Japan Box Office for The Mule (2018)
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| Theatrical Performance (US$) | ||
| Japan Box Office | $7,300,000 | Details |
| Worldwide Box Office | $173,453,994 | Details |
| Home Market Performance | ||
| North America DVD Sales | $23,382,321 | Details |
| North America Blu-ray Sales | $12,962,138 | Details |
| Total North America Video Sales | $36,344,459 | |
| Further financial details... | ||
Synopsis
Earl Stone is a man in his 80s who is broke, alone, and facing foreclosure of his business when he is offered a job that simply requires him to drive. Easy enough, but, unbeknownst to Earl, he’s just signed on as a drug courier for a Mexican cartel. He does well—so well, in fact, that his cargo increases exponentially, and Earl is assigned a handler. But he isn’t the only one keeping tabs on Earl; the mysterious new drug mule has also hit the radar of hard-charging DEA agent Colin Bates. And even as his money problems become a thing of the past, Earl’s past mistakes start to weigh heavily on him, and it’s uncertain if he’ll have time to right those wrongs before law enforcement, or the cartel’s enforcers, catch up to him.
Metrics
Movie Details
| Production Budget: | $50,000,000 |
| Japan Releases: | March 8th, 2019 (Wide) |
| Video Release: | March 19th, 2019 by Warner Home Video June 3rd, 2019 by Warner Home Video |
| MPAA Rating: | R for language throughout and brief sexuality/nudity. (Rating bulletin 2550 (Cert #51878), 10/24/2018) |
| Running Time: | 116 minutes |
| Keywords: | Crime, Directing Yourself, Drug Cartels, Smuggler, DEA Agent, Narcotics, Autumn Years, Crime Drama |
| Source: | Based on Factual Book/Article |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | Malpaso Productions, Imperative Entertainment, Warner Bros., Bron Creative |
| Production Countries: | United States |
| Languages: | English |
Home Market Releases for April 2nd, 2019
April 3rd, 2019
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Bumblebee is the last of the major winter release to hit the home market and with that we enter the summer doldrums. Fortunately, it is a great movie, even if it can’t live up to its Tomatometer Score, but it is still worth picking up and a contender for Pick of the Week. The only other contender is A Silent Voice on Blu-ray. It wasn’t a really close contest and A Silent Voice truly earns that honor.
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Weekend Wrap-Up: Aquaman Ends the Year on Top
January 2nd, 2019
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Due to the holidays, there was a delay in getting final numbers from major studios for the weekend box office, but the last of them have finally arrived. Aquaman dominated with $52.11 million over the three-day weekend, while it cracked $200 million on New Year’s Day. Mary Poppings Returns isn’t matching expectations, but it is still having a profitable run. Meanwhile, both Bumblebee and Spider-Man: Into The Spider-Verse are overcoming incredible competition to dig out profitable runs of their own. Overall, the weekend box office hit $188 million, which is 6.2% higher than last weekend, and while it is 3.5% lower than the same weekend last year, this is still better than expected. It will take a long time to get the final yearly results, not until the MPAA’s state of the industry report in April, but preliminary results have 2018 beating 2017 by 8.4% or $920 million at $11.91 billion to $10.99 billion.
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Weekend Estimates: Aquaman and Entire Top Five have a Repeat Performance
December 30th, 2018
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It has been an even more predictable weekend than expected, as every film in the top five finished in the same order as last weekend. This includes Aquaman topping the chart with an estimated $51.55 million over the weekend for a ten-day total of $188.79 million. It will cross $200 million shortly and overtake A Star is Born as Warner Bros.’ biggest domestic hit of the year. Internationally, the film added $85.4 million this weekend to push its global running tally to just shy of $750 million at $748.8 million. It is already ahead of Man of Steel and Suicide Squad on the DCEU chart and should soon step into first place.
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Friday Estimates: Aquaman Rises with the Tides
December 29th, 2018
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The Friday box office estimates are almost exactly as predicted, with most films out-pacing expectations by a small amount. At least as far as the top five is concerned. The lower films struggled more. For example, Aquaman led the way with $17.1 million putting it on pace for $52 million over the weekend. The film will become Warner Bros.’ second film released in 2018 to get to the $200 million mark (A Star is Born quietly got there before Christmas.) but it might have to wait till the new year to get there. Internationally, the film has already cracked $500 million with a running tally of $511.8 million as of the end of business on Friday.
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Weekend Predictions: Aquaman Will Celebrate the New Year on Top
December 28th, 2018
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It’s the weekend after Christmas and as is the holiday tradition, there are no new releases this week. I guess you could technically call Holmes and Watson and Vice new releases, but they’ve been out since Tuesday. This means there won’t be much new news to talk about. Aquaman will dominate, while Mary Poppins Returns will bounce back, as will most other family fair. I think the same five films that appeared in the top five last weekend will appear in the top five this weekend. Holmes and Watson might not collapse and could grab a spot in the top five, but I personally wouldn’t bet on it. This weekend last year, Star Wars: The Last Jedi barely stayed ahead of Jumanji: Welcome to the Jungle, as both films earned more than $50 million. Aquaman has close to a 50/50 chance of earning $50 million, but the rest of the films will be well back resulting in 2018 ending on a losing note. That said, it should be relatively close and 2018 has already topped last year’s final box office by a significant margin.
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Weekend Wrap-Up: Box Office Christmas Clean-up
December 27th, 2018
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The Christmas holiday is over for most people, although it is not entirely over for some studios. This is making getting all of the box office details much harder to do. In fact, we are still limited to estimated for more than half the top five this weekend. We have enough details now to look at the weekend results and the Christmas Day releases and see which are thriving and which are not. Aquaman dominated the charts with just over $100 million so far, including its paid previews. On the other hand, Mary Poppins Returns missed expectations by a substantial margin. It will still break even. The same can be said of Bumblebee, which could usher in a new era of Transformers movies. Overall, the box office rose by 53% from last weekend to $177 million. This is just 0.3% lower than the same weekend last year; however, last year, Christmas Eve fell on a Sunday and Christmas Eve is a dead zone at the box office. We can’t even compare Christmas Day, because landing on a Monday vs. a Tuesday is a huge difference. Next weekend’s comparison will be much easier to make. Year-to-date, and this is up to Boxing Day, 2018 is ahead by 7.7% or $810 million at $11.37 billion to $10.56 billion. This would be an impressive year, even if no more movie tickets were sold after boxing day.
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Christmas Predictions: Can Sherlock Solve the Case?
December 24th, 2018
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Tomorrow is Christmas Day, which is a surprisingly good day to release a movie, and two new films are hoping to take advantage of this. Holmes and Watson is by far the bigger of the two releases, but despite the comedic talent in the movie, its reviews are, well, practically non-existent. There’s only one review and it is negative. Not that long ago, I thought the film would still open with $10 million for the day, as Will Ferrell and John C. Reilly do have box office drawing power. However, the lack of reviews hurts and the buzz isn’t loud enough to compensate. I think $8 million is more likely.
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Weekend Estimates: Aquaman Easily Tops Weekend Chart, Poppins / Bumblebee Need Long Legs
December 23rd, 2018
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Aquaman is the only certifiable hit of the weekend with an estimated opening of $67.4 million over the weekend for a total of $72.1 million including last week’s paid previews. This is not more than we predicted, but it is dominating the chart, because the competition didn’t show up. It should hit $100 million by the end of Christmas Day. Its reviews are good, but not great, and the same is true of its A minus from CinemaScore. It is also a comic book movie and those tend to have shorter legs, so it might not get as large a multiplier as the average Christmas weekend release, but it should be a large enough hit that Warner Bros. will keep this new direction going for the DCEU. Internationally, it is earning an estimated $91.3 million on 31,930 screens in 70 markets for a three-week total of $410.7 million. Overall, it is tracking ahead of every other film in the DCEU, but a lot of that has to do with China.
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Friday Estimates: Aquaman Easily Tops Chart, Bumblebee tops Struggling Mary Poppins
December 22nd, 2018
Friday was not as potent as midnight previews led us to believe it would be. That said, Aquaman still had an impressive $28.0 million opening day. This does include the previous night’s $9.0 million in previews, but not last weekend’s $4.7 million in previews, giving the film a $32.7 million running tally. The film’s reviews remain in the overall positive level and it earned an A minus from CinemaScore, so it should have relatively good legs over the weekend, for a comic book movie. We predicted an opening weekend of $67 million and I think the film will top that, by one or two million dollars. It is more than enough for Warner Bros. to continue with the new direction DCEU is taking.
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Weekend Predictions: Will Aquaman Swim to Victory, or will Mary Poppins Return to Top Spot?
December 19th, 2018
It is a busy week, as there are seven films opening wide over the next seven days. Not all of these will be hits—the competition is just too great for that. However, there could be a real race for Christmas champion this year. Because of its fast start in China and its strong pre-sales numbers, many believe Aquaman will top earlier expectations and earn first place over the three-day weekend. However, I think Mary Poppins Returns will be number one over the full week, partially because it should earn a bigger boost over Christmas, but also because it is opening two days early. Meanwhile, Bumblebee’s surprisingly strong reviews are lifting its box office potential.
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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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The Mule Trailer
December 3rd, 2018
Drama directed by and starring Clint Eastwood, with Bradley Cooper, and Laurence Fishburne opens December 14 ... Full Movie Details.
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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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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 |
|---|---|---|---|---|---|---|---|
| 2019/03/08 | - | $1,800,000 | 238 | $7,563 | $1,800,000 | 1 | |
| 2019/03/15 | - | $992,000 | -45% | 238 | $4,168 | $4,100,000 | 2 |
| 2019/03/22 | - | $583,000 | -41% | 238 | $2,450 | $5,600,000 | 3 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 1/4/2019 | $284,000 | 116 | 116 | 514 | $1,210,000 | 9/9/2019 |
| Australia | 1/24/2019 | $1,366,722 | 311 | 311 | 1887 | $6,600,000 | 10/19/2022 |
| Brazil | 2/14/2019 | $321,173 | 94 | 278 | 539 | $1,060,000 | 4/16/2019 |
| Bulgaria | 2/1/2019 | $35,072 | 0 | 0 | 0 | $137,416 | 4/2/2019 |
| China | 8/26/2019 | $470,000 | 2663 | 2663 | 2663 | $1,512,095 | 10/9/2019 |
| Czech Republic | 3/22/2019 | $64,605 | 113 | 113 | 190 | $139,467 | 4/9/2019 |
| France | 1/23/2019 | $4,200,000 | 533 | 694 | 3471 | $15,100,000 | 10/19/2022 |
| Germany | 2/1/2019 | $223,000 | 105 | 105 | 105 | $223,000 | 2/8/2019 |
| Greece | 1/4/2019 | $245,000 | 62 | 62 | 62 | $1,190,000 | 10/19/2022 |
| Italy | 2/7/2019 | $2,529,614 | 0 | 525 | 1124 | $7,267,011 | 9/26/2019 |
| Japan | 3/8/2019 | $1,800,000 | 238 | 238 | 714 | $7,300,000 | 10/19/2022 |
| Lithuania | 1/4/2019 | $27,524 | 51 | 51 | 126 | $78,497 | 1/29/2019 |
| Mexico | 1/25/2019 | $884,215 | 640 | 640 | 640 | $2,570,000 | 10/19/2022 |
| Netherlands | 3/7/2019 | $324,622 | 76 | 86 | 492 | $1,230,000 | 10/19/2022 |
| North America | 12/14/2018 | $17,509,431 | 2,588 | 3,329 | 21,063 | $103,804,407 | 11/2/2020 |
| Poland | 3/15/2019 | $261,000 | 114 | 114 | 570 | $1,150,000 | 10/19/2022 |
| Portugal | 2/1/2019 | $230,518 | 73 | 73 | 351 | $914,865 | 5/14/2019 |
| Russia (CIS) | 3/1/2019 | $658,230 | 417 | 417 | 1462 | $2,000,000 | 10/19/2022 |
| Slovakia | 1/11/2019 | $58,288 | 71 | 71 | 108 | $120,314 | 2/5/2019 |
| South Korea | 3/14/2019 | $394,793 | 472 | 472 | 614 | $728,483 | 4/11/2019 |
| Spain | 3/8/2019 | $1,326,834 | 288 | 355 | 2172 | $6,400,000 | 10/19/2022 |
| Taiwan | 1/11/2019 | $206,000 | 88 | 88 | 88 | $229,000 | 1/20/2019 |
| United Arab Emirates | 1/11/2019 | $311,000 | 5 | 5 | 5 | $311,000 | 1/15/2019 |
| United Kingdom | 1/25/2019 | $955,934 | 462 | 462 | 887 | $2,630,000 | 10/19/2022 |
| Rest of World | $9,548,439 | ||||||
| Worldwide Total | $173,453,994 | 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.
Leading Cast
| Clint Eastwood | Earl Stone |
Supporting Cast
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Clint Eastwood | Director |
| Nick Schenk | Screenwriter |
| Clint Eastwood | Producer |
| Tim Moore | Producer |
| Kristina Rivera | Producer |
| Jessica Meier | Producer |
| Dan Friedkin | Producer |
| Bradley Thomas | Producer |
| Aaron L. Gilbert | Executive Producer |
| Ruben Fleischer | Executive Producer |
| David Bernad | Executive Producer |
| Todd Hoffman | Executive Producer |
| Sam Dolnick | Story inspired by the New York Times Magazine article “The Sinaloa Cartel’s 90 Year Old Drug Mule” by |
| Yves Belanger | Director of Photography |
| Kevin Ishioka | Production Designer |
| Joel Cox | Editor |
| Deborah Hopper | Costume Designer |
| Arturo Sandoval | Composer |
| Doug Coleman | Stunt Coordinator |
| David M. Bernstein | Co-Producer |
| Jillian Apfelbaum | Co-Producer |
| Geoffrey Miclat | Casting Director |
| Tim Moore | Unit Production Manager |
| David M. Bernstein | First Assistant Director |
| Jeff Hubbard | Second Assistant Director |
| Stephen S. Campanelli | Second Unit Director |
| Holly Hagy | Associate Producer |
| Julien Pougnier | Supervising Art Director |
| Ronald R. Reiss | Set Decorator |
| Nathan Godley | Assistant Editor |
| David Cox | Assistant Editor |
| Ana Maria Quintana | Script Supervisor |
| Alan Robert Murray | Supervising Sound Editor |
| Steven A. Morrow | Sound Mixer |
| Chris McGeary | Music Editor |
| Chris McGeary | Score Producer |
| Mitchell Kenney | Costume Supervisor |
| Luisa Abel | Make up |
| Patricia Dehaney | Hairstylist |
| Cheryl Daniels | Hairstylist |
| Patrick O. Mignano | Supervising Location Manager |
| Elizabeth Wright | Location Manager |
| J.D. Schwalm | Special Effects Supervisor |
| Cameron Steenhagen | Supervising Dialogue Editor |
| Jason King | Sound Effects Editor |
| John Joseph Thomas | Sound Effects Editor |
| Christian Wenger | Sound Effects Editor |
| Darren Maynard | Sound Effects Editor |
| Goeun Lee | Sound Effects Editor |
| John C. Stuver | Dialogue Editor |
| Andrea Horta | Dialogue Editor |
| Bobby Fernandez | Score Mixer |
| John Reitz | Re-recording Mixer |
| Dean A. Zupancic | Re-recording Mixer |
| Richard Duarte | Foley Mixer |
| Jack Cucci | Foley Mixer |
| Roberto Alegria | Foley Mixer |
| Darrin Mann | Foley Mixer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.