Bulgaria Box Office for My Little Pony: Филмът (2017)
Theatrical Performance (US$) | ||
Bulgaria Box Office | $86,079 | Details |
Worldwide Box Office | $61,294,644 | Details |
Home Market Performance | ||
North America DVD Sales | $5,962,967 | Details |
North America Blu-ray Sales | $3,960,760 | Details |
Total North America Video Sales | $9,923,727 | |
Further financial details... |
Synopsis
A dark force threatens Ponyville, and the Mane 6—Twilight Sparkle, Applejack, Rainbow Dash, Pinkie Pie, Fluttershy, and Rarity— embark on an unforgettable journey beyond Equestria where they meet new friends and exciting challenges on a quest to use the magic of friendship to save their home.
Metrics
Movie Details
Production Budget: | $6,500,000 |
Bulgaria Releases: | October 13th, 2017 (Wide), released as My Little Pony: Филмът |
Video Release: | December 19th, 2017 by Lionsgate Home Entertainment |
MPAA Rating: | PG for mild action. (Rating bulletin 2487 (Cert #51120), 8/2/2017) |
Running Time: | 99 minutes |
Keywords: | Animal Lead, Talking Animals, Dragon, Monster, Military Coup, Pirates, Mermaids, Family Adventure |
Source: | Based on Toy |
Genre: | Adventure |
Production Method: | Digital Animation |
Creative Type: | Kids Fiction |
Production/Financing Companies: | Allspark Pictures, DHX Media |
Production Countries: | Canada, United States |
Languages: | English |
Home Market Releases for January 9th, 2018
January 9th, 2018
Usually this is a terrible time of year on the home market, because it is too late for the summer blockbusters, but too early for the holiday hits. However, the home market is terrible this week, because It comes out and it destroyed records at the box office and is scaring away nearly all of the competition. Fortunately, its reviews were very good, so it is a contender for Pick of the Week. Its main competition are two classics, Inherit the Wind and Young Mr. Lincoln. All three are worth picking up, but I’m giving the title to It, because of its wider appeal.
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Home Market Releases for December 19th, 2017
December 19th, 2017
By this time next week, Christmas will be over. This resulted in a short list, but not a bad week. Dunkirk is the biggest new release of the week and it is award-worthy and a contender for Pick of the Week. It isn’t the only contender, The Amicus Collection, Stronger, A Town Called Panic: The Collection, and others are too. As for the best of the best, I went with The Tragically Hip: A National Celebration on DVD or Blu-ray.
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Weekend Wrap-Up: Death Day Made the Box Office Happy with $26.04 million
October 17th, 2017
Happy Death Day led the weekend, as expected, but did so with a surprisingly strong $26.04 million. The only other truly wide release of the week was The Foreigner, which also beat expectations, albeit by a smaller margin. The overall box office still fell from last weekend, down 4.2% to $100 million. This is 1.4% higher than the same weekend last year. On the one hand, this is not enough to compensate for inflation. On the other hand, at this point, any win is worth celebrating. Year-to-date, 2017 is still behind 2016 by a large margin, but at least it was able to close the gap by a little bit at $410 million / 4.7% at $8.34 billion to $8.75 billion.
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Weekend Wrap-Up: Blade Runner Tops Chart with $32.75 million, but is it Enough?
October 10th, 2017
October started on a soft note with none of the new releases meeting expectations over the weekend. Blade Runner 2049 led the way with $32.75 million, which would have been fine, had the movie not cost $155 million to make. (That’s $185 million on the screen, $155 million cost for the studio, after you take into account tax breaks, etc.) Neither The Mountain Between Us, nor My Little Pony: The Movie made much of an impact at the box office, but at least neither of them bombed. The biggest news was It hitting $300 million. Overall, the box office did climb compared to last weekend, growing 16% to $105 million. This is just 1.2% higher than the same weekend last year, but at this point, a win is a win. Year-to-date, 2017 is 5.1% or $440 million behind 2016 at $8.19 billion to $8.64 billion. We really needed a big win this weekend to put a dent in that number. Unless November and December are really big months, 2017 has already lost the year-over-year competition.
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Weekend Estimates: Blade Runner Stumbles Out the Gate
October 8th, 2017
After It smashed the September weekend record a month ago, further proving that films can open huge at any time of the year, prospects looked great for the long-awaited sequel to Blade Runner. Its trailers had created positive buzz, the early reviews were very favorable, and there was little by way of competition. The bar it needed to cross to break the record, Gravity’s $55.8 million wasn’t even all that high. But something went wrong on the way to the multiplex.
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Friday Estimates: What Happened? Blade Runner Struggles with $12.7 million
October 7th, 2017
I was bullish about Blade Runner 2049’s chances for a number of reasons. It was setting October records for pre-sales on a number of sites. Its reviews were over 90% positive. Its previews were a little stronger than expected, so everything was looking up. Then Friday happened. The film only pulled in $12.7 million on Friday, which is well below expectations. This is not a case of critics loved it, but the audiences didn’t, as it scored an A minus from CinemaScore. Perhaps not enough of the target audience even remembers the original Blade Runner and that’s why this movie is struggling. A lot of people thought it had a shot at $50 million this weekend but now $35 million is likely out of reach. $33 million is more likely at this point.
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Thursday Night Previews: Blade Runs up a $4 million Tab
October 6th, 2017
Blade Runner 2049 pulled in $4 million in previews on Thursday night. Unfortunately, there’s not a lot of comparisons we can make here. The record holder for October is Gravity, but it opened in 2013, before previews were a major thing, so we can’t compare its $1.4 million in previews. Even The Martian’s $2.5 million previews isn’t a great comparison. We can say this is a good omen and a $50 million opening is a little more likely than it was yesterday. The reviews and its word-of-mouth should certainly help out, but it likely won’t be enough to break any records.
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Weekend Predictions: Can Blade Runner Sprint to the Finish?
October 5th, 2017
September ended on a slow note, but it looks like October will open fast. Blade Runner 2049 has been setting October pre-order records for a few sites, but it will also need strong walk-up sales in order to actually break the October weekend record, currently held by Gravity, with $55 million. I don’t think that’s likely, but at this point I would be shocked if it didn’t land in the top ten weekends for the month. The Mountain Between Us looks more and more like busted Oscar-bait. Its reviews have fallen from just over 70% positive to under 50% positive. As I started writing this, My Little Pony: The Movie still had no reviews, which is almost worse than bad reviews. (Reviews are starting to trickle in.) Finally there’s Victoria and Abdul, which is expanding. It isn’t expanding wide, or even semi-wide; however, it should still earn a spot in the top ten. This weekend last year, The Girl on the Train opened with $24.54 million. Blade Runner 2049 could earn twice that. If 2017 does win in the year-over-year comparison, then it will be on the back of Blade Runner 2049.
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2017 Preview: October
October 1st, 2017
September destroyed the previous September monthly record for total box office take, with $800 million or so (we won’t know the exact figure until after the weekend), which tops 2016’s record of $616 million. Granted, this is almost entirely due to It’s record breaking run, and the rest of the month was merely average. Kingsman: The Golden Circle was the only other film to come close to $100 million. October doesn’t look any better, as far as depth is concerned. Blade Runner 2049 is widely expected to be the biggest hit of the month, but it is the only film expected to reach $100 million domestically. Boo 2 should be the second biggest hit of the month, while there are only a couple of other films that have a shot at $50 million. Part of the problem is the level of competition, as there are 16 films opening during the four October weekends. (Needless to say, some of the predictions below will be a little short, as there’s not much to say about a film that will barely open in the top ten and disappear two weeks later.) That’s way too many and most will be buried by the competition. Last October was a flop, as no film earned more than $100 million at the box office. There were a few films that came close, including the original Boo! movie. As long as Blade Runner 2049 matches expectations, 2017 should win the year-over-year comparison by a small margin. If we get one surprise hit, then 2017 has a real shot at closing the gap with 2016 by a significant margin. I choose to be cautiously optimistic.
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My Little Pony: The Movie Trailer
August 9th, 2017
Animated adventure opens October 6 ... Full Movie Details.
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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 |
---|---|---|---|---|---|---|---|
2017/10/13 | 5 | $20,151 | 0 | $20,151 | 1 | ||
2017/10/20 | 5 | $15,489 | -23% | 0 | $41,116 | 2 | |
2017/10/27 | 10 | $10,429 | -33% | 0 | $55,118 | 3 | |
2017/11/03 | 12 | $7,766 | -26% | 0 | $66,738 | 4 | |
2017/11/10 | 13 | $4,452 | -43% | 0 | $72,469 | 5 | |
2017/11/17 | 12 | $2,817 | -37% | 0 | $76,816 | 6 | |
2017/11/24 | 13 | $1,507 | -47% | 0 | $79,593 | 7 | |
2017/12/01 | 17 | $834 | -45% | 0 | $80,415 | 8 | |
2017/12/08 | 17 | $666 | -20% | 0 | $80,164 | 9 | |
2017/12/15 | 17 | $815 | +22% | 0 | $81,117 | 10 | |
2017/12/29 | 14 | $733 | 0 | $84,632 | 12 | ||
2018/01/05 | 20 | $172 | -77% | 0 | $85,203 | 13 | |
2018/02/02 | - | $19 | 0 | $86,079 | 17 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 10/6/2017 | $169,623 | 0 | 0 | 0 | $436,228 | 1/1/2019 |
Australia | 10/27/2017 | $104,606 | 157 | 213 | 1053 | $1,007,456 | 1/18/2018 |
Belgium | 10/25/2017 | $0 | 0 | 0 | 0 | $409,446 | 2/6/2018 |
Brazil | 10/6/2017 | $220,646 | 0 | 0 | 0 | $555,835 | 6/26/2018 |
Bulgaria | 10/13/2017 | $20,151 | 0 | 0 | 0 | $86,079 | 2/26/2019 |
China | 2/2/2018 | $12,894 | 0 | 17020 | 32015 | $7,360,380 | 8/10/2018 |
Czech Republic | 10/20/2017 | $8,689 | 17 | 126 | 466 | $325,838 | 1/1/2019 |
Finland | 10/13/2017 | $205,000 | 0 | 0 | 0 | $205,000 | 10/16/2017 |
France | 10/20/2017 | $477,752 | 0 | 0 | 0 | $1,835,271 | 9/23/2018 |
Germany | 10/6/2017 | $676,000 | 0 | 0 | 0 | $2,394,306 | 6/29/2018 |
Hong Kong | 12/15/2017 | $134,037 | 37 | 37 | 37 | $421,802 | 10/28/2018 |
India | 11/10/2017 | $15,444 | 0 | 0 | 0 | $65,132 | 10/3/2018 |
Indonesia | 10/6/2017 | $90,377 | 0 | 0 | 0 | $234,698 | 1/1/2019 |
Israel | 10/5/2017 | $0 | 0 | 1 | 1 | $385,358 | 1/1/2019 |
Italy | 12/6/2017 | $180,456 | 0 | 94 | 95 | $236,447 | 9/12/2018 |
Lithuania | 10/6/2017 | $3,841 | 6 | 146 | 261 | $117,287 | 6/4/2019 |
Mexico | 10/6/2017 | $466,071 | 0 | 0 | 0 | $1,214,656 | 10/12/2018 |
Netherlands | 10/13/2017 | $60,271 | 97 | 97 | 473 | $454,516 | 11/3/2018 |
New Zealand | 10/27/2017 | $24,818 | 34 | 60 | 289 | $140,095 | 12/18/2017 |
North America | 10/6/2017 | $8,885,899 | 2,528 | 2,528 | 11,014 | $21,885,107 | 7/31/2018 |
Norway | 10/13/2017 | $213,000 | 0 | 0 | 0 | $213,000 | 10/16/2017 |
Poland | 10/6/2017 | $411,000 | 0 | 0 | 0 | $1,674,782 | 1/1/2019 |
Portugal | 12/15/2017 | $9,504 | 47 | 47 | 111 | $30,902 | 2/13/2018 |
Russia (CIS) | 10/13/2017 | $1,370,649 | 1193 | 1299 | 2962 | $2,325,901 | 1/1/2019 |
Slovakia | 10/13/2017 | $10,310 | 16 | 63 | 246 | $225,268 | 12/6/2017 |
Spain | 12/8/2017 | $168,119 | 252 | 252 | 506 | $270,929 | 9/12/2018 |
Sweden | 10/20/2017 | $0 | 0 | 0 | 0 | $902,088 | 2/13/2018 |
Taiwan | 10/6/2017 | $12,085 | 0 | 0 | 0 | $195,024 | 10/28/2018 |
Turkey | 10/6/2017 | $207,531 | 243 | 250 | 710 | $544,093 | 2/26/2019 |
United Kingdom | 10/20/2017 | $1,207,331 | 531 | 555 | 2795 | $4,997,408 | 4/19/2018 |
Rest of World | $10,144,312 | ||||||
Worldwide Total | $61,294,644 | 6/4/2019 |
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
Emily Blunt | Tempest Shadow |
Kristin Chenoweth | Princess Skystar |
Liev Schreiber | Storm King |
Michael Peña | Grubber |
Sia Furler | Songbird Serenade |
Taye Diggs | Capper |
Uzo Aduba | Queen Novo |
Zoe Saldana | Captain Celaeno |
Supporting Cast
Andrea Libman | Pinkie Pie/Fluttershy |
Tabitha St. Germain | Rarity |
Tara Strong | Twilight Sparkle |
Cathy Weseluck | Spike |
Ashleigh Ball | Applejack/Rainbow Dash |
Nicole Oliver | Princess Celestia/Little Spittle/Klugetown Featured Voice |
Adam Bengis | Code Red |
Michelle Creber | Applebloom |
Brian Dobson | Verko/Additional Voice |
Max Martini | Boyle |
Britt McKillip | Princess Cadance |
Peter New | Big Mac/Klugetown Featured Voice |
Mark Oliver | First Mate Mullet |
Sam Vincent | Party Favor/Canterlot Featured Voice |
Michael Dobson | Canterlot Featured Voice/Klugetown Featured Voice |
Andrew McNee | Canterlot Featured Voice/Klugetown Featured Voice |
Tegan Moss | Canterlot Featured Voice |
Sabrina Pitre | Canterlot Featured Voice |
Rhona Rees | Canterlot Featured Voice |
Richard Ian Cox | Klugetown Featured Voice |
Alistair Abell | Additional Voice |
Caitlyn Bairstow | Additional Voice |
Julia Benson | Additional Voice |
Christine Chatelain | Additional Voice |
Rondel Reynoldson | Additional Voice |
Jason Simpson | Additional Voice |
Sarah Troyer | Additional Voice |
Siobhan Williams | Additional Voice |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Jayson Thiessen | Director |
Meghan McCarthy | Screenwriter |
Rita Hsiao | Screenwriter |
Michael Vogel | Screenwriter |
Joe Ballarini | Screenwriter |
Brian Goldner | Producer |
Stephen Davis | Producer |
Marcia Gwendolyn Jones | Producer |
Haven Alexander | Producer |
Josh Feldman | Executive Producer |
Meghan McCarthy | Executive Producer |
Kirsten Newlands | Executive Producer |
Sarah Wall | Executive Producer |
Michael Vogel | Co-Executive Producer |
Anthony Di Ninno | Director of Photography |
Rebecca Dart | Art Director |
Braden Oberson | Editor |
Daniel Ingram | Composer |
Meghan McCarthy | Story by |
Joe Ballarini | Story by |
Doron Meir | Head of Story |
Nadine Westerbarkey | Animation Director |
Michel Gagne | Visual Effects Designer |
Jonathan Shore | Post-Production Supervisor |
Christopher Daniel Lasko | Supervising Film Editor |
Arlyn Bantog | Associate Producer |
Masaki Jeffrey | Character CG Supervisor |
Kent McCormick | Production Manager |
Tini Wider | Production Manager |
Adam Arsenault | Animation Supervisor |
Melanie Daigle | Animation Supervisor |
Irving Sevilla Garcia | Animation Supervisor |
Deborah Copeland | Animation Supervisor |
Diogo Viegas | Animation Supervisor |
Maite Garcia | Animation Supervisor |
Daniela Lopes Fischer | Animation Supervisor |
Flavia Bias Guttler | Animation Supervisor |
Mariana Isabel Villegas Flores | Animation Supervisor |
Joseph Magee | Music Producer |
Paul Shatto | Music Editor |
Kelly Cole | Sound Supervisor |
Bill Mellow | Sound Supervisor |
James Fonnyadt | Sound Designer |
Ovi Nedelcu | Story Artist |
Steve Lumley | Story Artist |
Kevin Munroe | Story Artist |
Larry Leker | Story Artist |
Nicole Wang | Story Artist |
David Dick | Story Artist |
Chris Johnston | Story Artist |
Aynsley King | Story Artist |
Thalia Tomlinson | Story Artist |
Jocelan Thiessen | Story Artist |
Patricia Atchison | Story Artist |
Ken Mackenzie | First Assistant Editor |
Ryan Jobling | Assistant Editor |
Jennifer Prokop | Additional Editor |
Greg Canning | Additional Editor |
Paolo Kalalo | Additional Editor |
Matt Boismier | Character Design Supervisor |
Angela An | Character Designer |
Michaela Martin | Character Designer |
Jaqueline Anderson | Character Designer |
Katharine Henry | Character Designer |
Maahir Pandie | Character Designer |
Bevin Brand | Character Designer |
Nicola Catena | Character Designer |
Nicole Martel | Character Designer |
Elizabeth Chen | Character Designer |
Matt Mozgiel | Character Designer |
Courtney Pearson | Character Designer |
Eric Emard | Character Designer |
Amy Yuxin He | Character Designer |
Caleb Chan | Additional Music |
Trevor Hoffmann | Additional Music |
Gregorio Gomez | Sound Effects Editor |
Jay Cheetham | Sound Effects Editor |
Kelly Cole | Re-recording Mixer |
Bill Mellow | Re-recording Mixer |
Mark Paterson | Re-recording Mixer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.