Australia Box Office for News of the World (2020)
Theatrical Performance (US$) | ||
Australia Box Office | $0 | Details |
Worldwide Box Office | $12,668,325 | Details |
Home Market Performance | ||
North America DVD Sales | $7,565,419 | Details |
North America Blu-ray Sales | $5,783,291 | Details |
Total North America Video Sales | $13,348,710 | |
Further financial details... |
Synopsis
Five years after the end of the Civil War, Captain Jefferson Kyle Kidd, a widower and veteran of three wars, now moves from town to town as a non-fiction storyteller, sharing the news of presidents and queens, glorious feuds, devastating catastrophes, and gripping adventures from the far reaches of the globe. In the plains of Texas, he crosses paths with Johanna, a 10-year-old taken in by the Kiowa tribe six years earlier and raised as one of their own. Johanna, hostile to a world she’s never experienced, is being returned to her biological aunt and uncle against her will. Kidd agrees to deliver the child where the law says she belongs. As they travel hundreds of miles into the unforgiving wilderness, the two will face tremendous challenges of both human and natural forces as they search for a place that either can call home.
Metrics
Movie Details
Production Budget: | $38,000,000 |
Australia Releases: | January 28th, 2021 (Wide) |
Video Release: | January 15th, 2021 by Universal Home Entertainment February 10th, 2021 by Netflix UK |
MPAA Rating: | PG-13 for violence, disturbing
images, thematic material and some language. (Rating bulletin 2654 (cert #52818), 11/4/2020) |
Running Time: | 118 minutes |
Keywords: | 1870s, Civil War, Returning Soldiers, Native Americans, Adopted Family, Western Drama |
Source: | Based on Fiction Book/Short Story |
Genre: | Western |
Production Method: | Live Action |
Creative Type: | Historical Fiction |
Production/Financing Companies: | Playtone, Pretty Pictures, Universal Pictures |
Production Countries: | United States |
Languages: | English |
Weekend predictions: The Little Things should easily win the weekend
January 29th, 2021
This weekend’s release of The Little Things continues Warner Bros.’ strategy of launching major films simultaneously in theaters and on HBO Max, following the Christmastime launch of Wonder Woman 1984. The studio can argue that its experiment has paid off so far, with Wonder Woman posting a decent opening, given the state of the pandemic, and also driving new subscribers to the service. Little Things will be more of test though, since it’s not a major franchise release and isn’t high on the list of most-anticipated movies of the year.
It does, however, come with an impeccable pedigree, and our model is quite enthusiastic about its chances.
Weekend estimates: Marksman topples Wonder Woman
January 17th, 2021
The Marksman will win the battle at the top of the box office chart this weekend, according to studio estimates released on Sunday. The action thriller is projected to earn $3.225 million over the three-day part of the weekend, and Open Road expects it to add another $480,000 tomorrow for a four-day opening of $3,705,000. Its debut is comfortably ahead of our Friday prediction, but a little behind Honest Thief, which earned $3.6 million over its three-day opening weekend back in October. The decline is most likely a reflection of the worsening pandemic conditions over the past few months, but Open Road shared some interesting demographic details that shed more light on how the market is evolving at the moment.
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Weekend predictions: Marksman and Wonder Woman in head-to-head battle
January 15th, 2021
MLK Weekend could have a close race at the box office as new release The Marksman goes head-to-head with Wonder Woman 1984. Our model thinks Wonder Woman has the edge, but it’s likely to be a close-run thing. Liam Neeson has an impeccable pedigree when it comes to action thrillers—this isn’t even his first outing in such a film during the pandemic—and Honest Thief beat expectations with a $3.6-million opening weekend back in October. Here’s what the model thinks about Marksman…
Weekend estimates: Wonder Woman stays top over New Year’s Weekend
January 3rd, 2021
Wonder Woman 1984 will remain top at the box office this weekend, according to studio estimates released on Sunday morning, but it’ll do so in spite of a sharp fall from its opening weekend. Warner Bros. projects a $5.5-million weekend for the super hero pic, down 67% from last weekend. That’s not a huge fall for a film like this by historical standards, but it is a surprisingly-sharp decline for the New Year weekend, and considerably worse than any other film reporting, many of which increased their box office from Christmas weekend.
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Weekend predictions: Wonder Woman to dominate Christmas weekend on screen and at home
December 24th, 2020
Wonder Woman will take us back to the 1980s, and possibly forward to the mid-2020s this weekend with an unprecedented release wide in theaters and simultaneously on the HBO Max streaming platform. What that means for its box office is, honestly, a mystery. While its performance will be very closely watched, there are so many additional confounding factors—the Christmas weekend, rising cases of COVID-19 around the country, theater closures and seating restrictions—that it would be unwise to draw too many conclusions from its performance. This week’s run of our box office model at least gives us a baseline to work from.
December preview: Wonder Woman heralds the end of the theatrical window (for now?)
December 1st, 2020
The worst year for the movie theatrical industry in a century will end with a series of releases that might define the business for the next decade. Only three of the major studios are daring to release films in theaters during what is shaping up to be the height of the COVID-19 pandemic. Sony Pictures is going the traditional route with Monster Hunter getting an exclusive theatrical release on Christmas Day. Universal’s deals with AMC and Cinemark to allow shortened theatrical windows in return for sharing PVOD revenue have prompted it and its specialty division Focus Features to release four films this holiday season. But all eyes (or many of them, anyway) will be on Warner Bros.’ release of Wonder Woman 1984 simultaneously in theaters and on HBO Max.
When the studio announced this release strategy back on November 18 there was speculation that, if it worked out well, they might do the same thing with some of their other upcoming films. Today they threw caution to the wind and announced that all of the studio’s 2021 films will be released in theaters and on HBO Max at the same time (in territories where HBO Max is available). While we’re still digesting the news, here are three quick takes on the rationale for Warner Bros. to make this bold leap.
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News of the World trailer
October 27th, 2020
Historical drama starring Tom Hanks and Helena Zengel is scheduled to open in theaters on December 25 ... Full Movie Details.
Five years after the end of the Civil War, Captain Jefferson Kyle Kidd, a widower and veteran of three wars, now moves from town to town as a non-fiction storyteller, sharing the news of presidents and queens, glorious feuds, devastating catastrophes, and gripping adventures from the far reaches of the globe. In the plains of Texas, he crosses paths with Johanna, a 10-year-old taken in by the Kiowa tribe six years earlier and raised as one of their own. Johanna, hostile to a world she’s never experienced, is being returned to her biological aunt and uncle against her will. Kidd agrees to deliver the child where the law says she belongs. As they travel hundreds of miles into the unforgiving wilderness, the two will face tremendous challenges of both human and natural forces as they search for a place that either can call home.
More...
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 | 1/28/2021 | $0 | 0 | 0 | 0 | $0 | |
Germany | 1/7/2021 | $0 | 0 | 0 | 0 | $0 | |
North America | 12/25/2020 | $2,250,430 | 1,900 | 1,986 | 19,649 | $12,668,325 | |
United Kingdom | 1/1/2021 | $0 | 0 | 0 | 0 | $0 | |
Worldwide Total | $12,668,325 |
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
Tom Hanks | Captain Jefferson Kyle Kidd |
Helena Zengel | Johanna Leonberger |
Supporting Cast
Mare Winningham | Doris Boudlin |
Steve Boyles | Freighter |
Tom Astor | Cavalry Lieutenant |
John Travis Johnson | Cavalry Rider |
Andy Kastelic | Union Duty Officer |
Ray McKinnon | Simon Boudlin |
Jeff Ware | Red River Heckler |
Chris Bylsma | Red River Heckler |
Justin Tade | Red River Heckler |
Darrin Giossi | Federal Soldier |
Brenden Wedner | Young Progressive Speaker |
Elizabeth Marvel | Mrs. Gannett |
Michael Covino | Ron Avalon |
James Clay | Almay’s Man |
Cash Lilley | Almay’s Man |
Stafford Douglas | Dallas Federal Officer |
Robert G. Knowlton | Dallas Federal Officer |
Jared Berry | Dallas Federal Soldier |
Gabriel Ebert | Benjamin Farley |
Fred Hechinger | Thomas Kidd |
Clint Obenchain | Tom Farley |
Thomas Francis Murphy | Mr. Farley |
Truman Hanks | German Rider |
Neil Sandilands | Wilhelm Leonberger |
Winsome Brown | Anna Leonberger |
Bill Camp | Mr. Branholme |
Michael Toby Sanchez | San Antonian |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Paul Greengrass | Director |
Paul Greengrass | Screenwriter |
Luke Davies | Screenwriter |
Paulette Jiles | Story based on the novel by |
Gary Goetzman | Producer |
Gail Mutrux | Producer |
Gregory Goodman | Producer |
Steven Shareshian | Executive Producer |
Tore Schmidt | Executive Producer |
Dariusz Wolski | Director of Photography |
David Crank | Production Designer |
Mark Bridges | Costume Designer |
William Goldenberg | Editor |
James Newton Howard | Composer |
Eric Heffron | Co-Producer |
Amy Lord | Co-Producer |
Scott Thaler | Unit Production Manager |
Eric Heffron | First Assistant Director |
Craig Comstock | Second Assistant Director |
Emily Evans-Thirlwell | Associate Producer |
Dayaliyah Lopez | Visual Effects Producer |
Peter Dudgeon | Additional Editor |
Billy W. Ray | Supervising Art Director |
Natasha Gerasimova | Supervising Art Director |
Lauren Slatten | Art Director |
Elizabeth Keenan | Set Decorator |
Amahl Lovato | Set Designer |
John Pritchett | Sound Mixer |
Tammy Williamson | Costume Supervisor |
Jean Black | Make up |
Kelvin R. Trahan | Hairstylist |
Rebecca Adams | Post-Production Supervisor |
Pani Scott | Supervising Assistant Editor |
Jun B. Kim | First Assistant Editor |
Holly Burn | Assistant Editor |
Arabella Winter | Music Editor |
Oliver Tarney | Supervising Sound Editor |
Oliver Tarney | Sound Designer |
Michael Fentum | Sound Designer |
Rachael Tate | Supervising Dialogue and ADR Editor |
Kevin Penney | Sound Effects Editor |
Dawn Gough | Sound Effects Editor |
Mike Prestwood Smith | Re-recording Mixer |
William Miller | Re-recording Mixer |
Adam Mendez | Foley Mixer |
Becky Boyle* | Script Supervisor |
Perez Hilton | Location Manager |
Jeff Dashnaw | Second Unit Director |
Gordon Davidson | Score Recordist |
Roni Rodrigues | Visual Effects Supervisor |
Ian Fellows | Visual Effects Supervisor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.