscovery of family bonds and the spirit of the holiday.
Metrics
Movie Details
Production Budget: | $18,000,000 |
Spain Releases: | December 25th, 2015 (Wide) |
Video Release: | February 2nd, 2016 by Lionsgate Home Entertainment |
MPAA Rating: | PG-13 for thematic elements, language and some sexuality. (Rating bulletin 2392, 9/23/2015) |
Running Time: | 107 minutes |
Keywords: | Christmas, Christmas in November, Fake Dating, Single Parent, Dysfunctional Family, Ensemble, Family Comedy, Romance, Non-Chronological, Relationships Gone Wrong |
Source: | Original Screenplay |
Genre: | Comedy |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | CBS Films, Imagine Entertainment, Groundswell Productions, Handwritten Films |
Production Countries: | United States |
Languages: | English |
Home Market Releases for February 9th, 2016
February 8th, 2016
It's a strange week on the home market, as we have a monster release coming out, Spectre. There are also four or so releases that are contenders for Pick of the Week. But after that, there's a huge drop in quality and we quickly reach releases that are not even worthy of being fillers. Of the contenders, Grandma is the Pick of the Week and it is certainly worth picking up on Blu-ray.
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Weekend Wrap-Up: Moviegoers Satisfied with Final Course of Hunger Games
November 24th, 2015
The Curse of the High Expectations strikes again. The Hunger Games: Mockingjay, Part 2 became the fifth film of the year to open with more than $100 million. This should be a reason to celebrate, but it marks a very steep decline from previous films in the Hunger Games franchise. The other two wide releases, The Night Before and Secret in Their Eyes, both failed to meet expectations, leaving the overall box office softer than anticipated. Granted, it still grew 60% from last weekend to $173 million, but this is 10% lower than the same weekend last year. Year-to-date, 2015 is still ahead of 2014 by a comfortable margin of 3.6% or $320 million. It would take a sizable collapse for 2015 to not come out on top in terms of raw box office dollars. On the other hand, it wouldn't take too much for it to slip below ticket price inflation, which is about 2% this year.
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Contest: Procrastoween: Winning Announcement
November 18th, 2015
The winners of our Procrastoween contest were determined and the entrants with the closest predictions for Love the Coopers opening weekend were...
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Weekend Wrap-Up: New Releases feel Unloved
November 17th, 2015
There's not much in the way of good news to talk about, which is something that is becoming sadly common. Two of the three new releases missed expectations and expectations were low to begin with. Love the Coopers led the new releases, but it is hardly what you would call a box office hit. Even calling it a middling hit is overstating things. The 33 barely managed a spot in the top five and will quickly leave theaters. My All-American missed the Mendoza Line* by a mile and missed the top ten in the process. This meant Spectre and The Peanuts Movie remained on top of the charts, but they could only help the box office avoid becoming a disaster. As it is, the overall box office fell 33% from last weekend to just $108 million. This was 23% less than the same weekend last year. Year-to-date, 2015's lead over 2015 took a real hit and its down to 3.9% at $9.06 billion to $8.72 billion. However, as we've seen recently, the overall box office is weaker than the these numbers look, as we've seen few major hits and many, many bombs.
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Weekend Estimates: Spectre Set to Be Number Two Bond
November 15th, 2015
Sony are predicting a decline of just 50% for Spectre in its second weekend in theaters, putting James Bond’s latest incarnation on track for a final domestic box office in the neighborhood of $200 million. While well short of Skyfall’s $304 million, it welcome news for a film that’s probably right on the bubble as far as profitability is concerned.
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Friday Estimates: Openers Fall Well Short of Spectre and Peanuts
November 14th, 2015
Three new wide releases are all, as expected, struggling to make much headway against Spectre and The Peanuts Movie this weekend, with the two returning films sitting comfortably at the top of the chart. Spectre picked up an estimated $10.2 million on Friday for a total to date of $105.5 million, while Peanuts earned another $5.6 million, for $63.9 million so far.
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Weekend Predictions: Will the New Releases get any Love?
November 11th, 2015
Last week the box office bounced back in an impressive fashion. However, this week it will very likely slump back down again. There are only two truly wide releases coming out this week, The 33 and Love the Coopers, neither of which are expected to be hits. In fact, there's a good chance neither of them will top $10 million over the weekend. This will leave Spectre and The Peanuts Movie on top of the charts once again, while we will have a one or two other holdovers in the top five, depending on how well the new wide releases match low expectations. This weekend last year Dumb and Dumber To opened with $36.11 million. This is more than either new release will earn this weekend, or in total. This might be more than both new releases will finish with combined. Unless the holdovers hold on really well, 2015 will lose in the year-over-year comparison, but it should be close.
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Contest: Elementary, My Dear Bond: Winning Announcement
November 10th, 2015
The winners of our Elementary, My Dear Bond contest contest were determined and the entrants with the closest predictions for Spectre opening weekend were...
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Contest: Procrastoween
November 6th, 2015
It is a bit of a messed up week as far as the contest is concerned. I ended the Halloween trick or treat contests a week early, because I got the release date of Mr. Holmes wrong. I had already set aside the two sets of horror or the one set of bad movies, so I might as well give them away this week. Also, the contest is a mess, because the wide releases next week are a mess. By the Sea was dropped to limited release, while My All-American is opening semi-wide, so that's a reversal of expectations. This leaves The 33 and Love the Coopers as the only true wide releases, neither of which is expected to be a even a midlevel hit. Combined they are not expected to be a midlevel hit. Worse for me, neither is expected to be a significantly bigger hit than the other making it harder to choose which film will be the target film. I'm literally going to have to flip a coin. Love the Coopers is the target film for this week's Box Office Prediction contest. In order to win, one must simply predict the opening weekend box office number for Love the Coopers.
Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going over, will win a Frankenprize consisting of two previously reviewed DVDs or Blu-rays.
Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going under, will win a Frankenprize consisting of two previously reviewed DVDs or Blu-rays.
Finally, we will be choosing an entrant from the group of people who haven't won, or haven't won recently, and they will also win a Frankenprize consisting of two previously reviewed DVDs or Blu-rays.
There is a difference this time. Two people will earn Frankenprizes consisting of two horror movies. The other winner will earn a Frankprize consisting of two "horror" movies, that is to say movies so bad that it will fill you with horror.
Entries must be received by 10 a.m., Pacific Time on Friday to be eligible, so don't delay!
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2015 Preview: November
November 1st, 2015
October has come to an end and everyone should be happy about that. Except for The Martian, there were no serious hits that opened last month. There were more outright bombs than even midlevel hits. Fortunately, October of last year wasn't spectacular either, so 2015 maintains a healthy lead over 2014. Even more fortunately, November looks fantastic. There are four films that have the potential to earn $200 million or more. The biggest of these is the final Hunger Games movie, which should reach $400 million. Spectre has a real shot at $300 million and could be the biggest hit in the franchise. Meanwhile, nearly every November there's an animated kids movie that becomes a monster hit. This year, The Peanuts Movie and The Good Dinosaur are both aiming for that box office milestone. The last time we didn't have a family film that earned at least $100 million in November was 2011 and that's because there were four family films that opened in the final two weeks of the month and that much competition meant they cannibalized each other. Both of these has a shot at $200 million and if neither of them reached $200 million, I would be shocked. Meanwhile, last November was a good month at the top with three monster hits: The Hunger Games: Mockingjay, Part 1, Big Hero 6, and Interstellar. However, after those three films, there were not much positive to talk about. It really looks like 2015 will match 2014 at the top, plus it could have better depth. I might be a little too optimistic, but I think November is going to be a great month at the box office.
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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 |
---|---|---|---|---|---|---|---|
2015/12/25 | 9 | $273,861 | 132 | $2,075 | $273,861 | 1 | |
2016/01/01 | 15 | $93,762 | -66% | 120 | $781 | $540,017 | 2 |
2016/01/08 | 26 | $15,803 | -83% | 51 | $310 | $613,108 | 3 |
2016/01/15 | 45 | $2,224 | -86% | 10 | $222 | $622,670 | 4 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 12/24/2015 | $65,672 | 36 | 36 | 77 | $168,280 | 12/31/2018 |
Australia | 11/27/2015 | $282,622 | 164 | 168 | 655 | $1,261,925 | 6/9/2016 |
Austria | 12/4/2015 | $93,364 | 53 | 54 | 238 | $538,232 | 6/9/2016 |
Bolivia | 12/3/2015 | $12,701 | 11 | 11 | 18 | $25,301 | 12/30/2018 |
Brazil | 12/3/2015 | $102,212 | 90 | 90 | 168 | $223,690 | 12/21/2015 |
Bulgaria | 11/27/2015 | $26,601 | 19 | 19 | 77 | $125,967 | 12/31/2018 |
Central America | 12/3/2015 | $0 | 0 | 55 | 55 | $230,750 | 12/16/2015 |
Chile | 12/24/2015 | $23,958 | 24 | 24 | 30 | $42,031 | 12/31/2018 |
Croatia | 12/10/2015 | $22,609 | 23 | 23 | 95 | $126,526 | 12/31/2018 |
Czech Republic | 12/10/2015 | $51,214 | 66 | 66 | 112 | $102,752 | 12/30/2018 |
Ecuador | 12/11/2015 | $22,687 | 22 | 22 | 22 | $22,687 | 12/30/2018 |
Germany | 12/3/2015 | $361,919 | 226 | 226 | 664 | $1,513,024 | 6/9/2016 |
Greece | 11/12/2015 | $28,102 | 19 | 19 | 35 | $61,689 | 11/25/2015 |
Hong Kong | 12/17/2015 | $33,622 | 7 | 7 | 11 | $74,049 | 9/5/2016 |
Hungary | 12/10/2015 | $149,717 | 48 | 48 | 48 | $664,550 | 12/31/2018 |
Iceland | 12/11/2015 | $0 | 0 | 1 | 1 | $18,493 | 12/30/2018 |
Iraq | 12/24/2015 | $6,460 | 2 | 2 | 4 | $12,306 | 12/31/2018 |
Italy | 11/26/2015 | $250,689 | 147 | 147 | 253 | $433,595 | 6/9/2016 |
Lebanon | 1/7/2016 | $7,543 | 2 | 2 | 3 | $11,468 | 12/31/2018 |
Lithuania | 12/17/2015 | $0 | 0 | 131 | 149 | $71,984 | 1/5/2016 |
Malaysia | 12/10/2015 | $15,624 | 17 | 17 | 23 | $28,425 | 9/5/2016 |
Mexico | 12/4/2015 | $127,869 | 0 | 1 | 1 | $835,399 | 6/9/2016 |
New Zealand | 11/27/2015 | $34,439 | 53 | 57 | 221 | $117,678 | 6/9/2016 |
North America | 11/13/2015 | $8,317,545 | 2,603 | 2,603 | 11,501 | $26,302,731 | 3/3/2020 |
Oman | 12/24/2015 | $0 | 0 | 1 | 1 | $1,084 | 12/31/2018 |
Peru | 12/10/2015 | $118,383 | 77 | 77 | 156 | $343,997 | 12/31/2018 |
Portugal | 12/10/2015 | $23,931 | 24 | 24 | 63 | $602,775 | 6/9/2016 |
Romania | 11/27/2015 | $162,848 | 52 | 52 | 152 | $571,502 | 12/30/2018 |
Russia (CIS) | 12/10/2015 | $255,191 | 502 | 502 | 1001 | $405,472 | 12/31/2018 |
Serbia and Montenegro | 12/17/2015 | $0 | 0 | 12 | 19 | $55,412 | 12/31/2018 |
Singapore | 12/10/2015 | $49,059 | 13 | 13 | 24 | $115,099 | 6/9/2016 |
Slovakia | 11/26/2015 | $25,317 | 28 | 28 | 95 | $72,797 | 12/22/2015 |
Slovenia | 12/10/2015 | $8,146 | 10 | 10 | 50 | $39,345 | 6/9/2016 |
South Africa | 12/11/2015 | $0 | 0 | 53 | 53 | $159,712 | 12/21/2015 |
Spain | 12/25/2015 | $273,861 | 132 | 132 | 313 | $622,670 | 6/9/2016 |
Switzerland | 12/3/2015 | $67,054 | 32 | 32 | 46 | $202,849 | 12/21/2015 |
Taiwan | 12/18/2015 | $10,032 | 8 | 8 | 20 | $26,259 | 6/9/2016 |
Thailand | 12/24/2015 | $29,148 | 77 | 77 | 93 | $48,131 | 9/5/2016 |
Turkey | 12/18/2015 | $9,277 | 16 | 16 | 21 | $15,864 | 12/30/2018 |
Ukraine | 12/24/2015 | $59,918 | 61 | 61 | 122 | $159,554 | 12/31/2018 |
United Arab Emirates | 12/24/2015 | $93,215 | 13 | 13 | 23 | $313,506 | 12/31/2018 |
United Kingdom | 12/4/2015 | $1,031,582 | 372 | 418 | 1290 | $3,661,407 | 6/9/2016 |
Uruguay | 12/3/2015 | $15,137 | 10 | 10 | 29 | $46,714 | 12/30/2018 |
Venezuela | 12/25/2015 | $402,775 | 38 | 38 | 94 | $1,749,809 | 1/26/2016 |
Rest of World | $2,035,923 | ||||||
Worldwide Total | $44,263,413 | 3/3/2020 |
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.
Lead Ensemble Members
Alan Arkin | Bucky |
John Goodman | Sam |
Ed Helms | Hank |
Diane Keaton | Charlotte |
Jake Lacy | Joe |
Anthony Mackie | Officer Williams |
Amanda Seyfried | Ruby |
June Squibb | Aunt Fishy |
Marisa Tomei | Emma |
Olivia Wilde | Eleanor |
Alex Borstein | Angie |
Timothée Chalamet | Charlie |
Maxwell Simkins | Bo |
Supporting Cast
Dan Amboyer | Handsome Young Man at Diner |
Dorothy Silver | Mrs. Pinkins |
Channing Pusateri | Young Boy |
Larry McKay | Bob |
Molly Gordon | Lauren Hesselberg |
Sylvia Kauders | Sara |
Krista Marie Yu | Lily the Florist |
Lev Pakman | Schnozzle Whitehead |
Michael R. Wilson | Young Sam |
Elisabeth Evans | Young Charlotte (20s) |
Keenan Joliff | Brady |
Sean McGee | Young Bucky |
Rory Wilson | Young Emma |
Quinn McColgan | Young Charlotte (12-14 yrs) |
Kristin Slaysman | Effie Newport |
Jon Tenney | Dr. Morrissey |
Ralph Browning | Gurney Doctor |
Marc Moore Jr. | Orderly |
Cady Huffman | Gift Shop Clerk |
John Luoma | Hospital Caroler |
Ryan Borgo | Hospital Caroler |
Justin Lonesome | Hospital Caroler |
Samuel Mancini | Hospital Caroler |
Jack Nadeau | Hospital Caroler |
Patrick Steven Bovo | Hospital Caroler |
James Hall | Hospital Caroler |
Steve Martin | Voice of Rags |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Jessie Nelson | Director |
Steven Rogers | Screenwriter |
Jessie Nelson | Producer |
Michael London | Producer |
Janice Williams | Producer |
Diane Keaton | Executive Producer |
Ted Gidlow | Executive Producer |
Steven Rogers | Executive Producer |
Kim Roth | Executive Producer |
Anna Culp | Executive Producer |
Elliot Davis | Director of Photography |
Beth Rubino | Production Designer |
Nancy Richardson | Editor |
Hope Hanafin | Costume Designer |
Nick Urata | Composer |
Mary Vernieu | Casting Director |
Venus Kanani | Casting Director |
T-Bone Burnett | Executive Music Producer |
Robin Fischella | Co-Producer |
Marsha L. Swinton | Co-Producer |
Ted Gidlow | Unit Production Manager |
Darin Rivetti | First Assistant Director |
Jason Roberts | Second Assistant Director |
Stephen Pope | Stunt Coordinator |
Steve Davison | Stunt Coordinator |
Peter Epstein | Stunt Coordinator |
Gregory Weimerskirch | Art Director |
Paul Cheponis | Set Decorator |
Darcie Buterbaugh | Costume Supervisor |
Louise McCarthy | Make up |
Donna Marie Fischetto | Hairstylist |
Scott Peterson | Script Supervisor |
Jim Emswiller | Sound Mixer |
Paul A. Levin | Post-Production Supervisor |
Ann Gray | Post-Production Supervisor |
Julie Carr | Assistant Editor |
Pablo Prietto | Assistant Editor |
Marie Lee | Assistant Editor |
Ron Bochar | Re-recording Mixer |
Ron Bochar | Supervising Sound Editor |
Ron Bochar | Sound Designer |
Alexa Zimmerman | Dialogue Editor |
Heather Gross | Sound Effects Editor |
Raymond M. Tasillo | Special Effects Coordinator |
Nic Ratner | Music Editor |
Jon Ong | Additional Music |
Jason LaRocca | Score Mixer |
Mitchell Ferm | Visual Effects Supervisor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.