Portugal Box Office for O Caso de Richard Jewell (2019)
Theatrical Performance (US$) | ||
Portugal Box Office | $270,400 | Details |
Worldwide Box Office | $43,092,210 | Details |
Home Market Performance | ||
North America DVD Sales | $1,101,580 | Details |
North America Blu-ray Sales | $894,886 | Details |
Total North America Video Sales | $1,996,466 | |
Further financial details... |
Synopsis
“There is a bomb in Centennial Park. You have thirty minutes.” The world is first introduced to Richard Jewell as the security guard who reports finding the device at the 1996 Atlanta bombing—his report making him a hero whose swift actions save countless lives. But within days, the law enforcement wannabe becomes the FBI’s number one suspect, vilified by press and public alike, his life ripped apart. Reaching out to independent, anti-establishment attorney Watson Bryant, Jewell staunchly professes his innocence. But Bryant finds he is out of his depth as he fights the combined powers of the FBI, GBI and APD to clear his client’s name, while keeping Richard from trusting the very people trying to destroy him.
Metrics
Movie Details
Production Budget: | $45,000,000 |
Portugal Releases: | January 3rd, 2020 (Wide), released as O Caso de Richard Jewell |
Video Release: | March 3rd, 2020 by Warner Home Video |
MPAA Rating: | R for language including some sexual references, and brief bloody images. (Rating bulletin 2604 (Cert #52441), 11/3/2019) |
Running Time: | 129 minutes |
Keywords: | Biography, 1990s, Set in Atlanta, GA, Olympics, Terrorism, Media Circus, Falsely Accused, Biographical Drama |
Source: | Based on Factual Book/Article |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Dramatization |
Production/Financing Companies: | Appian Way, 75 Year Plan, Misher Films, Malpaso Productions, Warner Bros. |
Production Countries: | United States |
Languages: | English |
Home Market Releases for March 17th, 2020
March 17th, 2020
It’s a relatively good week on the home market, as we have Jumanji: The Next Level coming out. On the other hand, that’s the only big release of the week, at least on physical media. Star Wars: The Rise of Skywalker is hitting Video on Demand. Neither are Pick of the Week contenders, although Jumanji could get there when the screener arrives. As for the best of the rest, The Point: Ultimate Edition and Superman: Red Son Blu-ray / 4K Ultra HD are worth checking out. The Point came out a while ago, but the screener arrived late. That said, it is still the best release on this week’s list.
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Home Market Releases for March 3rd, 2020
March 5th, 2020
It’s a terrible week on the home market with almost no prime new releases. In fact, if there weren’t a couple of late screeners to talk about and several secondary VOD titles, the main list would be very short. The week is so weak that Jojo Rabbit is really the only choice for Pick of the Week, even though it came out about a month ago.
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2020 Awards Season: Oscar Highlight: Best Supporting Actress
February 4th, 2020
Our annual Oscar Prediction contest underway so now is the best time to look at the nominees and try to figure out who the favorites are and which films should just feel honored to be nominated. We are continuing today with Best Supporting Actress. In this category, there is an absolute favorite, a long shot with a shot, and then everyone else.
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2020 Awards Season: Oscar Nominations
January 13th, 2020
The Oscar nominations were announced on Monday, and the results were... well, there were some puzzling results. Joker led the way with eleven nominations. ... A film with 69% positive reviews earned the most nominations. It’s not the worst-reviewed movie to earn a Best Picture Nomination—after all, Bohemian Rhapsody was nominated just last year. However, this film is arguably the worst-reviewed movie to ever earn the most nominations in a single year.
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Weekend Wrap-Up: Jumanji Spreads a Little Christmas Cheer
December 17th, 2019
As expected, Jumanji: The Next Level dominated the competition over the weekend. Fortunately, it did so with a lot more than anticipated, earning $59.25 million. This is more than the rest of the top ten combined. Unfortunately, this happened in part due to the disastrous openings of Black Christmas and Richard Jewell. The overall box office rose dramatically from last weekend earning 31% more at $117 million. More importantly, this was 1.6% higher than the same weekend last year. Granted, that’s a tiny margin, but any win is worth celebrating at this point. Year-to-date, 2019 is still well behind 2018’s pace down 5.7% or $620 million at $10.31 billion to $10.93 billion. That said, if we can chip away at that deficit, then 2019 can at least end on a positive note and save face.
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Weekend Estimates: Jumanji Blows Past Predictions with $60-million Debut
December 15th, 2019
Jumanji: The Next Level is not only beating predictions, but is also topped projections based on Friday’s estimates. The film’s weekend estimate is $60.1 million, which is easily more than the rest of the top ten combined. It is also 66% higher than the Welcome to the Jungle’s opening weekend, although that film had a Wednesday opening, so it isn’t a fair comparison. Internationally, the film is nearly as impressive, earning $85.7 million on 39,900 screens in 52 markets for totals of $152.5 million internationally and $212.6 million worldwide. This includes a monster opening in the U.K., where it earned $12.6 million over the five-day weekend, including previews. This is 32% ahead of the previous installment in the franchise. Overall, the new film is 33% ahead of Welcome to the Jungle’s performance in the same group of new markets. If you look at is box office so far, add in its solid reviews and the Christmas break and we are looking at a $1 billion worldwide run. Sony had a really bad three-year streak a few years ago, but this is the second year in a row where they have been back in form.
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Friday Estimates: Jumanji Finds Plenty of Christmas Cheer
December 14th, 2019
Jumanji: The Next Level got off to a great start on Friday, earning $19.4 million. Sony is projecting just over $50 million for the weekend after this start, which is well above our $42-million prediction, and in fact on the very high end of range of everyone’s predictions. Furthermore, the film’s reviews remain solid, and, while it doesn’t have a published CinemaScore yet, its word-of-mouth does seem like an asset going forward. Granted, it does have intense competition next weekend, but I have no doubt that Sony is already working on a third installment of the Jumanji reboot.
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Thursday Night Previews: Jumanji Gets off to a $4.7 million Start
December 13th, 2019
Jumanji: The Next Level earned $4.7 million during its Thursday previews. Welcome to the Jungle was a Wednesday opening, and there were no previews we can compare against. Meanwhile, last year’s big release, Spider-Man: Into the Spider-Verse, was a kids movie, so we can’t compare its $3.5 million in previews either. This means we are in bit of a waiting period for more hard data, but with overall positive reviews, I’m cautiously optimistic.
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Weekend Predictions: Will Christmas Come a Week Early?
December 12th, 2019
Jumanji: The Next Level will have no trouble earning first place and could earn more than Frozen II, Black Christmas, and Richard Jewell will earn combined. The real question is whether or not the overall box office will keep pace with the same weekend last year when Spider-Man: Into the Spider-Verse debuted with $35.36 million. I really think Jumanji will top that figure while this year will also have marginally better depth helping 2019 earn a much needed win in the year-over-year competition.
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2020 Awards Season: Golden Globes Nominations
December 11th, 2019
The Golden Globes nominations are the second major Awards Season set to come out. It is still very early in the year and the predictive value of the Golden Globes is a little suspect, but there are still some things to learn here. (This is especially true on the TV end, as there’s talk about how strange the nominations are this year.) Marriage Story led the way with six nominations, just ahead of The Irishman and Once Upon a Time... in Hollywood, both of which picked up five nods.
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2019 Preview: December
December 1st, 2019
Frozen II wasn’t the only box office hit to debut in November, but it was by far the largest. It helped save November and kept 2019 from turning completely sour at the last minute. As for December, we have several potential $100 million hits, plus a couple of monster hits. There are some who think Star Wars: The Rise of Skywalker will be the biggest domestic hit released in 2019, but most think it will have to settle for second place. Jumanji: The Next Level should also be a monster hit, even if it doesn’t come really close to its predecessor. As for last December, Aquaman was the undisputed champion, earning almost as much as the next two films combined. Jumanji could top Aquaman at the box office, while we could also have more $100 million films than we had last year. Add in Star Wars and the year should end on a really positive note, making up for the extended slumps we had to deal with through a lot of the year. 2019 won’t be able to close the gap entirely, but it will do enough that we will be able to celebrate.
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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 |
---|---|---|---|---|---|---|---|
2020/01/03 | 5 | $109,340 | 65 | $1,682 | $109,340 | 1 | |
2020/01/10 | 7 | $46,722 | -57% | 55 | $849 | $186,487 | 2 |
2020/01/17 | 9 | $32,099 | -31% | 36 | $892 | $236,967 | 3 |
2020/01/24 | 15 | $11,729 | -63% | 24 | $489 | $260,683 | 4 |
2020/01/31 | 21 | $4,531 | -61% | 8 | $566 | $271,531 | 5 |
2020/02/07 | 27 | $1,854 | -59% | 3 | $618 | $271,842 | 6 |
2020/02/14 | - | $721 | -61% | 1 | $721 | $270,400 | 7 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 1/3/2020 | $79,182 | 102 | 102 | 163 | $157,501 | 1/20/2020 |
Australia | 2/14/2020 | $398,722 | 252 | 252 | 867 | $840,843 | 3/24/2020 |
Brazil | 1/3/2020 | $199,000 | 124 | 124 | 239 | $353,000 | 1/15/2020 |
Bulgaria | 1/10/2020 | $11,139 | 0 | 0 | 0 | $21,399 | 1/28/2020 |
China | 1/10/2020 | $225,000 | 1394 | 1654 | 3048 | $685,000 | 1/22/2020 |
Czech Republic | 1/17/2020 | $19,361 | 69 | 69 | 99 | $35,172 | 10/19/2022 |
France | 2/20/2020 | $2,300,000 | 485 | 561 | 2046 | $5,700,000 | 3/24/2020 |
Germany | 6/26/2020 | $0 | 0 | 0 | 0 | $379,717 | 4/12/2021 |
Hong Kong | 1/3/2020 | $108,485 | 0 | 0 | 0 | $238,000 | 1/15/2020 |
Italy | 1/16/2020 | $1,297,359 | 0 | 7 | 7 | $3,066,573 | 10/19/2022 |
Japan | 1/17/2020 | $786,000 | 244 | 244 | 488 | $2,700,000 | 3/4/2020 |
Mexico | 1/1/2020 | $360,456 | 365 | 365 | 365 | $1,000,000 | 10/19/2022 |
Netherlands | 3/6/2020 | $123,501 | 83 | 83 | 165 | $242,712 | 10/19/2022 |
New Zealand | 2/13/2020 | $25,229 | 67 | 67 | 224 | $58,494 | 10/19/2022 |
North America | 12/13/2019 | $4,705,265 | 2,502 | 2,502 | 10,158 | $22,345,542 | |
Portugal | 1/3/2020 | $109,340 | 65 | 65 | 192 | $270,400 | 10/19/2022 |
Romania | 2/14/2020 | $22,641 | 61 | 61 | 122 | $45,534 | 3/23/2020 |
Russia (CIS) | 1/9/2020 | $489,169 | 430 | 430 | 1109 | $1,100,000 | 10/19/2022 |
Slovakia | 1/24/2020 | $9,308 | 44 | 44 | 54 | $15,002 | 2/5/2020 |
Spain | 1/3/2020 | $579,632 | 270 | 299 | 1073 | $2,100,000 | 3/4/2020 |
Turkey | 3/27/2020 | $0 | 0 | 0 | 0 | $0 | |
United Kingdom | 1/31/2020 | $209,616 | 319 | 319 | 319 | $209,616 | 2/5/2020 |
Rest of World | $1,527,705 | ||||||
Worldwide Total | $43,092,210 | 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
Sam Rockwell | Watson Bryant |
Kathy Bates | Bobi Jewell |
Paul Walter Hauser | Richard Jewell |
Supporting Cast
Jon Hamm | Tom Shaw |
Olivia Wilde | Kathy Scruggs |
Brandon Stanley | Student |
Ryan Boz | Student |
Charles Green | Dr. W. Ray Cleere |
Mike Pniewski | Brandon Hamm |
Ian Gomez | Agent Dan Bennet |
Nina Arianda | Nadya Light |
Ronnie Allen | Kenny Rogers Impersonator |
David Lengel | Cameraman |
Elizabeth Keener | Pregnant Woman |
Grant Roberts | Will Jones — APD |
Alan Heckner | Bill Miller — GBI |
Desmond Phillips | Mike Silver — APD |
Alex Collins | Max Green — APD |
Michael Otis | Mr. Braden |
Izzy Herbert | Mariah Braden |
Kelly Collins Lintz | Mrs. Braden |
Jonathan D. Bergman | Jerrod Braden |
Daniel Annone | Drunk Teen |
Zack Shires | Drunk Teen |
Christian Adam | Drunk Teen |
Megan Mieduch | 911 Operator #1 |
Eric Mendenhall | Eric Rudolph |
Randy Havens | Sound Tech |
Kevin Patrick Murphy | Sound Tech |
Mitchell Hoog | Teen Intern |
David Shae | Ron Martz |
Brian Brightman | Zoeller |
Mike Wilson | Forsythe |
Andrea Laing | 911 Operator #2 |
Aubriana Davis | Girl in Park |
Deja Dee | Woman in Park |
Franco Castan | APD Cop |
Kendrick Cross | GBI Guy |
Brandon Morris | ATF Guy |
Billy Slaughter | Tim Barker |
Philip Fornah | Grateful APD Cop |
Dani Deette | Grateful APD Cop |
John Atwood | Mr. Brenner |
Dylan Kussman | Bruce Hughes |
Max Bickelhaup | Unnamed Swimmer |
Robert Treveiler | Patrick Williams |
David DeVries | John Walter |
Maury Morgan | News Anchor |
Tommy Kane | Horde Reporter |
Mallory Hoff | Horde Reporter |
Jill-Michele Melean | Horde Reporter |
Gregory Clarkson | Horde Reporter |
Nicole Sellars | Horde Reporter |
Garon Grigsby | Bryant Gumbel |
Niko Nicotera | Dave Dutchess |
Josh Henry | FBI Physical Evidence Guy |
Wayne Duvall | Richard Rackleff |
Jesse Burt | Supply Cart Guy |
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 |
Clint Eastwood | Producer |
Tim Moore | Producer |
Jessica Meier | Producer |
Kevin Misher | Producer |
Jonah Hill | Producer |
Leonardo DiCaprio | Producer |
Jennifer Davisson Killoran | Producer |
Billy Ray | Screenwriter |
Marie Brenner | Story Based on the Article “American Nightmare: The Ballad of Richard Jewell” by |
Yves Belanger | Director of Photography |
Kevin Ishioka | Production Designer |
Joel Cox | Editor |
Deborah Hopper | Costume Designer |
Arturo Sandoval | Composer |
Tim Gunny 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 |
Priscilla Elliott | Supervising Art Director |
Chris Craine | Art Director |
Ronald R. Reiss | Set Decorator |
Nathan Godley | Assistant Editor |
David Cox | Assistant Editor |
Adam Ohl | Visual Effects Producer |
Erin Mast | Script Supervisor |
Alan Robert Murray | Supervising Sound Editor |
Jose Antonio Garcia | Sound Mixer |
Chris McGeary | Music Editor |
Chris McGeary | Score Producer |
Chris McGeary | Score Coordinator |
Juan Lopez | Costume Supervisor |
Kimberly Felix-Burke | Make up |
Mark Bautista | Make up |
Ashley McGuire | Make up |
Joy Zapata | Hairstylist |
Vito Trotta | Hairstylist |
Deaundra Metzger | Hairstylist |
Holly Hagy | Production Supervisor |
Patrick O. Mignano | Supervising Location Manager |
Elizabeth Wright | Location Manager |
Clarke McAlarney | Set Designer |
Jake Ewonus | Set Designer |
Cameron Steenhagen | Supervising Dialogue Editor |
John Joseph Thomas | Sound Effects Editor |
Doug Jackson | Sound Effects Editor |
Michael W. Mitchell | Sound Effects Editor |
Christian Wenger | Sound Effects Editor |
Tom Ozanich | Sound Designer |
Michael Dressel | Supervising Foley Editor |
Willard Overstreet | Foley Editor |
John Reitz | Re-recording Mixer |
Dean A. Zupancic | Re-recording Mixer |
Richard Duarte | Foley Mixer |
Jack Cucci | Foley Mixer |
Thom Williams | Stunt Coordinator |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.