Brazil Box Office for Professor Marston & The Wonder Women (2017)
Theatrical Performance (US$) | ||
Brazil Box Office | $11,169 | Details |
Worldwide Box Office | $1,908,425 | Details |
Home Market Performance | ||
North America DVD Sales | $649,026 | Details |
North America Blu-ray Sales | $239,114 | Details |
Total North America Video Sales | $888,140 | |
Further financial details... |
Synopsis
The true story of what inspired Harvard psychologist Dr. William Moulton Marston to create the iconic Wonder Woman character in the 1940’s. While Marston’s feminist superhero was criticized by censors for her 'sexual perversity’, he was keeping a secret that could have destroyed him. Marston’s muses for the Wonder Woman character were his wife Elizabeth Marston and their lover Olive Byrne, two empowered women who defied convention: working with Marston on human behavior research—while building a hidden life with him that rivaled the greatest of superhero disguises.
Metrics
Movie Details
Brazil Releases: | December 14th, 2017 (Wide) |
Video Release: | January 30th, 2018 by Sony Pictures Home Entertainment |
MPAA Rating: | R for strong sexual content including brief graphic images, and language. (Rating bulletin 2485 (Cert #50882), 7/19/2017) |
Running Time: | 108 minutes |
Keywords: | Biography, Artists, Writing and Writers, Comic Industry, Bigamy or Polygamy, LGBTQ+ |
Source: | Based on Real Life Events |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Dramatization |
Production/Financing Companies: | Annapurna Pictures, Stage 6 Films, Topple Entertainment, Boxspring Entertainment, Opposite Field Pictures |
Production Countries: | United States |
Languages: | English |
Home Market Releases for January 30th, 2018
January 31st, 2018
This is one of the worse times of year for the home market. Until we start getting the holiday blockbusters landing on DVD / Blu-ray, there’s not much to talk about. That’s not to say there are no good releases, as God’s Own Country, The Square, and Steven Universe: Season One are all easily worth picking up. There are just no big releases. For example, the Pick of the Week goes to Professor Marston & The Wonder Women on Blu-ray, which was sadly ignored by moviegoers when it first hit theaters.
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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 Estimates: Young Women Power Death Day to Victory
October 15th, 2017
This weekend will be another winner for horror movies, with Happy Death Day powering into first place with a projected $26.5 million, according to Universal’s Sunday morning numbers. That puts it miles ahead of Blade Runner 2049, which failed to broaden its audience this weekend, and is down 54% to $15.1 million, for $60.6 million in total.
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Friday Estimates: Friday was a Happy, Happy Day as Death Pulled in $11.6 million
October 14th, 2017
Happy Death Day topped expectations by earning $14.3 million on Friday. Even with short legs, it will still make $25 million over the weekend, possibly a little more. This is likely more than it cost to make and advertise, at least initially. I suspect Universal will up their ad buy after this result and will also increase the initial print run for the DVDs / Blu-rays as well. The film’s reviews are 68% positive, while it earned a solid B from CinemaScore. Earning a B would be bad for most movies, but horror films routinely fall in the C range, as horror fans tend to be very negative. For example, gorehounds will hate anything without enough blood, but torture porn will turn off even more fans. Pleasing even half of the opening day audience is impressive.
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Thursday Night Previews: Should Happy Death Day be Happy with $1 million
October 13th, 2017
Happy Death Day started its box office run with $1 million during its previews. This is a mere fraction of what It earned earlier this fall, but it is better than the $772,000 Ouija: Origin of Evil earned this time last year. If Happy Death Day earns the same legs, then it will pull in about $18 million this weekend. Its reviews are not as good, but it is also not a sequel, so those two factors should balance out. This is exactly what we predicted, so I’m happy with this result. Since the film only cost $5 million to make and likely less than $20 million to advertise, the studio should also be happy.
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Weekend Predictions: Will Happy Day be the Death of the Box Office?
October 12th, 2017
I thought this would be a really busy weekend with Blade Runner 2049 repeating in first place and four wide releases competing for spots in the top five. However, last weekend, Blade Runner 2049 missed expectations, so it won’t dominate the chart this weekend. Meanwhile, two of the four wide releases are not going to open truly wide. This leaves Happy Death Day with a relatively easy path to first place. The Foreigner has almost made enough in China to pay for its production budget, so as long as it can cover its advertising budget here, it will break even before it reaches the home market. Meanwhile, Professor Marston & The Wonder Women is opening semi-wide and Marshall is opening nationwide. They may or may not open in the top ten. This weekend last year, The Accountant opened in first place with close to $25 million, while all three wide releases combined made $38 million. It is going to be tough for 2017 to match that.
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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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Professor Marston & the Wonder Women Trailer
August 11th, 2017
Historical drama, based on real-life events, starring Luke Evans, Rebecca Hall, and Bella Heathcote, written and directed by Angela Robinson, opens October 27 ... 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 |
---|---|---|---|---|---|---|---|
2017/12/15 | - | $11,169 | 12 | $931 | $11,169 | 1 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Australia | 11/10/2017 | $3,971 | 4 | 4 | 16 | $21,554 | 12/19/2017 |
Brazil | 12/14/2017 | $11,169 | 12 | 12 | 12 | $11,169 | 12/19/2017 |
Central America | 11/16/2017 | $2,974 | 2 | 2 | 4 | $7,233 | 12/6/2017 |
Germany | 11/2/2017 | $7,540 | 103 | 103 | 121 | $12,311 | 11/21/2017 |
Hong Kong | 11/23/2017 | $18,118 | 13 | 13 | 23 | $37,362 | 12/14/2017 |
Mexico | 11/10/2017 | $40,683 | 80 | 80 | 127 | $74,418 | 12/19/2017 |
New Zealand | 11/17/2017 | $3,219 | 6 | 6 | 16 | $9,010 | 12/11/2017 |
North America | 10/13/2017 | $736,883 | 1,229 | 1,229 | 2,417 | $1,585,362 | |
South Africa | 11/17/2017 | $2,260 | 5 | 5 | 15 | $7,585 | 12/14/2017 |
Taiwan | 11/10/2017 | $57,261 | 62 | 62 | 121 | $111,803 | 11/29/2017 |
Thailand | 11/16/2017 | $855 | 1 | 1 | 4 | $2,176 | 12/14/2017 |
United Kingdom | 11/10/2017 | $12,015 | 72 | 72 | 82 | $25,683 | 11/29/2017 |
Venezuela | 12/1/2017 | $1,119 | 1 | 1 | 2 | $2,759 | 12/14/2017 |
Worldwide Total | $1,908,425 | 12/19/2017 |
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
Rebecca Hall | Elizabeth Holloway Marston |
Luke Evans | William Moulton Marston |
Bella Heathcote | Olive Byrne |
Supporting Cast
JJ Field | Charles Guyette |
Oliver Platt | M.C. Gaines |
Connie Britton | Josette Frank |
Monica Giordano | Mary |
Chris Conroy | Brant Gregory |
Maggie Castle | Dorothy Roubicek |
Alexa Havins | Molly Stewart |
Sharon Kubo | Kate |
Allie Gallerani | Sara |
Chris Gombos | Fred Steward |
Forry Buckingham | Doctor |
Stacy Fischer | Linda |
Gabrielle Nail | Student |
Frank Ridley | Manager |
Ken Cheeseman | Dean Liddy |
Tom Kemp | Harry Peter |
Chris Richard | Teen Donn |
Sebastian Wood | Teen Son |
Nicholas Dias | Young Son |
Lucinda Clare | Theater Performer |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Angela Robinson | Director |
Angela Robinson | Screenwriter |
Amy Redford | Producer |
Terry Leonard | Producer |
Andrea Sperling | Executive Producer |
Joey Soloway | Executive Producer |
Bryce Fortner | Director of Photography |
Jeffrey M. Werner | Editor |
Carl Sprague | Production Designer |
Donna Maloney | Costume Designer |
Tom Howe | Composer |
Howard Paar | Music Supervisor |
Eve Battaglia | Casting Director |
Michael Bowes | Line Producer |
Terry Leonard | Unit Production Manager |
Eric Berkal | First Assistant Director |
Alex Schwerin | Second Assistant Director |
Katie Kramer | Second Assistant Director |
Paul Marini | Stunt Coordinator |
Shawnna Thibodeau Zak | Stunt Coordinator |
Danica Chipman | Set Decorator |
Lisa Arnone | Script Supervisor |
Michael Steiner | Production Supervisor |
Virginia B. Johnson | Costume Supervisor |
Sasha Grossman | Make up |
Angela Marinis | Make up |
Shayna Passaretti | Hairstylist |
Jared Detsikas | Sound Mixer |
Jose Peter Gonzalez | Location Manager |
Eric Bergman | Post-Production Supervisor |
Ruben Sebban | Assistant Editor |
Trevor Gates | Supervising Sound Editor |
Chris David | Re-recording Mixer |
James Parnell | Additional Sound Re-recording Mixer |
Kristen Hirlinger | Dialogue Editor |
Michael Baird | Sound Effects Editor |
Benjamin Gieschen | Sound Effects Editor |
Mike Ricci | Special Effects Coordinator |
Dave Tecson | Visual Effects by |
Eliza Pelham Randall | Visual Effects Supervisor |
Deanna O’Neil | Visual Effects Producer |
Alicia Vogt | Visual Effects Producer |
Joanie Diener | Music Editor |
Al Clay | Score Mixer |
Tom Howe | Score Producer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.