Lithuania Box Office for Marija, Škotijos karalienė (2018)
Theatrical Performance (US$) | ||
Lithuania Box Office | $31,660 | Details |
Worldwide Box Office | $48,481,754 | Details |
Home Market Performance | ||
North America DVD Sales | $781,848 | Details |
North America Blu-ray Sales | $1,025,568 | Details |
Total North America Video Sales | $1,807,416 | |
Further financial details... |
Synopsis
A film that explores the turbulent life of the charismatic Mary Stuart. Queen of France at 16 and widowed at 18, Mary defies pressure to remarry. Instead, she returns to her native Scotland to reclaim her rightful throne. But Scotland and England fall under the rule of the compelling Elizabeth 1. Each young Queen beholds her “sister” in fear and fascination. Rivals in power and in love, and female regents in a masculine world, the two must decide how to play the game of marriage versus independence. Determined to rule as much more than a figurehead, Mary asserts her claim to the English throne, threatening Elizabeth’s sovereignty. Betrayal, rebellion, and conspiracies within each court imperil both thrones—and change the course of history.
Metrics
Movie Details
Production Budget: | $25,000,000 |
Lithuania Releases: | February 1st, 2019 (Wide), released as Marija, Škotijos karalienė |
Video Release: | February 19th, 2019 by Universal Home Entertainment |
MPAA Rating: | R for some violence and sexuality. (Rating bulletin 2552 (Cert #51396), 11/7/2018) |
Running Time: | 125 minutes |
Keywords: | Royalty, Dysfunctional Family, Sibling Rivalry, 1500s, Set in Scotland, Set in England, Intentionally Anachronistic, Historical Drama, Treason, Rebellion |
Source: | Based on Real Life Events |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Dramatization |
Production/Financing Companies: | Working Title Films, Focus Features, Perfect World Pictures |
Production Countries: | United Kingdom, United States |
Languages: | English |
Home Market Releases for February 26th, 2019
February 26th, 2019
This week’s list includes a number of releases that are worth picking up, mostly of the smaller variety. There’s a foreign-language import, Border; a mostly forgotten comedy from the 1980s, Used Cars; a good movie that is busted Oscar-bait, Mary Queen of Scots; and an Anime slice of life, Love Live! Sunshine!!: Season Two. However, for most people, it’s the two biggest releases that are also the best: The Little Mermaid and Ralph Breaks the Internet. For me, Ralph Breaks the Internet on Blu-ray or 4K Ultra HD is the clear Pick of the Week.
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2018 Awards Season: Oscars: And the Winner is... Green Book for Best Picture
February 24th, 2019
It’s Oscar night and we will be live blogging the show. We will announce the winners and have our reactions as they happen, while keeping track of how our readers did in predicting the outcomes.
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2018 Awards Season: Oscars Nominations: Final Look
February 24th, 2019
It’s Oscar Day, and we will be live blogging the show. Before that, let’s take a last look at the nominations with a few annotations. in Italics are those that have received the most votes from our readers so far in our Oscar contest (which is open to new entries until noon, Pacific, today—enter now!). Bold films are those films I think will win. Meanwhile, those that are Underlined are those I want to win. Not all categories have underlined nominees, because not all categories have someone I’m cheering for, or because there are two nominees I couldn’t pick between. For example, I would be happy with half of the Best Picture nominees winning.
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Home Market Releases for February 19th, 2019
February 20th, 2019
The fall smash hits and the Oscar contenders are starting to come out in full force, making it a great time on the home market. This week, we have one of the biggest hits of the fall, A Star is Born; one of the best movies of the year, Can You Ever Forgive Me?; and the Anime that arguably solidified Moe as powerhouse genre, K-ON: Complete Collection Premium Box Set. Of the three, I like K-ON the most, but I admit that price will scare away a lot of people, so Can You Ever Forgive Me? is the better choice for Pick of the Week.
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2018 Awards Season: Oscar Nominations
January 23rd, 2019
The Oscar nominations were announced yesterday starting at just after 5 am Pacific time. They do this every year for reasons no one has been able to adequately explain to me. Because it was the day after a long weekend, it took a bit of time to get all the normal work done and digest the results. And there were some interesting results to digest. No one film led the way with total nominations, as two films, The Favourite and Roma tied with 10 nominations each.
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Theater Averages: New Releases are Left in the Cold
January 17th, 2019
There were no films in the $10,000 club with Cold War coming the closest with $9,751 in ten theaters. The best new release was Touch Me Not, which opened with $7,903 in one theater.
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2018 - Awards Season: BAFTA - Nominations
January 12th, 2019
The BAFTA nominations were announced and The Favorite led the way with 12 nominations. Sometimes the BAFTAs are a really good indicator for who will do well on Oscar night. Other times their bias to British films is too much. I think this year will be an example of the latter and I don't think The Favourite is suddenly an Oscar favorite. That said, there’s still some things you can learn here.
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Theater Averages: New Releases were Destroyed
January 10th, 2019
Destroyer rose to first place on the theater average chart with an average of $16,383 in six theaters. Cold War actually saw its average grow to $15,127, also in six theaters. Last week’s winner, On the Basis of Sex was next with an average of $14,370 in 112 theaters. It’s rare for a limited release to land in the $10,000 club while playing in more than 100 theaters. The final member of the $10,000 club was Stan and Ollie with an average of $10,920 in 8 theaters.
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Theater Averages: This Week’s Chart is Feeling Sexy
January 2nd, 2019
It was a busy week on the theater average chart, as there were three new releases and three holdovers in the $10,000 club. On the Basis of Sex led the way with an average of $20,799 in 33 theaters. That’s an excellent start for a limited release playing in that many theaters. Second place went to Destroyer with an average of $18,449 in three theaters. The final new release in the $10,000 club was Stan and Ollie, which earn an average of $15,935 in five theaters. Cold War held on really well earning an average of $14,777 in three theaters. The overall box office leader, Aquaman, was next with an average of $12,634. If Beale Street Could Talk rounded out the $10,000 with an average of $11,788, and it managed this despite expanding its theater count to 65.
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Theater Averages: Box Office Feels the Winter Chill
December 27th, 2018
There were not many new limited releases releases, which let If Beale Street Could Talk remain on top with an average of $21,853 in five theaters. Cold War was the best of the new releases with an average of $18,118 in three theaters. The only other film in the $10,000 club over the weekend was Aquaman with an average of $16,485. Two films had averages of over $10,000 during their Christmas Day debuts, On the Basis of Sex (average of $14,483 in 33 theaters) and Destroyer (average of $10,246 in three).
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Theater Averages: Everyone is Talking about Beale Street
December 19th, 2018
There was only one new release in the $10,000 club this past weekend. If Beale Street Could Talk opened with an average of $56,119 in four theaters. The only other member of the $10,000 club was Mary Queen of Scots, with an average of $10,602 in 66 theaters during its second week of release. It will continue to expand, but it very likely won’t expand even semi-wide.
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Theater Averages: Mary Reigns over the Competition
December 12th, 2018
Mary Queen of Scots led the way on the theater average chart with an average of $48,694 in four theaters. Unfortunately, its reviews strongly suggest it won’t have long legs in limited release. Likewise, Vox Lux got off to a fast start with an average of $25,952 in six theaters, but it is earning nearly identical reviews, so it too will likely have short legs. Up next was Ben is Back with an average of $20,183 in four theaters. The Favourite remained in the $10,000 club for the third weekend in a row with an average of $16,523 in 91 theaters. It will almost certainly expand at least semi-wide at this point, especially if it continues to pick up Awards Season nominations.
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2018 - Awards Season: SAG - Nominations
December 12th, 2018
The Screen Actors Guild were the third group to announce their nominations for this awards season. There’s not a lot of surprises on this week’s list. A Star is Born led the way with four nominations, while The Favourite was right behind with three.
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Weekend Estimates: Christmas Comes Early for Animation
December 9th, 2018
Both animated films are doing great at the box office with Ralph Breaks the Internet matching our prediction nearly perfectly with a studio estimate of $16.1 million over the weekend, which would give it a running tally of $140.9 million. Internationally, the film has barely opened in half the world earning $18.0 million over the weekend for a total of $117.3 million. This includes a first place debut in Spain with $4.6 million over the five-day weekend. Its next major market isn’t until December 21st when it opens in Japan, while it is a Boxing Day release in Australia.
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Limited and VOD Releases: Oscar-Bait is Back
December 7th, 2018
It’s a strange week for limited releases. There is not an overwhelming number of releases on this week’s list, but three of them were widely expected to be Awards Season players: Ben is Back, Mary Queen of Scots, and Vox Lux. However, of these three, none of them of earning award-worthy reviews. In fact, none of them are earning reviews that suggest they will truly thrive in limited release. Worse still, the competition between the three of them could result in none of them doing particularly well over the weekend. Hopefully that’s not the case.
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2018 Preview: December
December 1st, 2018
November turned out to be a really, really good month. I thought 2018’s lead over 2017 would shrink, potentially by $200 million to $300 million. However, the lead actually managed to grow a little bit, thanks to hits like Ralph Breaks the Internet, Dr. Seuss’ The Grinch, Fantastic Beasts: The Crimes of Grindelwald, and Bohemian Rhapsody. December has an equal number of potential hits, led by Mary Poppins Returns, which some think will top $300 million. Additionally, Spider-man Into the Spider-Verse, Aquaman, Bumblebee, and Holmes and Watson all have a realistic shot at $100 million or more. On the other hand, last December was stronger, at least on top. The Last Jedi earned more than $500 million just during December, which is more than any December release this year will earn in total. It could be more than the top two films earn in total. 2018 will win the in year-over-year competition; however, its lead won’t be as large as it is at the start of the month.
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Mary Queen of Scots Trailer
July 13th, 2018
Historical drama starring Saoirse Ronan and Margot Robbie opens December 7 ... Full Movie Details.
A film that explores the turbulent life of the charismatic Mary Stuart. Queen of France at 16 and widowed at 18, Mary defies pressure to remarry. Instead, she returns to her native Scotland to reclaim her rightful throne. But Scotland and England fall under the rule of the compelling Elizabeth 1. Each young Queen beholds her “sister” in fear and fascination. Rivals in power and in love, and female regents in a masculine world, the two must decide how to play the game of marriage versus independence. Determined to rule as much more than a figurehead, Mary asserts her claim to the English throne, threatening Elizabeth’s sovereignty. Betrayal, rebellion, and conspiracies within each court imperil both thrones—and change the course of history.
More...
Cast Updates - January 10, 2008
January 10th, 2008
This week's round of new casting information contains updates for Armored, Easy Virtue, Solomon Kane, and more!
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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 |
---|---|---|---|---|---|---|---|
2019/02/01 | 8 | $14,702 | 83 | $177 | $17,136 | 1 | |
2019/02/08 | 15 | $4,840 | -67% | 26 | $186 | $28,148 | 2 |
2019/02/15 | - | $980 | -80% | 4 | $245 | $30,779 | 3 |
2019/02/22 | - | $431 | -56% | 7 | $62 | $31,480 | 4 |
2019/03/01 | 30 | $39 | -91% | 1 | $39 | $31,621 | 5 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 3/28/2019 | $35,362 | 23 | 134 | 173 | $66,266 | 8/17/2022 |
Australia | 1/18/2019 | $881,225 | 256 | 262 | 1464 | $2,997,607 | 8/17/2022 |
Austria | 1/18/2019 | $0 | 0 | 92 | 254 | $220,452 | 8/17/2022 |
Azerbaijan | 6/30/2022 | $0 | 0 | 0 | 0 | $8,754 | 8/17/2022 |
Belgium | 2/27/2019 | $66,613 | 27 | 94 | 161 | $168,445 | 8/17/2022 |
Bolivia | 6/30/2022 | $0 | 0 | 0 | 0 | $0 | |
Bosnia and Herzegovina | 6/30/2022 | $0 | 0 | 14 | 14 | $117,789 | 8/17/2022 |
Brazil | 4/4/2019 | $166,625 | 51 | 637 | 848 | $455,171 | 8/17/2022 |
Bulgaria | 1/25/2019 | $15,134 | 0 | 52 | 70 | $57,062 | 8/17/2022 |
Central America | 2/28/2019 | $0 | 0 | 129 | 132 | $13,117 | 8/17/2022 |
Chile | 3/28/2019 | $19,298 | 10 | 75 | 97 | $39,563 | 8/17/2022 |
Colombia | 3/28/2019 | $39,644 | 34 | 138 | 206 | $105,732 | 8/17/2022 |
Croatia | 1/24/2019 | $9,284 | 26 | 26 | 78 | $21,661 | 8/17/2022 |
Cyprus | 1/24/2019 | $6,389 | 6 | 8 | 26 | $18,825 | 8/17/2022 |
Czech Republic | 2/8/2019 | $27,138 | 89 | 89 | 205 | $68,138 | 8/17/2022 |
Denmark | 3/14/2019 | $82,505 | 67 | 88 | 255 | $169,837 | 8/17/2022 |
Ecuador | 3/1/2019 | $0 | 0 | 49 | 68 | $47,902 | 8/17/2022 |
Egypt | 1/30/2019 | $9,777 | 13 | 16 | 34 | $13,418 | 8/17/2022 |
Estonia | 2/1/2019 | $15,160 | 18 | 18 | 49 | $46,385 | 8/17/2022 |
Finland | 2/1/2019 | $49,124 | 61 | 75 | 251 | $160,087 | 8/17/2022 |
France | 2/27/2019 | $546,004 | 174 | 644 | 1484 | $1,533,932 | 8/17/2022 |
Germany | 1/18/2019 | $465,281 | 184 | 740 | 2027 | $2,177,209 | 8/17/2022 |
Greece | 1/24/2019 | $55,305 | 35 | 35 | 96 | $127,315 | 2/20/2019 |
Hong Kong | 3/14/2019 | $0 | 0 | 29 | 47 | $74,757 | 8/17/2022 |
Hungary | 1/31/2019 | $52,808 | 39 | 51 | 172 | $129,888 | 8/17/2022 |
Iceland | 1/25/2019 | $2,534 | 3 | 10 | 15 | $8,525 | 8/17/2022 |
India | 2/1/2019 | $21,106 | 54 | 57 | 148 | $37,100 | 8/17/2022 |
Indonesia | 6/29/2022 | $0 | 0 | 0 | 0 | $0 | |
Israel | 1/17/2019 | $0 | 0 | 33 | 78 | $111,534 | 8/17/2022 |
Italy | 1/17/2019 | $880,543 | 0 | 9 | 9 | $1,843,433 | 3/1/2019 |
Japan | 3/15/2019 | $115,666 | 35 | 374 | 624 | $741,965 | 8/17/2022 |
Kazakhstan | 6/30/2022 | $0 | 0 | 37 | 37 | $43,916 | 8/17/2022 |
Kenya | 7/1/2022 | $0 | 0 | 0 | 0 | $0 | |
Latvia | 2/1/2019 | $9,565 | 12 | 13 | 40 | $25,822 | 8/17/2022 |
Lebanon | 1/24/2019 | $12,828 | 13 | 13 | 18 | $28,923 | 2/20/2019 |
Lithuania | 2/1/2019 | $14,702 | 83 | 83 | 134 | $31,660 | 8/17/2022 |
Malaysia | 6/30/2022 | $0 | 0 | 0 | 0 | $0 | |
Mexico | 3/29/2019 | $213,943 | 0 | 743 | 899 | $743,661 | 8/17/2022 |
Middle East Region | 1/24/2019 | $0 | 0 | 0 | 0 | $0 | |
Mongolia | 7/1/2022 | $0 | 0 | 0 | 0 | $0 | |
Netherlands | 1/18/2019 | $216,237 | 79 | 138 | 610 | $1,018,681 | 8/17/2022 |
New Zealand | 1/17/2019 | $0 | 0 | 96 | 546 | $651,645 | 8/17/2022 |
Nigeria | 7/1/2022 | $0 | 0 | 0 | 0 | $0 | |
North America | 12/7/2018 | $194,777 | 4 | 1,052 | 4,119 | $16,648,499 | |
Norway | 5/3/2019 | $48,463 | 24 | 95 | 222 | $187,382 | 8/17/2022 |
Pakistan | 7/1/2022 | $0 | 0 | 0 | 0 | $0 | |
Paraguay | 2/28/2019 | $0 | 0 | 16 | 19 | $6,625 | 8/17/2022 |
Peru | 2/28/2019 | $23,575 | 14 | 98 | 112 | $43,342 | 8/17/2022 |
Philippines | 6/29/2022 | $0 | 0 | 0 | 0 | $0 | |
Poland | 1/25/2019 | $880 | 2 | 192 | 358 | $258,026 | 8/17/2022 |
Portugal | 1/18/2019 | $114,255 | 42 | 72 | 230 | $333,954 | 8/17/2022 |
Romania | 1/25/2019 | $51,710 | 67 | 67 | 231 | $139,538 | 8/17/2022 |
Russia (CIS) | 1/17/2019 | $487,276 | 616 | 616 | 1350 | $908,798 | 8/17/2022 |
Serbia and Montenegro | 1/31/2019 | $9,889 | 35 | 63 | 127 | $22,930 | 8/17/2022 |
Singapore | 2/28/2019 | $33,033 | 12 | 28 | 45 | $58,562 | 8/17/2022 |
Slovakia | 2/8/2019 | $17,785 | 47 | 47 | 102 | $1,433,432 | 8/17/2022 |
Slovenia | 1/17/2019 | $0 | 0 | 24 | 53 | $37,916 | 8/17/2022 |
South Africa | 7/1/2022 | $0 | 0 | 0 | 0 | $0 | |
South Korea | 2/14/2019 | $15,309 | 12 | 387 | 421 | $51,474 | 8/17/2022 |
Spain | 2/8/2019 | $514,998 | 214 | 318 | 1152 | $1,476,666 | 8/17/2022 |
Sri Lanka | 7/1/2022 | $0 | 0 | 7 | 7 | $11,702 | 8/17/2022 |
Sweden | 2/8/2019 | $0 | 0 | 91 | 104 | $145,085 | 8/17/2022 |
Switzerland | 1/17/2019 | $0 | 0 | 97 | 212 | $290,994 | 8/17/2022 |
Taiwan | 7/22/2022 | $0 | 0 | 0 | 0 | $0 | |
Thailand | 6/30/2022 | $0 | 0 | 0 | 0 | $0 | |
Trinidad | 1/23/2019 | $11,100 | 10 | 12 | 31 | $26,079 | 8/17/2022 |
Turkey | 2/1/2019 | $22,107 | 35 | 256 | 338 | $61,159 | 8/17/2022 |
Ukraine | 1/17/2019 | $0 | 0 | 129 | 299 | $265,157 | 8/17/2022 |
United Arab Emirates | 1/24/2019 | $55,382 | 27 | 32 | 68 | $92,052 | 8/17/2022 |
United Kingdom | 1/18/2019 | $2,685,618 | 499 | 656 | 3506 | $11,830,968 | 8/17/2022 |
Uruguay | 2/28/2019 | $9,694 | 9 | 20 | 36 | $25,237 | 8/17/2022 |
Vietnam | 7/1/2022 | $0 | 0 | 0 | 0 | $0 | |
Worldwide Total | $48,481,754 | 8/17/2022 |
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
Saoirse Ronan | Mary Stuart |
Margot Robbie | Queen Elizabeth I |
Supporting Cast
Jack Lowden | Lord Darnley |
Joe Alwyn | Robert Dudley |
David Tennant | John Knox |
Guy Pearce | Sir William Cecil |
Gemma Chan | Bess of Hardwick |
Martin Compston | Earl of Bothwell |
Ismael Cruz Cordova | David Rizzio |
Brendan Coyle | Earl of Lennox |
Ian Hart | Lord Maitland |
Adrian Lester | Lord Randolph |
James McArdle | Earl of Moray |
Maria-Victoria Dragus* | Mary Fleming |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Josie Rourke | Director |
Beau Willinon | Adapted Screenplay by |
John Guy | Story based on the book “Queen of Scots: The True Life of Mary Stuart” by |
Tim Bevan | Producer |
Eric Fellner | Producer |
Debra Hayward | Producer |
John Mathieson | Director of Photography |
James Merifield | Production Designer |
Alexandra Byrne | Costume Designer |
Chris Dickens | Editor |
Max Richter | Composer |
Amelia Granger | Executive Producer |
Liza Chasin | Executive Producer |
Kate Pakenham | Executive Producer |
Jane Robertson | Co-Producer |
Alastair Coomer | Casting Director |
Jenny Shircore | Make-up and Hair Designer |
Marc Pilcher | Make-up and Hair Designer |
Jessica Brooks | Make-up and Hair Designer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.