Australia Box Office for Paul, Apostle of Christ (2018)
| Theatrical Performance (US$) | ||
| Australia Box Office | $536,416 | Details |
| Worldwide Box Office | $26,078,500 | Details |
| Home Market Performance | ||
| North America DVD Sales | $5,798,995 | Details |
| North America Blu-ray Sales | $2,974,691 | Details |
| Total North America Video Sales | $8,773,686 | |
| Further financial details... | ||
Synopsis
The story of two men. Luke, as a friend and physician, risks his life when he ventures into the city of Rome to visit Paul, who is held captive in Nero’s darkest, bleakest prison cell. But Nero is determined to rid Rome of Christians, and does not flinch from executing them in the grisliest ways possible. Before Paul’s death sentence can be enacted, Luke resolves to write another book, one that details the beginnings of “The Way” and the birth of what will come to be known as the church. Bound in chains, Paul’s struggle is internal. He has survived so much—floggings, shipwreck, starvation, stoning, hunger and thirst, cold and exposure—yet as he waits for his appointment with death, he is haunted by the shadows of his past misdeeds. Alone in the dark, he wonders if he has been forgotten… and if he has the strength to finish well. Two men struggle against a determined emperor and the frailties of the human spirit in order to live out the Gospel of Jesus Christ and spread their message to the world.
Metrics
Movie Details
| Production Budget: | $5,000,000 |
| Australia Releases: | March 29th, 2018 (Wide) |
| Video Release: | June 12th, 2018 by Sony Pictures Home Entertainment |
| MPAA Rating: | PG-13 for some violent content and disturbing images. (Rating bulletin 2512 (Cert #51100), 1/31/2018) |
| Running Time: | 113 minutes |
| Keywords: | Faith-Based Film, Religious, Christians, Discrimination, Prison, Political Prisoner, Ancient Rome, Hagiography, Faith-Based Drama |
| Source: | Based on Religious Text |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | Affirm Films, Giving Films, Outside Da Box Films, Mandalay Pictures |
| Production Countries: | United States |
| Languages: | English |
Home Market Releases for June 19th, 2018
June 19th, 2018
Summer is the worst time of the year for the home market and this week is no exception. The “biggest” new release of the week is Pacific Rim: Uprising, but it is not worth picking up. There are a few contenders for Pick of the Week, including the final season of Dark Matter; a dark comedy, The Death of Stalin; and an Anime release, Re:Zero - Starting Life in Another World. In the end, I went with Dark Matter as the Pick of the Week.
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Home Market Releases for June 12th, 2018
June 12th, 2018
There are not many big releases on this week’s list. Tomb Raider, Sherlock Gnomes, The Strangers: Prey at Night, and Love, Simon were, at best, midlevel hits domestically. Worse still, only the last one earned good reviews. Fortunately, the film is good enough that the DVD, Blu-ray Combo Pack, or 4K Ultra HD Combo Pack is worthy as Pick of the Week.
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Weekend Wrap-Up: Spielberg’s Decade Best Can’t Save Overall Box Office
April 3rd, 2018
Ready Player One not only opened in first place over the weekend, but its three-day total of $41.77 million was Steven Spielberg’s best opening weekend as a director in almost exactly a decade. Acrimony was a solid second place finisher with $17.17 million. God’s Not Dead: A Light in Darkness missed the top ten. Overall, the box office rose 4.9% from last weekend hitting $136 million, but this was still 20% lower than the same weekend last year. 2018 is now 4.9% or $150 million behind 2017’s pace at $2.84 billion to $2.99 billion.
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Weekend Estimates: Ready Player One Solid On Debut
April 1st, 2018
The gulf between blockbusters and also-rans could hardly be starker these days. Since the release of Black Panther to a whopping $202 million on February 16, three movies that could have caught the general public’s imagination have arrived on the scene, and earned somewhere between a fifth and a seventh of that on opening weekend. Ready Player One is the most successful among them, with an opening of $41.2 million predicted by Warner Bros. as of this morning. That compares favorably to the openings of A Wrinkle in Time (which started out with $33.1 million), and Pacific Rim: Uprising ($28.1 million), and is, in fact, the best weekend in 2018 for a movie not called Black Panther, but it barely starts to chip away at considerable marketing costs, let alone a reported $150 million production budget.
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Weekend Wrap-Up: Uprising Wins, but Falls Compared to Original
March 27th, 2018
Pacific Rim: Uprising opened in first place over the weekend. In fact, it opened better than expected with $28.12 million. Unfortunately, that’s nowhere near enough compared to its production budget, so it will need international numbers to thrive. Black Panther was finally removed from top spot, but it also held on better than expected with $17.10 million. As for the rest of the new releases, they ranged from serious disappointments like Sherlock Gnomes and Paul, Apostle of Christ, to complete bombs like Midnight Sun and Unsane. The overall box office slipped just 2.0% from last week earning $129 million. However, this is 36% lower than the same weekend last year. 2018’s lead has completely evaporated and it is now $60 million or $2.1% behind 2017’s pace at $2.64 billion to $2.69 billion. I don’t see that improving this coming weekend.
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Weekend Estimates: Pacific Rim Leads Weak Field of Openers
March 25th, 2018
Black Panther’s run at the top of the domestic chart will finally come to an end this weekend, with Pacific Rim: Uprising taking over as the most popular film in the US and Canada. The switch over is mostly due to Panther beginning to run out of steam, rather than Uprising showing any particular strength though. Universal’s sci-fi action movie will pick up $28.005 million over its opening weekend in North America, about in line with expectations, but disappointing for a film that cost $150 million to make. Overseas markets, particularly in Asia, are where the box office action is at for this one.
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Friday Estimates: Pacific Rim Rises to Meet Expectations
March 24th, 2018
As expected, Pacific Rim: Uprising earned first place on Friday. In fact, its opening day box office of $10.36 million is actually a little better than expected and it is on pace for a $26 million opening weekend. Granted, this is a terrible opening compared to the film’s production budget, which is reportedly in the $155 million to $175 million range. Neither its reviews, nor its B-rating from CinemaScore will help its legs, but this film was never made to win over domestic audiences. It was made to shine in Asia, specifically China. It is too soon to tell for sure if that’s a viable strategy, or if Universal is going to have to suck up massive losses. Based on Friday numbers, the studio is predicting a $65 million opening weekend China alone and a $120.5 million international debut. That’s obviously better than here, but the film will need at least $400 million internationally to break even any time soon.
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Thursday Night Previews: Pacific Rim Rises with $2.35 million from Previews
March 23rd, 2018
Pacific Rim: Uprising got off to an okay start with $2.35 million from Thursday previews. Given its reviews and the recent results of films like Tomb Raider and last year’s Power Rangers that puts the film’s projected weekend haul at $26 million. That’s a little higher than we predicted, but close enough to call it a victory.
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Weekend Predictions: Kaiju vs. Panther
March 22nd, 2018
Black Panther will finally give up its hold on first place, that is unless something goes horribly wrong for Pacific Rim: Uprising. There are four other wide or semi-wide releases hitting theaters this weekend, which is at least two too many. Sherlock Gnomes and Paul, Apostle of Christ are the only two that have a legitimate shot at the top five. Meanwhile, Midnight Sun and Unsane are just hoping to not miss the top ten. This weekend last year, there were three wide releases that earned a combined $60 million. This is more than the five wide releases this year will earn. Also, Beauty and the Beast remained in second place with $90 million. 2018 has already lost its lead over 2017 and this weekend it is going to get crushed in the year-over-year comparison.
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Paul, Apostle of Christ Trailer
March 12th, 2018
Historical drama starring James Faulkner and Jim Caviezel opens March 23 ... Full Movie Details.
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2018 Preview: March
March 1st, 2018
February was an amazing month, thanks mainly to Black Panther, but Fifty Shades Freed and Peter Rabbit were also significant hits and overall the month was a massive improvement over last February. Looking forward, there’s nothing opening in March that will earn as much in total as Black Panther did during its opening weekend. That said, A Wrinkle in Time and Ready Player One should have no trouble getting to $100 million, while Tomb Raider has a 50/50 chance of getting there. Unfortunately, compared to last March, this is still a pittance. There’s a chance that no film opening this March will earn as much in total as Beauty and the Beast opened with last march. We will need Black Panther to have good legs to keep 2018 ahead of 2017 by the end 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 |
|---|---|---|---|---|---|---|---|
| 2018/03/30 | 13 | $151,138 | 45 | $3,359 | $151,138 | 1 | |
| 2018/04/06 | 15 | $78,913 | -48% | 45 | $1,754 | $333,397 | 2 |
| 2018/04/13 | 22 | $49,323 | -37% | 30 | $1,644 | $437,674 | 3 |
| 2018/04/20 | 25 | $25,445 | -48% | 23 | $1,106 | $482,215 | 4 |
| 2018/04/27 | - | $6,485 | -75% | 12 | $540 | $489,672 | 5 |
| 2018/05/04 | - | $7,164 | +10% | 10 | $716 | $520,488 | 6 |
| 2018/05/11 | - | $3,823 | -47% | 11 | $348 | $504,639 | 7 |
| 2018/05/18 | - | $3,446 | -10% | 5 | $689 | $508,457 | 8 |
| 2018/05/25 | - | $835 | -76% | 2 | $418 | $534,406 | 9 |
| 2018/06/01 | - | $1,031 | +23% | 2 | $516 | $535,522 | 10 |
| 2018/06/08 | - | $144 | -86% | 1 | $144 | $536,149 | 11 |
| 2018/06/15 | - | $206 | +43% | 1 | $206 | $536,391 | 12 |
| 2018/06/22 | - | $8 | -96% | 1 | $8 | $536,416 | 13 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 5/18/2018 | $13,193 | 0 | 0 | 0 | $38,330 | 1/1/2019 |
| Australia | 3/29/2018 | $151,138 | 45 | 45 | 188 | $536,416 | 6/27/2018 |
| Brazil | 5/3/2018 | $734,289 | 366 | 526 | 1700 | $3,060,417 | 8/7/2018 |
| Egypt | 3/22/2018 | $0 | 0 | 2 | 9 | $37,622 | 1/1/2019 |
| France | 5/2/2018 | $94,338 | 67 | 67 | 129 | $211,155 | 5/15/2018 |
| Iraq | 3/22/2018 | $0 | 0 | 1 | 5 | $7,331 | 1/1/2019 |
| Jamaica | 3/28/2018 | $3,580 | 4 | 4 | 4 | $3,580 | 1/1/2019 |
| Japan | 11/3/2018 | $31,702 | 9 | 9 | 65 | $280,945 | 2/6/2019 |
| Kenya | 3/30/2018 | $3,943 | 10 | 10 | 15 | $7,595 | 1/1/2019 |
| Lebanon | 3/22/2018 | $0 | 0 | 10 | 25 | $132,243 | 1/1/2019 |
| Mexico | 5/4/2018 | $267,236 | 0 | 0 | 0 | $898,053 | 5/21/2018 |
| New Zealand | 3/29/2018 | $1,212 | 4 | 7 | 17 | $18,746 | 6/5/2018 |
| North America | 3/23/2018 | $5,172,585 | 1,473 | 1,746 | 5,660 | $17,547,999 | 8/25/2020 |
| Norway | 5/18/2018 | $3,427 | 3 | 3 | 11 | $13,796 | 6/20/2018 |
| Philippines | 3/23/2018 | $0 | 0 | 37 | 54 | $68,244 | 1/1/2019 |
| Poland | 5/4/2018 | $38,000 | 118 | 118 | 310 | $134,556 | 1/1/2019 |
| Slovakia | 4/6/2018 | $40,669 | 71 | 71 | 142 | $93,662 | 5/30/2018 |
| South Africa | 3/23/2018 | $0 | 0 | 14 | 36 | $87,020 | 6/11/2018 |
| South Korea | 10/31/2018 | $2,375 | 1 | 217 | 971 | $1,881,058 | 4/16/2019 |
| Spain | 3/23/2018 | $103,718 | 77 | 79 | 261 | $444,506 | 7/3/2018 |
| Syria | 3/22/2018 | $0 | 0 | 1 | 1 | $2,762 | 1/1/2019 |
| Trinidad | 3/28/2018 | $11,908 | 15 | 15 | 25 | $23,462 | 1/1/2019 |
| Rest of World | $549,002 | ||||||
| Worldwide Total | $26,078,500 | 8/25/2020 | |||||
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
| James Caviezel | Saint Luke |
| James Faulkner | Saint Paul |
| Olivier Martinez | Mauritius Gallas |
Supporting Cast
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Andrew Hyatt | Director |
| Andrew Hyatt | Screenwriter |
| Andrew Hyatt | Story by |
| T.J. Berden | Story by |
| David Zelon | Producer |
| T.J. Berden | Producer |
| Eric Groth | Executive Producer |
| Rick Jackson | Executive Producer |
| Harrison Powell | Executive Producer |
| Jim Caviezel* | Executive Producer |
| Gerardo Madrazo | Director of Photography |
| Dave Arrowsmith | Production Designer |
| Scott Richter | Editor |
| Jan A. P. Kaczmarek | Composer |
| Luciano Capozzi | Costume Designer |
| Patricia DiCerto | Casting Director |
| Simon Sansone | Line Producer |
| Simon Sansone | Unit Production Manager |
| Hristo Dimitrov | First Assistant Director |
| Oana Ene | Second Assistant Director |
| Steve Abela | Stunt Coordinator |
| Ino Bonello | Art Director |
| Craig Menzies | Set Decorator |
| Aleksandar Bundalo | Sound Mixer |
| Kenneth Cassar | Special Effects Supervisor |
| Robert Grech | Special Effects |
| Lesley Micallef | Special Effects |
| Samuel Delia | Special Effects |
| Wayne Galea | Special Effects |
| Martina Zammit Maempel | Costume Supervisor |
| Jackie Grima | Make-up and Hair Designer |
| Mark Sansone | Location Manager |
| Ryan Gatt | Script Supervisor |
| David Townsend | Post-Production Supervisor |
| Eric Fernandez | Assistant Editor |
| Matthew Pullicino | Visual Effects Producer |
| Amira Borg | Visual Effects Producer |
| Cary Smith | Visual Effects Supervisor |
| Tateum Kohut | Re-recording Mixer |
| Jeremy B. Davis | Re-recording Mixer |
| Mandell Winter | Supervising Sound Editor |
| David Esparza | Sound Designer |
| Larry Goeb | Dialogue Editor |
| Richard Yawn* | Dialogue Editor |
| Chato Hill | Dialogue Editor |
| Ron Mellegers | Foley Mixer |
| Ryan Lukasik | Foley Mixer |
| Randy Wilson | Foley Mixer |
| Jan A. P. Kaczmarek | Music Producer |
| Rafal Paczkowski | Score Recordist |
| Rafal Paczkowski | Score Mixer |
| Curt Sobel | Music Supervisor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.