Russia (CIS) Box Office for ХРОНИКИ ХИЩНЫХ ГОРОДОВ (2018)
| Theatrical Performance (US$) | ||
| Russia (CIS) Box Office | $7,048,293 | Details |
| Worldwide Box Office | $85,481,904 | Details |
| Home Market Performance | ||
| North America DVD Sales | $4,836,278 | Details |
| North America Blu-ray Sales | $6,230,764 | Details |
| Total North America Video Sales | $11,067,042 | |
| Further financial details... | ||
Synopsis
Thousands of years after civilization was destroyed by a cataclysmic event, humankind has adapted and a new way of living has evolved. Gigantic moving cities now roam the Earth, ruthlessly preying upon smaller traction towns. Tom Natsworthy—who hails from a Lower Tier of the great traction city of London—finds himself fighting for his own survival after he encounters the dangerous fugitive Hester Shaw. Two opposites, whose paths should never have crossed, forge an unlikely alliance that is destined to change the course of the future.
Metrics
Movie Details
| Production Budget: | $100,000,000 |
| Russia (CIS) Releases: | December 6th, 2018 (Wide), released as ХРОНИКИ ХИЩНЫХ ГОРОДОВ |
| Video Release: | February 19th, 2019 by Universal Home Entertainment |
| MPAA Rating: | PG-13 for sequences of futuristic violence and action. (Rating bulletin 2550 (Cert #51767), 10/24/2018) |
| Running Time: | 128 minutes |
| Keywords: | Post Apocalypse, Exile, Revenge, Young Child Dealing with the Death of a Parent, Steampunk, Set in London, 3-D, 3-D - Post-production Conversion, IMAX: DMR, Action Adventure |
| Source: | Based on Fiction Book/Short Story |
| Genre: | Action |
| Production Method: | Live Action |
| Creative Type: | Science Fiction |
| Production/Financing Companies: | Media Rights Capital, Wingnut Films, Universal Pictures, Scholastic Entertainment Inc., Silvertongue Films, Perfect World Pictures |
| Production Countries: | New Zealand, United States |
| Languages: | English |
Home Market Releases for March 12th, 2019
March 13th, 2019
-(1970)-1-News.jpg)
It’s not a good week on the home market. There are some big releases, like Fantastic Beasts: The Crimes of Grindelwald, but none of them are good. There are a couple of contenders for Pick of the Week, but the The Adventures of Rocky and Bullwinkle and Friends: The Complete Series DVD is a re-release at a more reasonable price, while it is worth waiting to get the The Miseducation of Cameron Post: Special Edition Blu-ray. In the end, I went with a late screener, The Forbidden Photos Of A Lady Above Suspicion: Collector’s Edition Blu-ray. It is definitely the best bet for fans of Giallo and / or Film Noir.
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Home Market Releases for February 19th, 2019
February 20th, 2019
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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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Weekend Wrap-Up: Spider-Man Starts Strong as Christmas Holidays Begin
December 18th, 2018
The weekend went according to predictions, more or less. Spider-Man: Into The Spider-Verse was the biggest surprise and it beat our prediction by barely more than $1 million at $35.36 million. The Mule was a distant second place with $17.51 million, but this is still a good result for its production budget / target demographic. On the other hand, Mortal Engines bombed. There’s no polite way to describe this result. The overall box office rose by 37% from last weekend, hitting $115 million. Unfortunately, this weekend last year, Star Wars: The Last Jedi opened with nearly double that by itself. 2018 was off by 58% when compared to last year. That would be a terrible result, even if there were a misalignment in holidays. Fortunately, 2018 still has a huge lead over 2017, up by 9.3% or $930 million at $10.96 billion to $10.03 billion and even if 2018 loses by this amount for the next two weeks, it will still end the year with a massive lead over 2018.
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Weekend Estimates: Spider-Man is too much for just one Universe
December 16th, 2018
Sony’s estimates have Spider-Man: Into The Spider-Verse earning $35.4 million over the weekend. Its reviews and its A plus from CinemaScore should both helps its legs, as will the upcoming holidays. On the other hand, it does have direct competition next weekend, more or less. Aquaman will attack it from the super hero side of things, while Mary Poppins Returns will take from its family film side. That said, with a start like this, $100 million domestically is practically guaranteed, while $150 million is a solid goal to aim for.
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Friday Estimates: Spidey Starts Miles Ahead of the Competition
December 15th, 2018
Spider-Man: Into The Spider-Verse debuted with $12.6 million on Friday, putting it on pace for $35.5 million over the full weekend, at least according to Sony. It will get a tiny boost on Sunday, because about 5% of school kids start their winter holidays on Monday. It will get a larger boost from its reviews, which remain Oscar-worthy. And this is not a case of the critics loving it and the audiences being more ambivalent, as the film earned an A plus from CinemaScore and a five-star rating from PostTrak. If the film does match Sony’s estimates, then it will be a little better than our prediction. More importantly, if its word-of-mouth boosts its legs, it could earn more than $200 million domestically. That’s asking a lot, but it is a possibility. It is certainly something to keep our eyes on.
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Thursday Night Previews: Spider-Man gets off to a Swinging Start
December 14th, 2018
Spider-Man: Into The Spider-Verse opened with $3.5 million during its previews last night. Unfortunately, it is nearly impossible to make an accurate prediction based on this opening, as this is an unusual film. It is an animated film, so we could use other animated films released during this time of year. Sing earned $1.7 million during its previews two years ago; however, that was a Wednesday release that opened less than a week before Christmas Day. Into the Spider-Verse doesn’t have school holidays to boost its numbers, which should help its legs. On the other hand, it is a super hero movie and its Fanboy Effect will hurt its legs. Overall, I think this is good news for the film and it should top our prediction, but we won’t have a really firm grasp on where it’s going until we get Friday’s estimates tomorrow.
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Weekend Predictions: Will Spider-man Swing into First Place?
December 13th, 2018
After two weeks with no new releases in the top five, we have three new films vying for a position there. This includes Spider-Man: Into The Spider-Verse, which is all but guaranteed a spot in the top five. The Mule was thought to be an Awards Season contender, but its reviews are disappointing, given those high hopes. Finally there’s Mortal Engines, a film that cost $100 million to make and will likely barely earn a spot in the top five. This weekend last year, Star Wars: The Last Jedi opened with $220.01 million. That’s more than the entire box office will earn this year. This could be more than all three wide releases earn in total. Fortunately, 2018 has a $1 billion lead over 2017, so three weeks of bad losses won’t change that.
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International Box Office: Aquaman Floods China
December 12th, 2018
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Aquaman debuted in China dominating the market with $92.98 million over the weekend for a total opening of $94.28 million. This is roughly as much as the rest of the top five made combined. It is also certainly more than it will open with domestically.
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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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Mortal Engines Trailer 2
October 9th, 2018
Sci-fi action movie starring Hera Hilmar and Robert Sheehan opens December 14 ... Full Movie Details.
Thousands of years after civilization was destroyed by a cataclysmic event, humankind has adapted and a new way of living has evolved. Gigantic moving cities now roam the Earth, ruthlessly preying upon smaller traction towns. Tom Natsworthy—who hails from a Lower Tier of the great traction city of London—finds himself fighting for his own survival after he encounters the dangerous fugitive Hester Shaw. Two opposites, whose paths should never have crossed, forge an unlikely alliance that is destined to change the course of the future.
More...
Mortal Engines Trailer
December 18th, 2017
Sci-fi adventure starring Robert Sheehan and Hera Hilmar opens December 14, 2018 ... Full Movie Details.
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 |
|---|---|---|---|---|---|---|---|
| 2018/12/07 | 1 | $4,144,067 | 1,338 | $3,097 | $4,144,067 | 1 | |
| 2018/12/14 | 6 | $1,032,043 | -75% | 1,338 | $771 | $6,113,744 | 2 |
| 2018/12/21 | 7 | $243,363 | -76% | 1,155 | $211 | $6,510,435 | 3 |
| 2018/12/28 | 10 | $71,686 | -71% | 460 | $156 | $6,596,030 | 4 |
| 2019/01/04 | 16 | $44,329 | -38% | 97 | $457 | $6,899,542 | 5 |
| 2019/01/11 | - | $8,286 | -81% | 13 | $637 | $7,035,469 | 6 |
| 2019/01/18 | - | $3,309 | -60% | 6 | $552 | $7,038,854 | 7 |
| 2019/01/25 | - | $2,541 | -23% | 5 | $508 | $7,041,569 | 8 |
| 2019/02/01 | - | $2,626 | +3% | 4 | $657 | $7,044,588 | 9 |
| 2019/02/08 | - | $1,329 | -49% | 3 | $443 | $7,046,854 | 10 |
| 2019/02/15 | - | $526 | -60% | 2 | $263 | $7,048,293 | 11 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Albania | 12/6/2018 | $3,032 | 3 | 3 | 5 | $6,920 | 12/28/2018 |
| Argentina | 1/11/2019 | $111,000 | 138 | 138 | 183 | $168,038 | 12/1/2019 |
| Australia | 12/7/2018 | $974,216 | 327 | 327 | 959 | $2,639,524 | 10/20/2022 |
| Austria | 12/14/2018 | $203,679 | 62 | 62 | 215 | $627,439 | 2/17/2019 |
| Belgium | 12/5/2018 | $264,807 | 166 | 166 | 450 | $810,237 | 2/6/2019 |
| Bolivia | 1/3/2019 | $54,247 | 20 | 20 | 43 | $136,831 | 1/23/2019 |
| Brazil | 1/11/2019 | $676,098 | 368 | 368 | 765 | $1,414,385 | 3/9/2019 |
| Bulgaria | 12/7/2018 | $70,845 | 0 | 16 | 16 | $268,969 | 1/15/2019 |
| Central America | 1/3/2019 | $248,377 | 96 | 96 | 173 | $432,716 | 2/6/2019 |
| Chile | 1/3/2019 | $115,403 | 70 | 70 | 128 | $216,323 | 1/23/2019 |
| China | 1/18/2019 | $4,170,000 | 32696 | 32696 | 32696 | $7,429,160 | 2/20/2019 |
| Colombia | 1/11/2019 | $269,000 | 173 | 173 | 174 | $448,522 | 2/6/2019 |
| Croatia | 12/13/2018 | $26,827 | 25 | 25 | 57 | $55,102 | 1/10/2019 |
| Cyprus | 12/6/2018 | $9,597 | 6 | 6 | 17 | $21,276 | 1/2/2019 |
| Czech Republic | 12/7/2018 | $170,754 | 131 | 131 | 262 | $299,637 | 1/16/2019 |
| Denmark | 12/6/2018 | $104,884 | 66 | 66 | 137 | $243,650 | 1/10/2019 |
| Ecuador | 1/4/2019 | $124,428 | 43 | 43 | 153 | $301,649 | 2/17/2019 |
| Egypt | 12/5/2018 | $49,394 | 30 | 30 | 75 | $100,816 | 1/2/2019 |
| Estonia | 12/7/2018 | $53,215 | 19 | 19 | 55 | $129,726 | 1/10/2019 |
| Finland | 12/7/2018 | $148,345 | 131 | 131 | 280 | $407,609 | 2/6/2019 |
| France | 12/14/2018 | $1,744,863 | 484 | 484 | 1728 | $4,995,658 | 1/30/2019 |
| Germany | 12/14/2018 | $1,372,084 | 485 | 485 | 1917 | $5,276,098 | 2/20/2019 |
| Greece | 12/6/2018 | $77,784 | 80 | 80 | 125 | $188,756 | 1/10/2019 |
| Hong Kong | 12/6/2018 | $643,984 | 55 | 55 | 168 | $1,370,087 | 1/10/2019 |
| Hungary | 12/27/2018 | $258,696 | 50 | 61 | 192 | $500,446 | 2/17/2019 |
| Iceland | 12/14/2018 | $31,841 | 11 | 11 | 18 | $76,917 | 1/16/2019 |
| India | 12/7/2018 | $306,564 | 806 | 806 | 848 | $456,031 | 12/28/2018 |
| Indonesia | 12/5/2018 | $1,588,068 | 318 | 318 | 368 | $1,955,892 | 12/28/2018 |
| Israel | 12/6/2018 | $143,673 | 30 | 30 | 92 | $294,590 | 1/10/2019 |
| Italy | 12/13/2018 | $844,836 | 0 | 0 | 0 | $2,060,145 | 1/16/2019 |
| Japan | 3/1/2019 | $229,075 | 43 | 43 | 276 | $763,830 | 4/24/2019 |
| Latvia | 12/14/2018 | $20,327 | 12 | 12 | 28 | $71,665 | 2/6/2019 |
| Lebanon | 12/6/2018 | $36,456 | 20 | 20 | 30 | $47,016 | 12/28/2018 |
| Lithuania | 12/7/2018 | $43,705 | 130 | 130 | 231 | $106,321 | 1/11/2019 |
| Macedonia | 12/6/2018 | $2,295 | 3 | 3 | 5 | $3,908 | 12/28/2018 |
| Malaysia | 12/6/2018 | $777,528 | 147 | 147 | 315 | $1,420,935 | 1/30/2019 |
| Mexico | 1/1/2019 | $1,028,807 | 0 | 788 | 974 | $3,117,354 | 1/30/2019 |
| Middle East Region | 12/6/2018 | $508,627 | 68 | 68 | 135 | $800,004 | 1/10/2019 |
| Mongolia | 12/7/2018 | $18,296 | 8 | 8 | 28 | $49,012 | 1/10/2019 |
| Netherlands | 12/7/2018 | $570,199 | 91 | 155 | 491 | $1,518,586 | 2/6/2019 |
| New Zealand | 12/6/2018 | $367,806 | 92 | 97 | 429 | $1,063,249 | 2/20/2019 |
| North America | 12/14/2018 | $7,559,850 | 3,103 | 3,103 | 9,899 | $15,951,040 | |
| Norway | 12/7/2018 | $148,921 | 104 | 104 | 210 | $412,474 | 1/23/2019 |
| Pakistan | 12/7/2018 | $24,150 | 56 | 56 | 70 | $41,905 | 3/20/2019 |
| Paraguay | 1/10/2019 | $10,350 | 9 | 9 | 16 | $19,204 | 1/23/2019 |
| Peru | 1/3/2019 | $223,092 | 101 | 101 | 133 | $362,386 | 1/23/2019 |
| Philippines | 12/5/2018 | $474,648 | 211 | 211 | 266 | $603,185 | 12/28/2018 |
| Poland | 12/7/2018 | $265,627 | 141 | 141 | 364 | $698,621 | 1/30/2019 |
| Portugal | 12/7/2018 | $150,364 | 67 | 70 | 237 | $440,147 | 1/24/2019 |
| Romania | 12/7/2018 | $155,821 | 79 | 79 | 240 | $413,143 | 1/23/2019 |
| Russia (CIS) | 12/6/2018 | $4,144,067 | 1338 | 1338 | 4421 | $7,048,293 | 2/20/2019 |
| Serbia and Montenegro | 12/6/2018 | $27,568 | 49 | 49 | 118 | $66,304 | 1/16/2019 |
| Singapore | 12/6/2018 | $377,627 | 34 | 34 | 85 | $607,471 | 1/30/2019 |
| Slovakia | 12/7/2018 | $54,869 | 68 | 68 | 129 | $91,172 | 1/16/2019 |
| Slovenia | 12/6/2018 | $15,623 | 15 | 15 | 35 | $35,683 | 1/16/2019 |
| South Africa | 12/14/2018 | $0 | 0 | 24 | 36 | $282,879 | 2/6/2019 |
| South Korea | 12/5/2018 | $1,070,546 | 622 | 622 | 870 | $2,103,103 | 1/16/2019 |
| Spain | 12/14/2018 | $839,418 | 320 | 320 | 1285 | $2,287,054 | 2/16/2019 |
| Sweden | 12/7/2018 | $304,368 | 143 | 143 | 304 | $2,083,382 | 1/30/2019 |
| Switzerland | 12/12/2018 | $342,212 | 91 | 91 | 281 | $905,030 | 1/23/2019 |
| Taiwan | 12/7/2018 | $1,070,518 | 126 | 126 | 354 | $1,996,347 | 1/23/2019 |
| Thailand | 12/5/2018 | $636,886 | 142 | 142 | 261 | $897,077 | 12/28/2018 |
| Trinidad | 12/5/2018 | $29,178 | 18 | 18 | 42 | $69,320 | 1/2/2019 |
| Turkey | 12/7/2018 | $315,329 | 256 | 260 | 794 | $1,410,270 | 1/10/2019 |
| Ukraine | 12/6/2018 | $500,024 | 175 | 177 | 378 | $788,803 | 1/16/2019 |
| United Arab Emirates | 12/6/2018 | $502,180 | 54 | 54 | 105 | $777,690 | 1/10/2019 |
| United Kingdom | 12/14/2018 | $1,595,777 | 398 | 398 | 687 | $2,183,216 | 2/12/2019 |
| Uruguay | 1/3/2019 | $10,345 | 12 | 12 | 18 | $20,942 | 1/16/2019 |
| Venezuela | 1/11/2019 | $36,521 | 0 | 0 | 0 | $116,294 | 2/17/2019 |
| Vietnam | 12/7/2018 | $311,842 | 164 | 164 | 292 | $474,440 | 12/28/2018 |
| Worldwide Total | $85,481,904 | 10/20/2022 | |||||
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
| Hera Hilmar | Hester Shaw |
| Robert Sheehan | Tom Natsworthy |
| Hugo Weaving | Thaddeus Valentine |
| Jihae | Anna Fang |
Supporting Cast
| Ronan Raftery | Bevis Pod |
| Leila George | Katherine Valentine |
| Patrick Malahide | Magnus Crome |
| Stephen Lang | Shrike |
| Colin Salmon | Chudleigh Pomeroy |
| Mark Mitchinson | Vambrace |
| Rege-Jean Page | Captain Khora |
| Menik Gooneratne | Sathya |
| Frankie Adams | Yasmina Rashid |
| Leifur Sigurdarson | Nils Lindstrom |
| Kahn West | Toa Heke |
| Andrew Lees | Herbert Melliphant |
| Sophie Cox | Clytie Potts |
| Kee Chan | Governor Kwan |
| Sarah Peirse | Dr Twix |
| Mark Hadlow | Stigwood |
| Caren Pistorius | Pandora Shaw |
| Poppy Macleod | Young Hester |
| Joel Tobeck | Burgermeister |
| Terry Norris | Professor Arkengarth |
| Calum Gittins | Chief Navigator |
| Megan Edwards | Mrs. Wreyland |
| Peter Rowley | Mr. Wreyland |
| Aaron Jackson | Gench |
| Stephen Ure | Pewsey |
| Nathaniel Lees | Pierrepoint |
| Paul Yates | Dietrich |
| Lynda Lester | Medusa |
| Nick Blake | Waving Navigator |
| Beatrice Joblin | Young Mother |
| Thomas Lahood | Lookout |
| Simba Matshe | Water Hawker |
| Lee Tuson | Salzhakener |
| Jason Whyte | Food Hawker |
| Mike Homik | De Groot |
| Carter Nixon | SCAV Trader Carter |
| Rick Baker | Tube Tannoy |
| Royden Davys | Salvage Man #1 |
| Richard Mills | Salvage Man #2 |
| Shane Rangi | Burly Salvageman |
| Yoson An | Major Chen |
| Philip Reeve | Shan Guo Man |
| Sam Reeve | Shan Guo Teenager |
| Martin Kwok | Shan Guo Control |
| Seth Miller | Airhaven Control |
Cameos
| Nicholas Quirke | Himself |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Christian Rivers | Director |
| Peter Jackson | Screenwriter |
| Fran Walsh | Screenwriter |
| Philippa Boyens | Screenwriter |
| Philip Reeve | Story based on the book by |
| Peter Jackson | Producer |
| Fran Walsh | Producer |
| Deborah Forte | Producer |
| Zane Weiner | Producer |
| Amanda Walker | Producer |
| Philippa Boyens | Executive Producer |
| Ken Kamins | Executive Producer |
| Dan Hennah | Production Designer |
| Jonno Woodford-Robinson | Editor |
| Tom Holkenborg | Composer |
| Simon Raby | Director of Photography |
| Glenn Boswell | Stunt Coordinator |
| Mark Trotter | Fight Choreographer |
| David Conley | Co-Producer |
| Amy Hubbard | Casting Director |
| Bob Buck | Costume Designer |
| Ken McGaugh | Visual Effects Supervisor |
| Luke Millar | Visual Effects Supervisor |
| Kevin Smith | Visual Effects Supervisor |
| Pam Silverstein | Associate Producer |
| Carlos Ramirez Laloli | Associate Producer |
| Zane Weiner | Unit Production Manager |
| Carolynne Cunningham | First Assistant Director |
| Glenn Boswell | Second Unit Director |
| Robert Stadd | Visual Effects Producer |
| Brent Burge | Supervising Sound Editor |
| Jason Canovas | Supervising Sound Editor |
| Martin Kwok | Supervising Dialogue Editor |
| Dave Whitehead | Sound Designer |
| Michael Hedges | Re-recording Mixer |
| Christopher Boyes | Re-recording Mixer |
| Simon Bright | Supervising Art Director |
| Shane Vieau | Set Decorator |
| Greg Allison | Art Director |
| Vanessa Cole | Art Director |
| Brendan Heffeman | Art Director |
| Helen Strevens | Art Director |
| Phil Thomas | Art Director |
| Simon Baumfield | Additional Photography |
| Chris Hiles | Sound Mixer |
| Veronique Lawrence | Script Supervisor |
| Rosemary Dority | Post-Production Supervisor |
| Dan Best | First Assistant Editor |
| Ray Beentjes | Dialogue Editor |
| Chris Todd | Dialogue Editor |
| Hayden Collow | Sound Effects Editor |
| Matt Lambourn | Sound Effects Editor |
| Matt Stutter | Sound Effects Editor |
| Michelle Child | Sound Effects Editor |
| Justin Webster | Sound Effects Editor |
| Craig Tomlinson | Foley Editor |
| Catherine Wilson | Music Editor |
| Stephen Gallagher | Music Editor |
| Simon Riley | Foley Recordist |
| Jared Connon | Production Manager |
| Dianne Foothead | Costume Supervisor |
| Rick Findlater | Make-up and Hair Designer |
| Zahra Archer | Set Designer |
| Rebecca Asquith | Set Designer |
| Alister Baxter | Set Designer |
| Colette Mullin | Set Designer |
| Karijus Schlogl | Set Designer |
| Mark Stephen | Set Designer |
| Yvonne Yip | Set Designer |
| Scott Harens | Special Effects Supervisor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.