Slovakia Box Office for Sirota Brooklyn (2019)
Theatrical Performance (US$) | ||
Slovakia Box Office | $33,823 | Details |
Worldwide Box Office | $18,477,276 | Details |
Home Market Performance | ||
North America DVD Sales | $1,019,115 | Details |
North America Blu-ray Sales | $859,545 | Details |
Total North America Video Sales | $1,878,660 | |
Further financial details... |
Synopsis
Lionel Essrog, a lonely private detective living with with Tourette Syndrome, ventures to solve the murder of his mentor and only friend, Frank Minna. Armed only with a few clues and the engine of his obsessive mind, Lionel unravels closely-guarded secrets that hold the fate of the whole city in the balance. In a mystery that carries him from gin-soaked jazz clubs in Harlem to the hard-edged slums of Brooklyn and, finally, into the gilded halls of New York's power brokers, Lionel contends with thugs, corruption and the most dangerous man in the city to honor his friend and save the woman who might be his own salvation.
Metrics
Movie Details
Production Budget: | $26,000,000 |
Slovakia Releases: | November 1st, 2019 (Wide), released as Sirota Brooklyn |
Video Release: | January 14th, 2020 by Warner Home Video |
MPAA Rating: | R for language throughout including some sexual references, brief drug use, and violence. (Rating bulletin 2561 (Cert #51999), 1/16/2019) |
Running Time: | 144 minutes |
Keywords: | 1950s, Private Investigator, Set in Harlem, Set in Brooklyn, Crime, Directing Yourself, Screenplay Written By the Star, Film Noir, Mentor, Death of a Mentor, Mystery Drama, Murder Mystery |
Source: | Based on Fiction Book/Short Story |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Historical Fiction |
Production/Financing Companies: | Class 5 Films, MWM Studios, Warner Bros. |
Production Countries: | United States |
Languages: | English |
Home Market Releases for January 28th, 2020
January 30th, 2020
The big winter releases are starting to come out, but the overall quantity of releases is still rather soft. Terminator: Dark Fate is the biggest release of the week, but it isn’t the best. As for the best, it was a close two-way race between Fail Safe and Parasite, with the latter winning by the tiniest of margins.
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Home Market Releases for January 14th, 2020
January 13th, 2020
It’s a really bad week on the home market. Granted, there are three wide releases on this week’s list, which is better than most weeks. However, Maleficent: Mistress of Evil is the biggest and the best of these three releases. That’s not a good sign. There are not even a lot of smaller releases to make up for the weakness at the top.
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2020 Awards Season: Golden Globes Nominations
December 11th, 2019
The Golden Globes nominations are the second major Awards Season set to come out. It is still very early in the year and the predictive value of the Golden Globes is a little suspect, but there are still some things to learn here. (This is especially true on the TV end, as there’s talk about how strange the nominations are this year.) Marriage Story led the way with six nominations, just ahead of The Irishman and Once Upon a Time... in Hollywood, both of which picked up five nods.
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Weekend Wrap-Up: The Box Office is in a Deep Sleep
November 12th, 2019
It was a weekend to forget with the four new releases earning significantly less than The Grinch opened with last year. Still, the four new releases took the to four spots, meaning there were no powerful holdovers to make up the difference. Midway was the best of the bunch, while Playing with Fire was the biggest positive surprise. Unfortunately, Doctor Sleep missed expectations by a larger margin than those two films beat our predictions, so the good news was drowned out by the bad. Overall, the box office was 5.9% higher than last weekend at $121 million. This is not a reason to celebrate, as last weekend was arguably Halloween weekend, which is one of the worst weekends of the year. More importantly, the weekend was behind the same weekend last year by 28%. 2019 is now behind 2018’s pace by 5.9% or $580 million at $9.32 billion to $9.90 billion. However, and this is important, as bad as 2019 has been doing, we are still ahead of 2017’s pace, both in terms of raw dollars and ticket sales, so there’s no need to panic. While we would prefer to set records every year, being the second best year at the box office is still worth celebrating.
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Weekend Wrap-Up: Dark Fate Might have Terminated the Franchise
November 5th, 2019
It was a bad weekend at the box office, with Terminator: Dark Fate missing expectations by a significant degree. Harriet was able to beat expectations, but it wasn’t enough to truly compensate. Furthermore, Arctic Dogs and Motherless Brooklyn were practically non-factors at the box office. The box office did grow 9.5% from last weekend reaching $115 million. More importantly, this was 21% lower than this weekend last year. 2019’s deficit grew to 5.6% or $540 million and is now behind 2018’s pace by $9.15 billion to $9.70 billion. It is important to point out that while 2019 is being crushed by 2018, it is still on pace to be the second largest box office of all time, while its ticket sales are better than 2017’s pace, so as disappointing as the year as been so far, there are still reasons to celebrate.
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Weekend Estimates: Terminator Tops Chart, but is Far from Lethal
November 3rd, 2019
As expected, Terminator: Dark Fate is going to open in first place over the weekend. Unfortunately, it is failing to match even the low end of expectations with an estimate of $29 million during its opening weekend. Its reviews and its B plus from CinemaScore are not great, but they are better than this opening. The film is doing much better internationally with an estimated $$72.9 million debut, including an estimated $30 million opening in China. However, that’s not enough. The film needs close to $500 million worldwide to break even and since the only major market left to debut in is Japan, it’s not going to get there.
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Friday Estimates: Holiday Season Starts Without a Lot of Cheer
November 2nd, 2019
Terminator: Dark Fate opened in first place on Friday, but it only made $10.6 million, well below expectations. Its reviews and its B plus from CinemaScore are good, but not great, meaning it won’t have the legs needed to overcome this slow start. Look for about $28 million domestically this weekend. Early reports have it performing better internationally with a likely $30 million debut in China, but again, this is below expectations and not enough given the film’s $185 million production budget.
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Thursday Night Previews: Terminator Takes in $2.35 million
November 1st, 2019
Terminator: Dark Fate managed $2.35 million from its previews on Thursday. Normally, this wouldn’t be enough to kick-start a strong weekend, but yesterday was Halloween, which is far from a normal day at the box office. Furthermore, its reviews are better than most of the rest of the Terminator franchise, and good enough to have decent legs. It is still too early to tell where it will finish its opening weekend. Halloween is just too big a wildcard to make an accurate guess at this point. We will know more this time tomorrow when the Friday estimates come out.
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2019 Preview: November
November 1st, 2019
Joker single-handedly saved October. Had the film merely matched expectations, then the month would had suffered a major loss in the year-over-year competition. We sill lost a little ground, but not so much that we will look to October as the reason 2019 missed last year’s pace. As for November, we have some potential monster hits with Frozen II leading the way. If that film doesn’t earn at least $1 billion worldwide, I will be shocked. Additionally, every week has at least one movie coming out that has a somewhat realistic shot at $100 million, although not all of them will get there. Unfortunately, last November was much better, with five films that topped $100 million, including three that earned more than $200 million. I think 2019 will be better at the top, but it just won’t have the depth to keep pace with last year.
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Weekend Predictions: Halloween Gives Way to the Holiday Season
October 31st, 2019
It’s the first weekend of November, which is the unofficial start of both the Christmas blockbuster season and of Awards Season. There are four films hoping to take advantage of time of year to create some box office success. Of these, only Terminator: Dark Fate is expected to be a true box office hit. It will likely earn more during its opening weekend than any of the rest of the new releases earn in total. I think Harriet will do okay and could even crack $10 million during the weekend. On the other hand, Arctic Dogs still has no reviews and that’s a really bad sign. Finally there’s Motherless Brooklyn, which is opening in well under 2,000 theaters. This weekend last year, Bohemian Rhapsody opened with more than $50 million and even the high end predictions don’t have Terminator: Dark Fate earning that much. It’s going to be another bad week for 2019 in the year-over-year competition.
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Motherless Brooklyn Trailer
September 26th, 2019
Noir drama written and directed by, and starring, Edward Norton opens November 1 ... Full Movie Details.
Lionel Essrog, a lonely private detective living with with Tourette Syndrome, ventures to solve the murder of his mentor and only friend, Frank Minna. Armed only with a few clues and the engine of his obsessive mind, Lionel unravels closely-guarded secrets that hold the fate of the whole city in the balance. In a mystery that carries him from gin-soaked jazz clubs in Harlem to the hard-edged slums of Brooklyn and, finally, into the gilded halls of New York's power brokers, Lionel contends with thugs, corruption and the most dangerous man in the city to honor his friend and save the woman who might be his own salvation.
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 |
---|---|---|---|---|---|---|---|
2019/11/01 | 11 | $18,506 | 52 | $356 | $18,506 | 1 | |
2019/11/08 | 13 | $10,126 | -45% | 17 | $596 | $33,823 | 2 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 11/22/2019 | $45,870 | 95 | 95 | 198 | $92,196 | 1/3/2020 |
Australia | 2/28/2020 | $48,491 | 33 | 33 | 113 | $156,727 | 12/18/2020 |
Brazil | 12/6/2019 | $26,000 | 21 | 21 | 21 | $26,000 | 12/10/2019 |
France | 12/5/2019 | $706,000 | 210 | 248 | 1224 | $2,900,000 | 1/22/2020 |
Germany | 12/12/2019 | $166,000 | 122 | 122 | 200 | $492,000 | 1/22/2020 |
Italy | 11/7/2019 | $397,903 | 0 | 52 | 71 | $854,000 | 10/19/2022 |
Japan | 1/10/2020 | $55,000 | 15 | 15 | 15 | $55,000 | 1/15/2020 |
Mexico | 11/22/2019 | $55,000 | 30 | 30 | 30 | $55,000 | 11/26/2019 |
Netherlands | 12/6/2019 | $103,201 | 65 | 65 | 130 | $286,000 | 10/19/2022 |
North America | 11/1/2019 | $3,500,454 | 1,342 | 1,342 | 3,565 | $9,277,736 | 12/21/2020 |
Poland | 12/20/2019 | $0 | 0 | 93 | 93 | $181,807 | 10/19/2022 |
Portugal | 11/15/2019 | $59,759 | 44 | 44 | 123 | $154,721 | 1/2/2020 |
Russia (CIS) | 12/6/2019 | $470,420 | 686 | 686 | 1617 | $1,035,145 | 10/19/2022 |
Slovakia | 11/1/2019 | $18,506 | 52 | 52 | 69 | $33,823 | 10/19/2022 |
Ukraine | 12/6/2019 | $0 | 0 | 0 | 0 | $235,000 | 12/10/2019 |
United Kingdom | 12/6/2019 | $201,918 | 386 | 386 | 386 | $495,000 | 1/15/2020 |
Rest of World | $2,147,121 | ||||||
Worldwide Total | $18,477,276 | 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.
Lead Ensemble Members
Edward Norton | Lionel Essrog |
Bruce Willis | Frank Minna |
Gugu Mbatha-Raw | Laura Rose |
Alec Baldwin | Moses Randolph |
Willem Dafoe | Paul Randolph |
Supporting Cast
Bobby Cannavale | Tony Vermonte |
Cherry Jones | Gabby Horowitz |
Ethan Suplee | Gilbert Coney |
Dallas Roberts | Danny Fantl |
Josh Pais | William Lieberman |
Radu Spinghel | Giant Man |
Fisher Stevens | Lou |
Peter Lewis | Mayor |
Robert Wisdom | Billy Rose |
Michael Kenneth Williams | Trumpet Man |
Isaiah J. Thompson | King Rooster Piano Player |
Russell Hall | King Rooster Bassist |
Joe Farnsworth | King Rooster Drummer |
Jerry Weldon | King Rooster Saxophonist |
Eric Berryman Jr | King Rooser Bartender |
Nelson Avidon | Jacob Gleason |
Joseph Siravo | Union Boss Speaker |
Deshawn White | Betty |
Leslie Mann | Julia Minna |
Migs Govea | Formosa Bartender |
Erica Sweany | Formosa Hostess |
Katy Davis | Inwood Residential Secretary |
Olli Haaskivi | Hall of Records Clerk |
Yinka Adeboyeku | Angry Young Man |
Joyce O’Connor | Cindy Fleming |
Thomas Luiz Leninger | Paperboy |
Deborah Kara Unger | Brooklyn Bar Waitress |
Ezra Barnes | Doctor |
Julie Hays | Nurse |
Damien Brett | Orderly |
Russell G. Jones | Reformer #2 |
Stephen Adly-Guirgis | Detective |
Eli Bridges | Beatnik |
Luis Castro De Leon | Young Cat #1 |
Teren Carter | Young Cat #2 |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Edward Norton | Director |
Edward Norton | Screenwriter |
Jonathan Lethem | Story Based on the Novel by |
Rachel Shane | Producer |
William Migliore | Producer |
Edward Norton | Producer |
Gigi Pritzker | Producer |
Michael Bederman | Producer |
Adrian Alperovich | Executive Producer |
Sue Kroll | Executive Producer |
Robert F. Smith | Executive Producer |
Brian Sheth | Executive Producer |
Daniel Nadler | Executive Producer |
Dick Pope | Director of Photography |
Beth Mickle | Production Designer |
Joe Klotz | Editor |
Amy Roth | Costume Designer |
Stephen Pope | Stunt Coordinator |
G. A. Aguilar | Stunt Coordinator |
Mark Russell | Visual Effects Supervisor |
Craig Armstrong | Composer |
Linda Cohen | Music Supervisor |
Avy Kaufman | Casting Director |
Michael Bederman | Unit Production Manager |
Adam Escott | First Assistant Director |
Nick Vanderpool | Second Assistant Director |
Silvana Tropea | Associate Producer |
Richard P. Keeshan | Production Supervisor |
Paul Hsu | Re-recording Mixer |
Michael Ahern | Art Director |
Kara Zeigon | Set Decorator |
Hinju Kim | Assistant Art Director |
Deirdre Horgan | Script Supervisor |
Danny Michael | Sound Mixer |
Kerrie Smith | Hairstylist |
John Quaglia | Hairstylist |
Louise McCarthy | Make up |
Joanna McCarthy | Make up |
Caleb Johnson | Special Effects Coordinator |
Sean Ilnseher | Supervising Location Manager |
G. A. Aguilar | Second Unit Director |
Stuart MacPhee | Post-Production Supervisor |
Beth Moran | First Assistant Editor |
Paul Hsu | Supervising Sound Editor |
Marissa Littlefield | Sound Editor |
Nick Schenck | Sound Editor |
Philip Stockton | Sound Editor |
Allan Zaleski | Sound Editor |
Daniel Pemberton | Music Producer |
Katherine Miller | Music Editor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.