Poland Box Office for Mortal Kombat (2021)
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| Theatrical Performance (US$) | ||
| Poland Box Office | $362,290 | Details |
| Worldwide Box Office | $83,508,259 | Details |
| Home Market Performance | ||
| North America DVD Sales | $5,309,052 | Details |
| North America Blu-ray Sales | $8,537,519 | Details |
| Total North America Video Sales | $13,846,571 | |
| Further financial details... | ||
Synopsis
MMA fighter Cole Young, accustomed to taking a beating for money, is unaware of his heritage—or why Outworld's Emperor Shang Tsung has sent his best warrior, Sub-Zero, an otherworldly Cryomancer, to hunt Cole down. Fearing for his family’s safety, Cole goes in search of Sonya Blade at the direction of Jax, a Special Forces Major who bears the same strange dragon marking Cole was born with. Soon, he finds himself at the temple of Lord Raiden, an Elder God and the protector of Earthrealm, who grants sanctuary to those who bear the mark. Here, Cole trains with experienced warriors Liu Kang, Kung Lao and rogue mercenary Kano, as he prepares to stand with Earth’s greatest champions against the enemies of Outworld in a high stakes battle for the universe. But will Cole be pushed hard enough to unlock his arcana—the immense power from within his soul—in time to save not only his family, but to stop Outworld once and for all?
Metrics
Movie Details
| Production Budget: | $55,000,000 |
| Poland Releases: | May 28th, 2021 (Wide) |
| Video Release: | April 23rd, 2021 by Max |
| MPAA Rating: | R for strong bloody violence and language throughout, and some crude references. (Rating bulletin 2671 (cert #53095), 3/10/2021) |
| Running Time: | 110 minutes |
| Franchise: | Mortal Kombat |
| Keywords: | Reboot, Tournament, Mixed Martial Arts |
| Source: | Based on Game |
| Genre: | Action |
| Production Method: | Animation/Live Action |
| Creative Type: | Fantasy |
| Production/Financing Companies: | New Line Cinema, Atomic Monster, Broken Road |
| Production Countries: | Canada, United States |
| Languages: | English |
Weekend estimates: Wrath of Man posts solid $8.1 million opening
May 9th, 2021
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Wrath of Man will pull off an easy win at the box office this weekend, according to Sunday morning’s projection from United Artists. It’s easily outperforming our model’s prediction with $8.1 million expected for the full weekend. Its strength probably had an adverse effect on the numbers for Demon Slayer, Mortal Kombat, and Godzilla vs. Kong, all of which failed to live up to expectations. With Here Today also struggling, we’re looking at a slightly down week at the box office.
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Weekend predictions: Wrath of Man and Here Today take a shot at leading duo
May 7th, 2021
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Two new wide releases, Wrath of Man and Here Today, enter the fray this weekend, and will be hoping to capitalize on the rapidly-declining audiences for Mortal Kombat and Demon Slayer to take them to the top of the chart. While Here Today has the least overlap with the other films audience-wise, our model thinks Wrath of Man will fair the better of the two on debut.
Here’s what the model has to say about each movie…
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Weekend estimates: Demon Slayer projected to top the chart, but joins Mortal Kombat in a steep second-week decline
May 2nd, 2021
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Demon Slayer The Movie: Mugan Train and Mortal Kombat are both experiencing precipitous declines at the box office this weekend after openings that significantly outperformed expectations. FUNimation is claiming a win for the weekend with a projected $6.421 million for Demon Slayer, but Mortal Kombat is expected to bring in $6.235 million, according to Warner Bros.. That’s a rounding error away, and the performance of each film today will determine who comes out on top when the final numbers are tallied.
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Weekend predictions: Demon Slayer is a slight favorite to win the weekend
April 30th, 2021
After last weekend’s fireworks, business will be much quieter at the box office this time around, with horror movie Separation the only new wide release, and the winner of the weekend almost certainly down to which of Mortal Kombat and Demon Slayer The Movie: Mugen Train falls the least from their strong opening weekends. Our model thinks that Separation will find a place in the top six, but it’ll be well behind the reigning champions. Demon Slayer is marginally favored to top the chart in its second weekend, but the race will be close.
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Weekend estimates: Mortal Kombat and Demon Slayer knock it out the park
April 25th, 2021
After a few pleasant surprises in recent months, this looks like the weekend that the theatrical business has been looking for. Not only is Mortal Kombat beating expectations with a weekend projected to hit $22.5 million, per Warner Bros.’ Sunday morning numbers, but Demon Slayer The Movie: Mugen Train is headed for the second-best opening for an anime movie ever, behind 1999’s Pokemon: The First Movie, with a projected $19.5 million. What’s more, both films are R-rated, meaning that they firmly fall outside the family-film space that has been the brightest spot in the market recently.
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Weekend predictions: Mortal Kombat and Demon Slayer go head to head
April 23rd, 2021
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This weekend is shaping up to be a real David and Goliath battle, with indie distributor FUNimation going up against the might of Warner Bros., and looking likely to come out with their heads held high, even if a weekend win looks out of reach.
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Weekend estimates: Godzilla vs. Kong leads again in spite of steep decline
April 18th, 2021
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Another slightly disappointing result for Godzilla vs. Kong makes this a weekend where the theatrical market is treading water again. The top six will generate 12% less revenue than our model predicted, which is safely within its margin of error, and doesn’t really indicate any new weakness. But their combined box office will be 32% down from last weekend thanks to the lack of major new releases.
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Weekend estimates: Godzilla vs. Kong delivers monster* $32.2-million weekend
April 4th, 2021
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Godzilla vs. Kong will earn $32.2 million over the Friday–Sunday weekend, and deliver a $48.5-million 5-day opening, according to Warner Bros.’ Sunday morning projection. The film will earn an additional $3 million in Canada from its PVOD release there, which the studio offered to allow Canadian audiences to see the film while around 80% of the Canadian market remains closed. It’s also showing on HBO Max in the US, but the studio hasn’t offered any numbers on its performance there.
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Weekend Box Office Performance
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Australia | 4/15/2021 | $0 | 0 | 406 | 1805 | $6,982,338 | 7/8/2021 |
| Germany | 6/17/2021 | $12,043 | 0 | 0 | 0 | $35,742 | 7/6/2021 |
| Hong Kong | 4/16/2021 | $0 | 0 | 0 | 0 | $559,392 | 5/5/2021 |
| Indonesia | 4/16/2021 | $662,000 | 733 | 733 | 733 | $1,900,000 | 10/20/2022 |
| Japan | 6/25/2021 | $0 | 0 | 0 | 0 | $907,000 | 10/20/2022 |
| Lithuania | 4/30/2021 | $15,130 | 11 | 11 | 34 | $37,355 | 10/20/2022 |
| Malaysia | 4/16/2021 | $0 | 0 | 0 | 0 | $858,000 | 10/20/2022 |
| Mexico | 4/15/2021 | $748,292 | 0 | 0 | 0 | $1,900,000 | 10/20/2022 |
| New Zealand | 4/23/2021 | $409,939 | 72 | 72 | 356 | $963,000 | 10/20/2022 |
| North America | 4/23/2021 | $23,302,503 | 3,073 | 3,114 | 15,736 | $42,326,031 | |
| Poland | 5/28/2021 | $129,437 | 155 | 220 | 375 | $362,290 | 10/19/2022 |
| Portugal | 4/20/2021 | $67,364 | 106 | 107 | 297 | $179,573 | 10/19/2022 |
| Romania | 6/18/2021 | $51,134 | 80 | 80 | 181 | $100,756 | 10/20/2022 |
| Russia (CIS) | 4/9/2021 | $6,355,601 | 1721 | 1785 | 6546 | $11,300,000 | 10/20/2022 |
| Saudi Arabia | 4/9/2021 | $704,000 | 43 | 43 | 43 | $1,100,000 | 10/20/2022 |
| Singapore | 4/16/2021 | $0 | 0 | 0 | 0 | $1,100,000 | 10/20/2022 |
| Slovakia | 5/27/2021 | $0 | 0 | 12 | 24 | $29,025 | 7/2/2021 |
| South Korea | 4/8/2021 | $210,630 | 672 | 672 | 834 | $374,164 | 4/28/2021 |
| Spain | 4/16/2021 | $572,000 | 479 | 479 | 939 | $1,600,000 | 10/20/2022 |
| Taiwan | 4/9/2021 | $524,000 | 149 | 149 | 149 | $1,100,000 | 10/20/2022 |
| Thailand | 4/9/2021 | $562,000 | 454 | 454 | 816 | $994,000 | 10/20/2022 |
| United Arab Emirates | 4/9/2021 | $721,000 | 139 | 139 | 139 | $1,500,000 | 6/7/2021 |
| United Kingdom | 5/17/2021 | $452,093 | 340 | 340 | 528 | $659,991 | 6/2/2021 |
| Vietnam | 4/16/2021 | $0 | 0 | 0 | 0 | $783,000 | 10/20/2022 |
| Rest of World | $5,856,602 | ||||||
| Worldwide Total | $83,508,259 | 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.
Lead Ensemble Members
| Lewis Tan | Cole Young |
| Jessica McNamee | Sonya Blade |
| Josh Lawson | Kano |
| Tadanobu Asano | Lord Raiden |
| Mehcad Brooks | Jax |
| Ludi Lin | Liu Kang |
| Chin Han | Shang Tsung |
| Joe Taslim | Bi-Han/Sub-Zero |
| Hiroyuki Sanada | Hanzo Hasashi/Scorpion |
Supporting Cast
| Max Huang | Kung Lao |
| Sisi Stringer | Mileena |
| Matilda Kimber | Emily |
| Laura Brent | Allison |
| Mel Jarnson | Nitara |
| Nathan Jones | Reiko |
| Nelson Daniel | Kabal |
| Ian Streetz | Ramirez |
| Yukiko Shinohara | Harumi Hasashi |
| Ren Miyagawa | Satoshi “Jubei” Hasashi |
| Mia Hall | Hasashi’s Baby |
| David Field | Referee |
| Kris McQuade | Cargo Plane Pilot |
| Angus Sampson | Goro |
| Alice Nassery | Shang Tsung Elite Guard |
| Damon Herriman | Kabal |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Simon McQuoid | Director |
| James Wan | Producer |
| Todd Garner | Producer |
| Simon McQuoid | Producer |
| E. Bennett Walsh | Producer |
| Greg Russo | Screenwriter |
| David Callaham | Screenwriter |
| Oren Uziel | Story by |
| Greg Russo | Story by |
| Ed Boon | Story based on the video game created by |
| John Tobias | Story based on the video game created by |
| Richard Brener | Executive Producer |
| Dave Neustadter | Executive Producer |
| Victoria Palmeri | Executive Producer |
| Michael Clear | Executive Producer |
| Jeremy Stein | Executive Producer |
| Lawrence Kasanoff | Executive Producer |
| Germain McMicking | Director of Photography |
| Naaman Marshall | Production Designer |
| Dan Lebental | Editor |
| Scott Gray | Editor |
| Benjamin Wallfisch | Composer |
| Rich Delia | Casting Director |
| Chris Godfrey | Visual Effects Supervisor |
| Cappi Ireland | Costume Designer |
| Anna Steel | Unit Production Manager |
| E. Bennett Walsh | Unit Production Manager |
| Chris Webb | First Assistant Director |
| P.J. Voeten | First Assistant Director |
| Danielle Blake | Second Assistant Director |
| Prue Fletcher | Visual Effects Producer |
| Tom Nursey | Supervising Art Director |
| Michael Turner | Art Director |
| Rolland Pike | Set Decorator |
| Des Kenneally | Sound Mixer |
| Jane Maguire | Post-Production Supervisor |
| Dawn Michelle King | First Assistant Editor |
| Peter Skarratt | First Assistant Editor |
| Daniel O’Brien | First Assistant Editor |
| Kathy Freeman | First Assistant Editor |
| Katrina Schiller | Music Editor |
| Rep. Tim Ryan | Music Editor |
| Robert Mackenzie | Supervising Sound Editor |
| Robert Mackenzie | Sound Designer |
| Robert Mackenzie | Re-recording Mixer |
| Phil Heywood | Re-recording Mixer |
| James Ashton | Sound Designer |
| Mick Boraso | Sound Designer |
| Steve Burgess | Sound Designer |
| Tara Webb | Sound Editor |
| Steve Burgess | Sound Editor |
| Duncan Campbell | Foley Mixer |
| Adrian Medhurst | Foley Editor |
| Ryan Squires | Foley Editor |
| Jacob McIntyre | Location Manager |
| Mark Evans | Location Manager |
| Gavin Greenstone | Location Manager |
| Sharon Kerrigan | Location Manager |
| Lauren Cooper | Location Manager |
| Taera Shroff | Script Supervisor |
| Robyn Elliott | Costume Supervisor |
| Katrina Henley | Costume Supervisor |
| Peter Stubbs | Special Effects Supervisor |
| Kyle Gardiner | Stunt Coordinator |
| Chan Griffin | Fight Choreographer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.