Mexico Box Office for Ma (2019)
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| Theatrical Performance (US$) | ||
| Mexico Box Office | $1,113,394 | Details |
| Worldwide Box Office | $61,220,784 | Details |
| Home Market Performance | ||
| North America DVD Sales | $1,961,791 | Details |
| North America Blu-ray Sales | $1,334,614 | Details |
| Total North America Video Sales | $3,296,405 | |
| Further financial details... | ||
Synopsis
Sue Ann is a loner who keeps to herself in her quiet Ohio town. One day, she is asked by Maggie, a new teenager in town, to buy some booze for her and her friends, and Sue Ann sees the chance to make some unsuspecting, if younger, friends of her own. She offers the kids the chance to avoid drinking and driving by hanging out in the basement of her home. But there are some house rules: One of the kids has to stay sober. Don’t curse. Never go upstairs. And call her “Ma.” But as Ma’s hospitality starts to curdle into obsession, what began as a teenage dream turns into a terrorizing nightmare, and Ma’s place goes from the best place in town to the worst place on earth.
Metrics
Movie Details
| Production Budget: | $5,000,000 |
| Mexico Releases: | May 31st, 2019 (Wide), released as Ma |
| Video Release: | August 20th, 2019 by Universal Home Entertainment October 14th, 2019 by Universal Pictures UK |
| MPAA Rating: | R for violent/disturbing material, language throughout, sexual content, and for teen drug and alcohol use. (Rating bulletin 2569 (Cert #51640), 3/13/2019) |
| Running Time: | 99 minutes |
| Keywords: | Set in Ohio, Psychological Horror, Social Outcast, Kidnap |
| Source: | Original Screenplay |
| Genre: | Horror |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Blumhouse, Wyolah Films, Universal Pictures |
| Production Countries: | United States |
| Languages: | English |
Home Market Releases for September 3rd, 2019
September 4th, 2019
It’s another short week with not a lot to talk about. The biggest release of the week is Men in Black International, but it missed expectations by a significant margin. The best first-run release is Booksmart, which also missed expectations by a significant margin, but it is still good enough to be a Pick of the Week contender. In fact, it’s only competition is My Hero Academia: Season Three, Part Two. It came down to a literal coin toss and My Hero Academia won, but both deserve the title.
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Home Market Releases for August 20th, 2019
August 21st, 2019
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I don’t like awarding the Pick of the Week to films only coming out on Video on Demand, but John Wick: Chapter 3 — Parabellum is the best release of the week and it isn’t even particularly close.
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Thursday Night Previews: Toy Story 4 has Second Best Animated Previews
June 21st, 2019
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First the good news: Toy Story 4 had the second best previews for an animated film earning $12 million. Now the bad news: Incredibles 2 had the best earning $18.5 million last year. Toy Story 4 better have better legs or 2019 is in real trouble. Fortunately, most analysts agree that it will and it is still on pace to match our $155 million prediction. We will obviously know more tomorrow when Friday’s numbers show up, but also the CinemaScore will be a big help. If audiences love the movie as much as critics did, then its legs should be a real asset.
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Weekend Predictions: Can Toy Story 4 Save June’s Box Office Run?
June 20th, 2019
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June has not lived up to expectations and unless Toy Story 4 is a record-breaking hit, we are going to end the month with a loss. I don’t think it will break records, but it will easily be the biggest hit of the month. Also opening this week is Child’s Play, the reboot to the long-running horror franchise of the same name. Finally, Anna is the latest film from Luc Besson and many are comparing it to Lucy. It’s not going to do that well. It likely won’t reach the top five. This weekend last year, Jurassic World: Fallen Kingdom opened with $148.02 million. I really hope Toy Story 4 tops that; however, even if it does, nothing playing this weekend is going to compare with Incredibles 2’s run last year, so 2019 is going to lose in the year-over-year comparison.
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Weekend Wrap-Up: New Releases Miss Expectations and Estimates
June 11th, 2019
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It was a mixed weekend at the box office with neither of the two new releases matching expectations. Not only that, but most of the top five missed estimates as well. This led to a result 5.6% lower than last weekend falling to $164 million. I was really expecting growth this weekend. The Secret Life of Pets 2 led the way with $46.65 million, while Dark Phoenix really struggled with just $32.83 million. Aladdin was arguably the only real bright spot in the top five this weekend. Fortunately, this weekend last year was even worse and 2019 was able to win the year-over-year comparison by a whopping 37%. This allowed 2019 to close the gap between it and 2018 to just $300 million or 5.9% at $4.78 billion to $5.08 billion. That’s still a large gap, but it is far cry from where it once was.
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Weekend Wrap-Up: Godzilla Tops Weekend Chart and Helps 2019 to Rare Win
June 4th, 2019
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Godzilla: King of the Monsters didn’t live up to expectations, but it did well enough to earn first place on the weekend box office chart. King of the Monsters opened with $47.78 million, while Aladdin was right behind with $42.84 million. This helped the overall box office hold on a lot better than expected, down just 4.3% to $174 million, which is a fantastic hold for a post-holiday weekend. The box office was also a huge improvement from this weekend last year, up 63% in the year-over-year comparison. Year-to-date, 2019 has pulled in $4.54 billion, which is still 7.4% or $380 million behind last year’s pace, but a few more wins like this and that gap won’t seem so bad anymore. That said, as anyone who’s read our monthly preview will know, I’m not expecting too many weekends like this in June.
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Weekend Estimates: Godzilla Towers Above the Competition
June 2nd, 2019
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As expected, Godzilla: King of the Monsters is leading the way on the weekend box office chart. However, it is falling a little short of expectations with an estimated opening weekend of $49.03 million. The film earned a B plus from CinemaScore, which is much better than its reviews, but still not stellar, while the genre isn’t known for long legs, so I’m not sure about its future. It is performing a lot better internationally with $130 million on 52,000 screens in 75 markets, including $70 million in China and $8.4 million in Japan. It has nearly matched its $200 million production budget in just one weekend, while it has yet to open in Spain and a few smaller markets.
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Friday Estimates: Godzilla Tops Competition, but with a Soft Touch
June 1st, 2019
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Godzilla: King of the Monsters dominated the chart on Friday with $19.61 million on its opening day. The film needed to open with a couple of million dollars more than $20 million to match our prediction, but it will come close enough. Its reviews are weak and it only managed a B plus from CinemaScore, which is not great either. It appears the film is aimed at Kaiju fans and might not appeal to all action fans. That said, it is on pace to earn $50 million during its opening weekend, which is enough to be a financial success, assuming it does as well internationally.
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Thursday Night Previews: Godzilla Floods Skull Island, but isn’t King of the Kaiju - Updated
May 31st, 2019
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Godzilla: King of the Monsters opened with $6.3 million in previews, which is almost exactly in the middle of Kong: Skull Island ($3.7 million) and Godzilla ($9.3 million). The film’s reviews have sunk to just 41% positive, which is close to the point where it will start to scare away potential moviegoers. However, I think its CinemaScore will be a lot better. I was hoping for a little more, so perhaps our $56 million prediction was a little too optimistic. That said, I think it will be close.
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Weekend Predictions: Will Godzilla Crush the Critics with a Massive Opening Weekend?
May 30th, 2019
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Godzilla: King of the Monsters leads a trio of new releases hoping to make an impact at the box office this weekend. It will have no trouble earning first place and even the low-end of predictions are at $50 million. Rocketman has the best reviews of the week and it could continue the positive trend for musical biopics. Finally there’s MA, a psychological horror that could become a midlevel hit, but even if it fails to live up to expectations, it was inexpensive enough to break even. Meanwhile, Aladdin and John Wick: Chapter 3 - Parabellum will remain in the top five, while Avengers: Endgame could be one of six films earning more than $10 million over the weekend. This weekend last year, Adrift was the biggest new release opening with just $11.60 million, while Solo: A Star Wars Story was the number one film with $29.40 million. There should be three films that top Solo and as many as six that top Adrift. 2019 should come away with an easy win.
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2019 Preview: May
May 1st, 2019
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April got off to a fast start with Shazam! opening the first weekend of the month. Meanwhile, Avengers: Endgame ended the month with a record-breaking debut. Unfortunately for 2019, last April had a very similar result leaving 2019 behind 2018’s pace by over $400 million. Will May be able to turn things around? Last May, there were only two films that reached $200 million, Deadpool 2 and Solo: A Star Wars Story. Meanwhile, this May there are three such films, Detective Pikachu, Aladdin, and Godzilla: King of the Monsters. There are two points we need to make. Firstly, the only reason there are more potential $200 million hits this year is because May has five Fridays this year. Secondly, this May also has a lot better depth with films like John Wick: Chapter 3 - Parabellum and Rocketman being potential $100 million hits. Even if we ignore the final weekend, May should do well enough to cut into 2018’s lead over 2019. It’s not going to be able to cut it in half, but it could do well enough to make box office analysts a little more positive about the year’s chances overall.
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Ma Trailer
February 25th, 2019
Horror movie starring Octavia Spencer opens May 31 ... Full Movie Details.
Sue Ann is a loner who keeps to herself in her quiet Ohio town. One day, she is asked by Maggie, a new teenager in town, to buy some booze for her and her friends, and Sue Ann sees the chance to make some unsuspecting, if younger, friends of her own. She offers the kids the chance to avoid drinking and driving by hanging out in the basement of her home. But there are some house rules: One of the kids has to stay sober. Don’t curse. Never go upstairs. And call her “Ma.” But as Ma’s hospitality starts to curdle into obsession, what began as a teenage dream turns into a terrorizing nightmare, and Ma’s place goes from the best place in town to the worst place on earth.
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 |
|---|---|---|---|---|---|---|---|
| 2019/05/31 | 5 | $508,866 | 0 | $508,866 | 1 | ||
| 2019/06/07 | 8 | $152,536 | -70% | 0 | $950,807 | 2 | |
| 2019/07/12 | - | $15,706 | 21 | $748 | $1,094,346 | 7 | |
| 2019/07/19 | - | $3,480 | -78% | 8 | $435 | $1,104,022 | 8 |
| 2019/07/26 | - | $670 | -81% | 2 | $335 | $1,107,751 | 9 |
| 2019/08/30 | - | $3,378 | 7 | $483 | $1,112,457 | 14 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 5/30/2019 | $56,105 | 105 | 105 | 139 | $81,619 | 6/29/2019 |
| Austria | 5/31/2019 | $99,667 | 52 | 52 | 191 | $222,400 | 7/31/2019 |
| Belgium | 6/5/2019 | $111,948 | 43 | 43 | 96 | $264,026 | 7/10/2019 |
| Bolivia | 5/30/2019 | $8,272 | 19 | 19 | 27 | $18,486 | 6/19/2019 |
| Brazil | 5/30/2019 | $87,481 | 104 | 104 | 158 | $136,236 | 6/14/2019 |
| Bulgaria | 5/31/2019 | $10,673 | 0 | 0 | 0 | $31,235 | 6/25/2019 |
| Central America | 6/13/2019 | $81,000 | 100 | 100 | 107 | $105,145 | 7/3/2019 |
| Chile | 6/6/2019 | $14,766 | 21 | 21 | 21 | $15,977 | 6/14/2019 |
| Colombia | 6/6/2019 | $57,966 | 99 | 99 | 99 | $64,226 | 6/14/2019 |
| Croatia | 5/30/2019 | $11,411 | 27 | 27 | 52 | $26,734 | 6/27/2019 |
| Czech Republic | 5/31/2019 | $29,897 | 79 | 79 | 167 | $73,997 | 6/27/2019 |
| Ecuador | 5/31/2019 | $29,457 | 38 | 38 | 74 | $76,573 | 6/27/2019 |
| Egypt | 5/29/2019 | $4,929 | 13 | 13 | 22 | $19,270 | 6/27/2019 |
| Estonia | 5/31/2019 | $9,263 | 18 | 18 | 38 | $29,322 | 7/3/2019 |
| Finland | 5/31/2019 | $32,109 | 49 | 49 | 103 | $118,118 | 7/24/2019 |
| France | 6/5/2019 | $895,628 | 256 | 256 | 985 | $2,333,105 | 7/17/2019 |
| Germany | 5/30/2019 | $502,549 | 309 | 309 | 1560 | $1,676,099 | 8/28/2019 |
| Greece | 5/30/2019 | $30,264 | 49 | 49 | 74 | $78,401 | 6/27/2019 |
| Hong Kong | 7/18/2019 | $52,764 | 24 | 24 | 48 | $84,973 | 7/31/2019 |
| Hungary | 5/30/2019 | $53,451 | 40 | 41 | 93 | $135,969 | 7/10/2019 |
| Indonesia | 7/26/2019 | $125,750 | 163 | 163 | 163 | $158,963 | 7/31/2019 |
| Israel | 6/6/2019 | $65,413 | 20 | 20 | 56 | $168,896 | 7/17/2019 |
| Italy | 6/27/2019 | $75,240 | 0 | 26 | 53 | $118,926 | 7/31/2019 |
| Latvia | 6/7/2019 | $2,639 | 8 | 8 | 16 | $18,195 | 7/10/2019 |
| Lebanon | 5/30/2019 | $5,280 | 17 | 17 | 26 | $14,260 | 6/19/2019 |
| Lithuania | 5/31/2019 | $8,966 | 103 | 103 | 143 | $23,250 | 7/25/2019 |
| Malaysia | 7/25/2019 | $46,678 | 37 | 37 | 110 | $122,042 | 8/21/2019 |
| Mexico | 5/31/2019 | $508,866 | 0 | 21 | 38 | $1,113,394 | 9/16/2020 |
| Middle East Region | 5/30/2019 | $107,134 | 56 | 56 | 66 | $382,476 | 6/27/2019 |
| Netherlands | 5/31/2019 | $165,679 | 60 | 60 | 248 | $602,200 | 7/17/2019 |
| North America | 5/31/2019 | $18,099,805 | 2,808 | 2,816 | 9,097 | $45,896,028 | 11/10/2020 |
| Norway | 5/31/2019 | $43,060 | 65 | 65 | 102 | $121,237 | 7/10/2019 |
| Pakistan | 7/19/2019 | $1,219 | 10 | 10 | 10 | $1,399 | 7/24/2019 |
| Paraguay | 5/30/2019 | $4,597 | 11 | 11 | 18 | $8,067 | 6/27/2019 |
| Peru | 6/6/2019 | $48,239 | 50 | 50 | 50 | $55,605 | 6/14/2019 |
| Philippines | 7/10/2019 | $93,489 | 181 | 181 | 183 | $110,241 | 7/24/2019 |
| Poland | 6/21/2019 | $49,950 | 81 | 81 | 206 | $177,736 | 10/19/2022 |
| Romania | 6/7/2019 | $22,558 | 55 | 55 | 126 | $95,924 | 2/24/2021 |
| Russia (CIS) | 6/13/2019 | $510,193 | 737 | 741 | 1586 | $1,019,433 | 7/10/2019 |
| Serbia and Montenegro | 6/13/2019 | $795,122 | 35 | 27 | 42 | $25,396 | 7/17/2019 |
| Singapore | 7/25/2019 | $91,356 | 32 | 32 | 71 | $163,522 | 8/28/2019 |
| Slovakia | 5/31/2019 | $17,965 | 50 | 50 | 85 | $33,616 | 6/26/2019 |
| Slovenia | 5/30/2019 | $6,647 | 11 | 11 | 22 | $15,464 | 7/3/2019 |
| South Africa | 6/21/2019 | $24,999 | 27 | 27 | 98 | $95,292 | 8/28/2019 |
| Spain | 6/7/2019 | $454,014 | 270 | 283 | 918 | $1,432,182 | 7/24/2019 |
| Sweden | 5/31/2019 | $40,700 | 69 | 69 | 139 | $123,142 | 7/17/2019 |
| Switzerland | 5/30/2019 | $58,918 | 29 | 36 | 105 | $268,794 | 7/10/2019 |
| Taiwan | 5/31/2019 | $239,237 | 84 | 84 | 211 | $532,777 | 6/27/2019 |
| Thailand | 7/11/2019 | $73,745 | 42 | 42 | 82 | $133,798 | 7/31/2019 |
| Trinidad | 6/12/2019 | $0 | 0 | 11 | 16 | $36,175 | 7/3/2019 |
| Turkey | 5/31/2019 | $18,768 | 105 | 105 | 200 | $66,325 | 6/20/2019 |
| Ukraine | 6/20/2019 | $96,352 | 159 | 159 | 311 | $178,782 | 7/17/2019 |
| United Arab Emirates | 5/30/2019 | $36,396 | 50 | 50 | 55 | $76,743 | 6/19/2019 |
| United Kingdom | 5/31/2019 | $643,140 | 397 | 397 | 1140 | $2,006,525 | 7/10/2019 |
| Uruguay | 5/30/2019 | $8,970 | 11 | 11 | 20 | $31,033 | 6/27/2019 |
| Venezuela | 5/31/2019 | $8,881 | 0 | 0 | 0 | $28,302 | 7/3/2019 |
| Rest of World | $172,733 | ||||||
| Worldwide Total | $61,220,784 | 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
| Octavia Spencer | Sue Ann |
Supporting Cast
| Juliette Lewis | Erica |
| Diana Silvers | Maggie |
| Mckaley Miller | Haley |
| Corey Fogelmanis | Andy Hawkins |
| Luke Evans | Ben Hawkins |
| Gianni Paolo | Chaz |
| Dante Brown | Darrell |
| Tanyell Waivers | Genie |
| Dominic Burgess | Stu |
| Heather Marie Pate | Ashley |
| Tate Taylor | Officer Grainger |
| Margaret Fegan | Stephanie |
| Missi Pyle | Mercedes |
| Allison Janney | Doctor Brooks |
| Kyanna Simone Simpson | Young Sue Ann |
| Matthew Welch | Young Ben |
| Skyler Joy | Young Erica |
| Nicole Carpenter | Young Mercedes |
| Elijah Bray | Teenage Boy |
| Creek Wilson | Liquor Store Bum |
| Micah Joseph Graves | Flashback Closet Boy |
| Victor Turpin | Pietro Kramer |
| Dennis Rodriguez | Janitor |
| Jinny Patterson | Nail Salon Patron |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Tate Taylor | Director |
| Scotty Landes | Screenwriter |
| Scotty Landes | Story by |
| Jason Blum | Producer |
| Tate Taylor | Producer |
| John Norris | Producer |
| Couper Samuelson | Executive Producer |
| Jeanette Volturno-Brill | Executive Producer |
| Octavia Spencer | Executive Producer |
| Robin Mulcahy Fisichella | Executive Producer |
| Lucy Donaldson | Editor |
| Lee Jin | Editor |
| Lee Jin | Co-Editor |
| Lucy Donaldson | Co-Editor |
| Christina Voros | Director of Photography |
| Marc Fisichella | Production Designer |
| Megan Coates | Costume Designer |
| Gregory Tripi | Composer |
| Lex D. Geddings | Stunt Coordinator |
| Beatriz Sequeira | Co-Producer |
| Ryan Turek | Co-Producer |
| Cleta E. Ellington | Co-Producer |
| John Bissell | Music Supervisor |
| Kerry Barden | Casting Director |
| Paul Schnee | Casting Director |
| Jennifer Scudder Trent | Co-Producer |
| Phillip Dawe | Co-Producer |
| Robin Mulcahy Fisichella | Unit Production Manager |
| Cleta E. Ellington | First Assistant Director |
| Joe Landry | Second Assistant Director |
| John Sanchez | Production Supervisor |
| Nancy Kirhoffer | Post-Production Supervisor |
| Carmen Navis | Set Decorator |
| Wright McFarland | Set Designer |
| Robert C. Bigelow | Sound Mixer |
| David Nami | Special Effects Coordinator |
| Stacy Scarborough-Martin | Costume Supervisor |
| Karri Farris | Make up |
| LaToya Henderson | Make up |
| Benji Dove | Make up |
| Shannon Bakeman | Hairstylist |
| Sandra D. Stander | Hairstylist |
| Robert Kurtzman | Special Make-up Effects |
| David Bush | Script Supervisor |
| Jimi Woods | Location Manager |
| Tim Alverson | Additional Editor |
| Thad Nurski | First Assistant Editor |
| Steve M. Ngo | First Assistant Editor |
| Drew Sacks | First Assistant Editor |
| Craig Mann | Re-recording Mixer |
| Laura Wiest | Re-recording Mixer |
| Craig Mann | Supervising Sound Editor |
| Daniel Irwin | Dialogue Editor |
| Chase Keehn | Dialogue Editor |
| Suat Ayes | Sound Effects Editor |
| Daniel Pagan | Sound Effects Editor |
| Peter Staubli | Sound Effects Editor |
| John Loranger | Supervising Foley Editor |
| Kristi McIntyre | Foley Editor |
| Randy Wilson | Foley Mixer |
| Ron Mellegers | Foley Mixer |
| Russ Howard III | Additional Music |
| Matt Hutchinson | Additional Music |
| Mary Parker | Music Editor |
| Jason LaRocca | Score Mixer |
| Gregor Punchatz | Visual Effects Supervisor |
| James David Hattin | Visual Effects Supervisor |
| Nate Smalley | Visual Effects Supervisor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.