Mexico Box Office for Milla 22: el escape (2018)

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Mile 22
Theatrical Performance (US$)
Mexico Box Office $2,689,525Details
Worldwide Box Office $66,295,121Details
Home Market Performance
North America DVD Sales $6,082,468 Details
North America Blu-ray Sales $3,056,668 Details
Total North America Video Sales $9,139,136
Further financial details...

Synopsis

James Silva is an operative of the CIA’s most highly-prized and least-understood unit. Aided by a top-secret tactical command team, Silva must retrieve and transport an asset who holds life-threatening information to Mile 22 for extraction before the enemy closes in.

Metrics

Movie Details

Production Budget:$35,000,000
Mexico Releases: August 31st, 2018 (Wide), released as Milla 22: el escape
Video Release: November 13th, 2018 by Universal Home Entertainment
MPAA Rating: R for strong violence and language throughout.
(Rating bulletin 2538 (Cert #51728), 8/1/2018)
Running Time: 90 minutes
Keywords: C.I.A., Demoted, Set in Indonesia, Death of a Son or Daughter, Revenge, Crime Boss, Organized Crime, Bounty/Price on one's Head, Fugitive / On the Run, Corrupt Cops, Betrayal, IMAX: DMR, Action Thriller
Source:Original Screenplay
Genre:Action
Production Method:Live Action
Creative Type:Contemporary Fiction
Production/Financing Companies: STX Entertainment, Huayi Brothers Pictures Ltd, Hideaway Pictures, Closest to the Hole, Film 44
Production Countries: United States
Languages: English

Home Market Releases for November 13th, 2018

November 14th, 2018

Incredibles 2

There are not many big releases on this week’s list. The Meg is the biggest, but not the best. As for the best, I’m going with Pixar Short Film Collection: Volume Three on Blu-ray. More...

Weekend Wrap-Up: Crazy Rich Asians Continues Box Office Dominance with Nearly $25 million

August 28th, 2018

Crazy Rich Asians

Summer officially ends next weekend with Labor Day, but Crazy Rich Asians is keeping the summer going with a sophomore stint of $24.80 million over the weekend. This is nearly twice as much as the second place film, The Meg. Meanwhile, the only true wide release of the week, The Happytime Murders, missed low end expectations with $9.53 million. The overall box office is down 21% from last weekend to just $103 million. That’s a sharp decline, but not uncommon for this time of year. More importantly, it was 49% more than the same weekend last year. That’s not as impressive as it seems, as this weekend last year one of the worst weekends in the past decade. Year-to-date, 2018 extended its lead to 10.1% or $740 million at $8.05 billion to $7.19 billion. On the down side, it won’t be long before 2017 really starts to eat into that lead. More...

Weekend Wrap-Up: Crazy Rich Asians are $1 million Richer than Estimated

August 21st, 2018

Crazy Rich Asians

Crazy Rich Asians beat the weekend estimates by more than $1 million, which is great news for the film’s future, as it suggests even better word-of-mouth. The rest of the new releases were well back, but their weakness didn’t sink the weekend box office, as it pulled in $129 million. This was still down 12% from last weekend, but more importantly, this was a stunning 35% higher than the same weekend last year, which helped extend 2018’s lead over 2017. 2018’s lead is now 9.6% or $690 million at $7.88 billion to $7.19 billion. I suspect we have likely nearly reached the peak this lead will be throughout the rest of the year, but it would take a major collapse for 2018 to not finish with a healthy victory in the year-over-year comparison. More...

Weekend Estimates: Crazy Getting Richer over the Weekend

August 19th, 2018

Crazy Rich Asians

Crazy Rich Asians beat expectations and easily came out on top of the box office over the weekend. The film earned $25.24 million between Friday and Sunday, for a five-day opening of $34.00 million, which is amazing for a film that cost $30 million to make. It not only beat our original prediction, but its weekend estimates have grown since it debuted on Wednesday, which is a very good sign that the word-of-mouth is helping ticket sales. Its 92% positive reviews and its A-rating from CinemaScore back up that explanation. With this opening, the film would have to have terrible legs and completely bomb internationally to not break even. Having terrible legs seems unlikely, but we will know more about that next weekend. As for its international numbers, the film hasn’t opened in any major international markets, so it is too soon to tell. It does debut in Australia before the end of the month, so that will be the film’s first big test. More...

Friday Estimates: Asians’ Crazy Rich First Place Opening

August 18th, 2018

Crazy Rich Asians

Crazy Rich Asians led the way on Friday with an impressive $7.26 million. Since it opened on Wednesday, it should have better legs than most new releases earn. Likewise, its reviews and its A from CinemaScore will also help its legs, putting it on pace for between $22 million and $23 million over the three-day weekend. Over four days, the film should make about $31 million, which is more than it cost to make. Even taking into account the studio’s share of the box office, Warner Bros. will cover its production budget before the end of the month, just on the its domestic numbers. Unless it really struggles internationally, it will break even before it reaches the home market. This might be enough to get more movies with predominantly Asian-American casts made in Hollywood. More...

Thursday Night Previews: Mile 22’s $1 million Debut Dwarfed by Crazy Rich Asians

August 17th, 2018

Mile 22

Mile 22 opened with $1 million during its midnight previews. This is not that impressive and it means the film will very likely open on the extreme lower end of our predictions, with under $15 million. Terrible reviews won’t help its legs, although I assume the film’s CinemaScore will be relatively better, but I don’t expect it to stick around in theaters for that long. More...

Weekend Predictions: Will Crazy have a Rich Opening, or will Meg Swallow the New Releases?

August 16th, 2018

Crazy Rich Asians

Crazy Rich Asians leads a group of three films, both in terms of buzz and in terms of reviews. It also opened with $5.01 million on Wednesday, so its already looking like a box office success. On the other hand, Mile 22 has the worst reviews of the week and its buzz is only mediocre. That said, its buzz is still louder than Alpha’s buzz is. On the other hand, Alpha’s reviews are good enough that if it doesn’t struggle too much during its opening weekend, then its word-of-mouth should help its legs. This weekend last year, The Hitman’s Bodyguard opened with $21.38 million. That’s probably more than any film opening this weekend will make. On the other hand, the only other film to earn more than $10 million last year was Annabelle: Creation, while we should have four films do the same this year. The depth should help 2018 earn an easy win. More...

2018 Preview: August

August 1st, 2018

Christopher Robin

Overall, July was a a little weaker than expected. Ant-Man and the Wasp appears to be on pace for $200 million, while it is too soon to tell if Mission: Impossible—Fallout will also get there. That said, 2018 is still ahead of 2017 by $550 million, so the month of July was a success in that regard. As for August, there’s only one movie that is expected to earn $100 million, Christopher Robin, and maybe a few others that could hit $50 million. It’s a rather sad slate of movies. Fortunately, last August was even worse, so 2018 should at least maintain its lead. Maybe we can get lucky and come away with a $600 million lead by the end of the month. More...

Mile 22 Trailer

July 27th, 2018

Action movie starring Mark Wahlberg opens August 17 ... Full Movie Details.

James Silva is an operative of the CIA’s most highly-prized and least-understood unit. Aided by a top-secret tactical command team, Silva must retrieve and transport an asset who holds life-threatening information to Mile 22 for extraction before the enemy closes in. 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

DateRankGross% ChangeScreensPer ScreenTotal GrossWeek
2018/08/31 3 $1,208,005   0     $1,208,005 1
2018/09/07 5 $481,495 -60% 0     $2,241,945 2
2018/09/14 9 $148,388 -69% 0     $2,689,525 3

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 9/28/2018 $116,044 0 0 0 $203,974 1/1/2019
Australia 8/31/2018 $844,483 223 225 710 $1,792,494 10/11/2018
Brazil 9/21/2018 $248,230 0 0 0 $435,306 10/9/2018
Bulgaria 10/12/2018 $22,430 0 0 0 $80,061 2/26/2019
France 8/31/2018 $777,142 0 0 0 $1,587,388 9/20/2018
Germany 9/14/2018 $432,535 0 0 0 $508,718 9/20/2018
Greece 8/17/2018 $107,000 0 0 0 $107,000 8/20/2018
Indonesia 8/24/2018 $1,500,000 0 0 0 $1,500,000 12/20/2018
Israel 8/17/2018 $105,000 0 0 0 $105,000 12/20/2018
Italy 11/15/2018 $501,739 0 11 11 $1,056,677 12/16/2018
Lithuania 8/31/2018 $14,983 81 81 121 $34,324 9/25/2018
Mexico 8/31/2018 $1,208,005 0 0 0 $2,689,525 9/18/2018
Middle East Region 8/24/2018 $2,400,000 0 0 0 $2,400,000 8/27/2018
Netherlands 10/19/2018 $254,166 83 83 356 $999,177 12/23/2018
North America 8/17/2018 $13,710,825 3,520 3,520 12,441 $36,108,758
Portugal 9/7/2018 $83,990 44 45 124 $224,545 10/9/2018
Russia (CIS) 8/23/2018 $294,078 866 866 1416 $561,156 1/1/2019
South Korea 8/22/2018 $315,966 203 203 398 $533,095 9/18/2018
Spain 9/28/2018 $339,480 263 263 594 $883,034 10/18/2018
Turkey 9/14/2018 $77,007 203 203 380 $132,032 2/26/2019
United Kingdom 9/19/2018 $1,039,969 376 376 735 $1,854,677 10/3/2018
 
Rest of World $12,498,180
 
Worldwide Total$66,295,121 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.

Lead Ensemble Members

Mark Wahlberg James Silva
Lauren Cohan Alice
Iko Uwais Li Noor
Ronda Rousey Sam Snow
John Malkovich Bishop

Supporting Cast

For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.

Production and Technical Credits

Peter Berg Director
Graham Roland Screenwriter
Lea Carpenter Story by
Graham Roland Story by
Peter Berg Producer
Mark Wahlberg Producer
Stephen Levinson Producer
Graham Roland Executive Producer
Jonathan Gray Executive Producer
Stuart Besser Executive Producer
Adam Fogelson Executive Producer
David Bernon Executive Producer
Robert Simonds Executive Producer
Felice Bee Executive Producer
Wang Zhonglei Executive Producer
Wang Zhongjun Executive Producer
Scott Carmel Executive Producer
Sam Slater Executive Producer
Derek Collison Executive Producer
Randall Emmett Executive Producer
Judd Payne Executive Producer
Matthew Rhodes Executive Producer
John Logan Pierson Executive Producer
Donald Tang Executive Producer
Jacques Jouffret Director of Photography
Andrew Menzies Production Designer
Colby Parker, Jr Editor
Melissa Lawson Cheung Editor
Virginia Johnson Costume Designer
Jeff Russo Composer
Sheila Jaffe Casting Director
Jason Markey Music Supervisor
Eric Heffron Co-Producer
Clay Cullen Stunt Coordinator
Alan Hook Supervising Art Director
Alex McCarroll Art Director
Natali Kendrick Pope* Set Decorator
Tricia Ronten Script Supervisor
Steve C. Aaron Sound Mixer
Matt Kutcher Special Effects Supervisor
Lisa Kutcher Special Effects Coordinator
Eric Roberts Special Effects Coordinator
Ian MacGregor Location Manager
Maili Lafayette Costume Supervisor
Jennifer Hodges Hairstylist
Carey Jones Special Make-up Effects
Derek Krout Special Make-up Effects
Lou Kiss Special Make-up Effects
Khahn Trance Special Make-up Effects
Veronica Owens
Regina Castruita Special Make-up Effects
Randy Ball Special Make-up Effects
Sharyn Shimada-Huggins Production Supervisor
Daphne Lambrinou Post-Production Supervisor
Teresa Kelly Post-Production Supervisor
Conor Burke First Assistant Editor
Brad Stencil Assistant Editor
Richard Conkling Assistant Editor
Joe Binford Jr Assistant Editor
Aaron Brock Assistant Editor
Dror Mohar Supervising Sound Editor
Bruce Barris Supervising Sound Editor
Dror Mohar Sound Designer
Bill R. Dean Sound Designer
Hector Gika Sound Designer
Michael Hertlein Dialogue Editor
Alexander Lott Sound Effects Editor
Charles Maynes Sound Effects Editor
Jamie Hardt Sound Effects Editor
Bruce Tanis Sound Effects Editor
Kristen Hunsicker Set Designer
Marco Rubeo Set Designer
Ben Schor Supervising Music Editor

The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.