Myanmar (Burma) Box Office for The Spy Who Dumped Me (2018)
Theatrical Performance (US$) | ||
Myanmar (Burma) Box Office | $2,484 | Details |
Worldwide Box Office | $78,998,245 | Details |
Home Market Performance | ||
North America DVD Sales | $2,555,690 | Details |
North America Blu-ray Sales | $2,816,125 | Details |
Total North America Video Sales | $5,371,815 | |
Further financial details... |
Synopsis
Audrey and Morgan, two thirty-year-old best friends in Los Angeles, are thrust unexpectedly into an international conspiracy when Audrey’s ex-boyfriend shows up at their apartment with a team of deadly assassins on his trail. Surprising even themselves, the duo jump into action, on the run throughout Europe from assassins and a suspicious-but—charming British agent, as they hatch a plan to save the world.
Metrics
Movie Details
Production Budget: | $40,000,000 |
Myanmar (Burma) Releases: | August 10th, 2018 (Wide) |
Video Release: | October 30th, 2018 by Lionsgate Home Entertainment |
MPAA Rating: | R for violence, language throughout, some crude sexual material and graphic nudity. (Rating bulletin 2536 (Cert #51513), 7/18/2018) |
Running Time: | 117 minutes |
Keywords: | Set in Los Angeles, C.I.A., Relationships Gone Wrong, Hitmen, Exes in Love, Secret Agent, Fugitive / On the Run, Aspiring Actress / Actor, Set in Vienna, Set in Prague, Set in Paris, Travelogue, Tortured for Information, Double Agent, Secret Identity, Action Comedy |
Source: | Original Screenplay |
Genre: | Comedy |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | Imagine Entertainment, Lionsgate, Hercules Film Fund, Bron Creative |
Production Countries: | United States |
Languages: | English |
Home Market Releases for October 30th, 2018
October 30th, 2018
It’s another slow week on the home market, with not a lot of big releases and not a lot of Pick of the Week contenders. There were several that came close, including 2001: A Space Odyssey, Never Goin’ Back, The Princess Bride, etc. In the end, Mandy on Blu-ray was the only true contender for that title.
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Weekend Wrap-Up: Meg Chows Down on Moviegoers
August 14th, 2018
The Meg was arguably the biggest box office surprise of the summer, earning more during its opening weekend than many thought it would earn in total and it doubled our prediction. It also earned more than the next three films earned combined, so it was a rather one-sided affair at the box office. Its $45.40 million debut did help the overall box office rise 5.6% from last weekend reaching $147 million. More importantly, this is 26% higher than the same weekend last year. Year-to-date, 2018 now has a 9.1% / $640 million lead over 2017 at $7.68 billion to $7.04 million.
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Weekend Wrap-Up: Fallout Continues its Mission
August 7th, 2018
Mission: Impossible—Fallout remained on top of the weekend box office chart thanks in part to a stronger than expected hold and in part to weaker than expected competition. Christopher Robin was the only new release to make any real noise opening in second place with $24.59 million, while The Spy Who Dumped Me opened with less than half of that. Overall, the box office earned $139 million, 11% lower than last weekend. More importantly, this was 14% higher than this weekend last year. 2018 extended its lead over 2017 to just under $600 million or 8.7% at $7.46 billion to $6.86 billion.
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Weekend Estimates: Fallout Doesn’t Fall Very Far
August 5th, 2018
Mission: Impossible—Fallout fell just 43% during its second weekend earning $35.0 million for a two-week total of $124.5 million. It will have no trouble getting to $200 million domestically, especially with the weak competition for the rest of the month.
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Friday Estimates: Christopher Robin can’t make Fallout Fall from Top Spot
August 4th, 2018
There was a virtual tie on top of the Friday box office chart, which was good news for Paramount, but not so good news for Disney. Mission: Impossible—Fallout held on better than expected, remaining in first place with $9.85 million, and putting it on pace for $34 million over the weekend. With this result, it will cruise to $200 million domestically. This would be the first $200 million hit for Paramount since Transformers: Age of Extinction came out in 2014. Four years is a long time between $200 million hits.
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Thursday Night Previews: Christopher Robin’s $1.5 million Start is a Good Omen
August 3rd, 2018
Christopher Robin earned $1.5 million during its previews last night. There are not a lot of movies that are great matches for this movie, so it is hard to judge if this is a good start or not. This is almost exactly twice as large an opening as the $775,000 The BFG earned during its previews, so if this film earned the same legs, it would top our prediction by a few million dollars. I’ve seen some people compare it to Peter Rabbit, but that was a spring release. Another Pete, Pete’s Dragon, is a much better comparison, but it had no previews. Despite the lack of concrete data, I think this debut is on the high end of expectations and with good reviews, it should top $33 million over the weekend by a little bit. Anything more than $35 million would be a bit of a surprise.
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Weekend Predictions: Can Christopher Robin Survive the Fallout?
August 2nd, 2018
There are four films opening wide or semi-wide during the first weekend of the August. This includes the only potential $100 million hit, Christopher Robin. The Spy Who Dumped Me’s roller coaster ride on Rotten Tomatoes appears to be coming to an end at the mediocre end of things, but that’s not bad compared to the average August release. On the other hand, bad is the best way to describe The Darkest Minds, while calling Death of a Nation “bad” is a glorious understatement. While most of the new releases are not expected to make an impact at the box office, there could be a close race on top between Christopher Robin and Mission: Impossible—Fallout. This weekend last year, The Dark Tower opened in first place with just under $20 million. This year, the top two films should beat that with ease. Last year’s depth was better, but 2018 should still win in the year-over-year comparison.
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2018 Preview: August
August 1st, 2018
Overall, July was a a little weaker than expected. Ant-Man and the Wasp appears to be on pace for $200 million, while it is too soon to tell if Mission: Impossible—Fallout will also get there. That said, 2018 is still ahead of 2017 by $550 million, so the month of July was a success in that regard. As for August, there’s only one movie that is expected to earn $100 million, Christopher Robin, and maybe a few others that could hit $50 million. It’s a rather sad slate of movies. Fortunately, last August was even worse, so 2018 should at least maintain its lead. Maybe we can get lucky and come away with a $600 million lead by the end of the month.
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The Spy Who Dumped Me Trailer
March 22nd, 2018
Comedy starring Mila Kunis and Kate McKinnon opens on August 3 ... 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 |
---|---|---|---|---|---|---|---|
2018/08/17 | - | $2,484 | 0 | $2,484 | 2 | ||
2018/08/24 | - | $2,484 | n/c | 0 | $2,484 | 3 | |
2018/08/31 | - | $2,484 | n/c | 0 | $2,484 | 4 | |
2018/09/07 | - | $2,484 | n/c | 0 | $2,484 | 5 | |
2018/09/14 | - | $2,484 | n/c | 0 | $2,484 | 6 | |
2018/09/21 | - | $2,484 | n/c | 0 | $2,484 | 7 | |
2018/10/05 | - | $2,484 | 0 | $2,484 | 9 | ||
2018/10/12 | - | $2,484 | n/c | 0 | $2,484 | 10 | |
2018/10/19 | - | $2,484 | n/c | 0 | $2,484 | 11 | |
2018/10/26 | - | $2,484 | n/c | 0 | $2,484 | 12 | |
2018/11/09 | - | $2,484 | 0 | $2,484 | 14 | ||
2018/11/16 | - | $2,484 | n/c | 0 | $2,484 | 15 | |
2018/11/23 | - | $2,484 | n/c | 0 | $2,484 | 16 | |
2018/11/30 | - | $2,484 | n/c | 0 | $2,484 | 17 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 8/30/2018 | $53,003 | 72 | 72 | 73 | $66,607 | 1/1/2019 |
Aruba | 8/2/2018 | $0 | 0 | 0 | 0 | $28,281 | 1/1/2019 |
Australia | 8/10/2018 | $1,096,009 | 364 | 364 | 1149 | $2,784,352 | 10/19/2022 |
Austria | 8/31/2018 | $318,679 | 66 | 66 | 308 | $882,053 | 11/2/2018 |
Bahrain | 8/2/2018 | $0 | 0 | 0 | 0 | $206,726 | 1/1/2019 |
Bangladesh | 8/10/2018 | $0 | 0 | 5 | 15 | $10,356 | 1/1/2019 |
Belgium | 8/8/2018 | $0 | 0 | 77 | 329 | $989,088 | 10/23/2018 |
Bolivia | 8/23/2018 | $15,365 | 18 | 18 | 29 | $30,098 | 1/1/2019 |
Brazil | 8/24/2018 | $330,834 | 344 | 344 | 598 | $606,412 | 9/14/2018 |
Bulgaria | 8/24/2018 | $22,651 | 0 | 0 | 0 | $135,966 | 2/26/2019 |
Cambodia | 8/3/2018 | $0 | 0 | 0 | 0 | $5,720 | 1/1/2019 |
Chile | 8/23/2018 | $66,581 | 5 | 25 | 35 | $122,419 | 1/1/2019 |
China | 10/19/2018 | $5,750,000 | 56343 | 56343 | 56343 | $8,895,647 | 11/23/2018 |
Colombia | 8/9/2018 | $0 | 0 | 32 | 34 | $178,501 | 1/1/2019 |
Costa Rica | 8/9/2018 | $0 | 0 | 1 | 1 | $18,781 | 1/1/2019 |
Croatia | 8/9/2018 | $0 | 0 | 26 | 120 | $303,327 | 1/1/2019 |
Curacao | 8/2/2018 | $0 | 0 | 0 | 0 | $16,475 | 1/1/2019 |
Czech Republic | 8/17/2018 | $34,018 | 69 | 69 | 166 | $181,730 | 1/1/2019 |
Denmark | 8/16/2018 | $159,016 | 57 | 69 | 178 | $310,874 | 10/12/2018 |
Dominican Republic | 8/9/2018 | $0 | 0 | 9 | 19 | $23,999 | 1/1/2019 |
Ecuador | 8/24/2018 | $70,340 | 38 | 38 | 72 | $243,109 | 1/1/2019 |
Egypt | 8/1/2018 | $0 | 0 | 0 | 0 | $68,608 | 1/1/2019 |
El Salvador | 8/9/2018 | $0 | 0 | 11 | 16 | $22,088 | 1/1/2019 |
Estonia | 8/10/2018 | $0 | 0 | 15 | 37 | $136,873 | 10/12/2018 |
Finland | 8/17/2018 | $45,963 | 51 | 51 | 137 | $164,690 | 10/22/2018 |
France | 8/10/2018 | $514,000 | 0 | 349 | 574 | $1,198,337 | 9/14/2018 |
Germany | 8/30/2018 | $748,385 | 381 | 383 | 1356 | $1,649,312 | 10/23/2018 |
Greece | 9/13/2018 | $27,998 | 23 | 23 | 23 | $59,097 | 10/22/2018 |
Guatemala | 8/9/2018 | $0 | 0 | 3 | 4 | $28,233 | 1/1/2019 |
Honduras | 8/9/2018 | $0 | 0 | 3 | 3 | $19,162 | 1/1/2019 |
Hong Kong | 8/23/2018 | $236,403 | 42 | 42 | 90 | $508,260 | 10/12/2018 |
Hungary | 8/16/2018 | $151,591 | 53 | 53 | 262 | $730,026 | 1/1/2019 |
Iceland | 8/10/2018 | $0 | 0 | 0 | 0 | $62,817 | 1/1/2019 |
India | 8/10/2018 | $0 | 0 | 2 | 2 | $89,380 | 9/7/2018 |
Indonesia | 8/1/2018 | $234,229 | 0 | 0 | 0 | $354,125 | 1/1/2019 |
Iraq | 8/2/2018 | $0 | 0 | 0 | 0 | $21,064 | 1/1/2019 |
Israel | 8/2/2018 | $0 | 0 | 29 | 146 | $1,598,270 | 12/6/2018 |
Italy | 8/8/2018 | $196,436 | 0 | 14 | 14 | $457,536 | 9/14/2018 |
Jordan | 8/2/2018 | $0 | 0 | 2 | 3 | $97,501 | 1/1/2019 |
Kuwait | 8/2/2018 | $0 | 0 | 0 | 0 | $183,903 | 1/1/2019 |
Laos | 8/2/2018 | $0 | 0 | 0 | 0 | $5,175 | 1/1/2019 |
Latvia | 8/10/2018 | $0 | 0 | 8 | 20 | $73,674 | 1/1/2019 |
Lebanon | 8/2/2018 | $0 | 0 | 6 | 6 | $194,525 | 1/1/2019 |
Lithuania | 8/10/2018 | $2,325 | 6 | 53 | 67 | $75,777 | 9/14/2018 |
Malaysia | 8/2/2018 | $0 | 0 | 64 | 64 | $95,778 | 9/14/2018 |
Mexico | 8/24/2018 | $795,515 | 0 | 0 | 0 | $1,694,498 | 9/14/2018 |
Middle East Region | 8/3/2018 | $0 | 0 | 0 | 0 | $2,000,000 | 8/27/2018 |
Mongolia | 8/3/2018 | $0 | 0 | 0 | 0 | $9,637 | 1/1/2019 |
Myanmar (Burma) | 8/10/2018 | $0 | 0 | 0 | 0 | $2,484 | 12/6/2018 |
Netherlands | 8/10/2018 | $315,156 | 104 | 104 | 497 | $1,259,728 | 10/19/2018 |
New Zealand | 8/9/2018 | $0 | 0 | 67 | 161 | $300,232 | 10/22/2018 |
Nicaragua | 8/9/2018 | $0 | 0 | 2 | 3 | $8,537 | 1/1/2019 |
North America | 8/3/2018 | $12,103,043 | 3,111 | 3,111 | 10,857 | $33,562,069 | 9/1/2022 |
Norway | 8/17/2018 | $65,381 | 0 | 61 | 75 | $163,286 | 10/22/2018 |
Oman | 8/2/2018 | $0 | 0 | 0 | 0 | $70,153 | 1/1/2019 |
Pakistan | 8/3/2018 | $0 | 0 | 0 | 0 | $11,148 | 1/1/2019 |
Panama | 8/9/2018 | $0 | 0 | 3 | 3 | $31,897 | 1/1/2019 |
Paraguay | 8/30/2018 | $12,081 | 0 | 0 | 0 | $19,114 | 1/1/2019 |
Peru | 8/23/2018 | $160,551 | 93 | 93 | 152 | $440,212 | 1/1/2019 |
Poland | 8/17/2018 | $83,940 | 126 | 126 | 347 | $353,169 | 1/1/2019 |
Portugal | 8/31/2018 | $86,066 | 55 | 55 | 135 | $279,623 | 10/22/2018 |
Qatar | 8/2/2018 | $0 | 0 | 0 | 0 | $198,792 | 1/1/2019 |
Romania | 8/17/2018 | $116,561 | 80 | 80 | 155 | $618,264 | 1/1/2019 |
Russia (CIS) | 8/10/2018 | $818,158 | 1243 | 1272 | 3116 | $2,222,178 | 2/26/2019 |
Serbia and Montenegro | 8/9/2018 | $0 | 0 | 27 | 91 | $71,866 | 1/1/2019 |
Singapore | 8/2/2018 | $0 | 0 | 6 | 7 | $169,594 | 9/20/2018 |
Slovakia | 8/24/2018 | $53,734 | 68 | 68 | 133 | $141,951 | 10/12/2018 |
Slovenia | 8/23/2018 | $26,582 | 9 | 11 | 49 | $85,257 | 10/22/2018 |
South Africa | 8/17/2018 | $128,762 | 77 | 77 | 77 | $574,519 | 10/23/2018 |
South Korea | 8/22/2018 | $878,424 | 262 | 262 | 597 | $2,101,812 | 9/25/2018 |
Spain | 8/17/2018 | $231,491 | 184 | 217 | 565 | $721,270 | 10/19/2018 |
Suriname | 8/16/2018 | $9,276 | 0 | 0 | 0 | $31,496 | 1/1/2019 |
Sweden | 8/24/2018 | $81,622 | 147 | 147 | 213 | $209,795 | 10/12/2018 |
Switzerland (French Speaking) | 8/8/2018 | $0 | 0 | 16 | 30 | $104,128 | 10/12/2018 |
Switzerland (German Speaking) | 8/30/2018 | $189,799 | 60 | 60 | 148 | $404,607 | 10/26/2018 |
Switzerland (Italian Speaking) | 8/8/2018 | $0 | 0 | 0 | 0 | $24,298 | 9/7/2018 |
Taiwan | 8/17/2018 | $142,006 | 56 | 56 | 56 | $367,441 | 10/12/2018 |
Thailand | 8/2/2018 | $0 | 0 | 0 | 0 | $157,830 | 10/12/2018 |
Turkey | 8/10/2018 | $29,394 | 209 | 209 | 330 | $110,983 | 8/17/2020 |
Ukraine | 8/9/2018 | $0 | 0 | 156 | 309 | $491,315 | 1/1/2019 |
United Arab Emirates | 8/2/2018 | $0 | 0 | 6 | 7 | $1,067,361 | 1/1/2019 |
United Kingdom | 8/24/2018 | $1,359,407 | 475 | 475 | 1272 | $3,000,000 | 10/22/2018 |
Uruguay | 8/23/2018 | $8,690 | 7 | 7 | 18 | $24,134 | 1/1/2019 |
Vietnam | 8/3/2018 | $0 | 0 | 0 | 0 | $163,620 | 1/1/2019 |
West Indies | 8/8/2018 | $0 | 0 | 0 | 0 | $91,279 | 9/14/2018 |
Rest of World | $1,703,936 | ||||||
Worldwide Total | $78,998,245 | 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
Mila Kunis | Audrey |
Kate McKinnon | Morgan |
Justin Theroux | Drew Thayer |
Sam Heughan | Sebastian Henshaw |
Supporting Cast
Gillian Anderson | Wendy |
Ivanna Sakhno | Nadedja |
Blanka Györfi Tóth | Little Girl |
Lolly Adefope | Tess |
Dustin Demri-Burns | Viktor |
David Iserson | Friend in the Bar |
Hasan Minhaj | Duffer |
Peter Schueller | TSA Agent |
Mirjam Novak | Verne |
Agnes Banfalvy | Jaguar Woman |
László Áron | Jaguar Man |
Kev Adams | Bitteauto Driver Lukas |
Ruby Kammer | Aussie Tourist #1 |
Genevieve McCarthy | Aussie Tourist #2 |
Tamás Szabó Sipos | Fashion Show Intern |
Jane Curtin | Carol |
Paul Reiser | Arnie |
Hugo Bolton | CIA Analyst |
Patrícia Tary | Dumb American Girl #1 |
Carolyn Cicalese | Dumb American Girl #2 |
Hanna Milovits | Dumb American Girl #3 |
Rebeka Eva Cook | Dumb American Girl #4 |
Bettina Csipszer | Dumb American Girl #5 |
Ivett Bukovinszki | Dumb American Girl #6 |
Fred Melamed | Roger |
James Fleet | Tom |
Carolyn Pickles | Marsha |
Justine Wachsberger | French Girl |
Kevin Ezekiel Ogunleye | French Guy |
Tom Stourton | Edward Snowden |
Roderick Hill | Hairy Man |
Anita Anand | News Anchor |
Ólafur Darri Ólafsson | Finnish Backpacker |
Nicholas Wittman | ISIS Bartender |
Gyula Mesterházy | Canadian Ambassador |
Livia Habermann | Canadian Ambassador’s Wife |
András Velkov | Mustache Man |
Barnabas Reti | Male Acrobat |
Attila Arpa | Security Guard |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Susanna Fogel | Director |
Susanna Fogel | Screenwriter |
David Iserson | Screenwriter |
Ron Howard | Producer |
Brian Grazer | Producer |
Karen Lunder | Executive Producer |
Julie Oh | Executive Producer |
Erik Feig | Executive Producer |
Susanna Fogel | Executive Producer |
David Iserson | Executive Producer |
Guy Riedel | Executive Producer |
Paris Kasidokostas Latsis | Executive Producer |
Jason Cloth | Executive Producer |
Barry Peterson | Director of Photography |
Marc Homes | Production Designer |
Jonathan Schwartz | Editor |
Alex Bovaird | Costume Designer |
Tyler Bates | Composer |
Kier Lehman | Music Supervisor |
Deborah Aquila | Casting Director |
Tricia Wood | Casting Director |
Jennifer Smith | Casting Director |
Theo Park | Casting Director |
Udi Nedivi | Unit Production Manager |
Artist Robinson | First Assistant Director |
Deanna Stadler | Second Assistant Director |
Gary Powell | Second Unit Director |
Gary Powell | Stunt Coordinator |
Domonkos Pardanyi | Stunt Coordinator |
László Kósa | Sets Supervisor |
Christian Wagner | Additional Editor |
Andrew DeCristofaro | Supervising Sound Editor |
Becky Sullivan | Supervising Sound Editor |
Anna Behlmer | Re-recording Mixer |
Mark Paterson | Re-recording Mixer |
Udi Nedivi | Line Producer |
Bonni Camen | Production Supervisor |
Tina Anderson | Co-Producer |
Nic Pallace | Supervising Art Director |
Andrea Roxy Balogh | Set Decorator |
Blair Miller | First Assistant Editor |
Richard Conkling | Assistant Editor |
Kristina Perez | Script Supervisor |
Mac Ruth | Sound Mixer |
Zoltán Sárdi | Art Director |
Balazs Szedlacsek | Art Director |
Yves Debono | Special Effects Supervisor |
Natasa Petrik | Costume Supervisor |
Csilla Blake-Horvath | Make up |
Nóra Kapás | Make up |
Hayley Farrington | Hairstylist |
Brigitta Mogony | Hairstylist |
Bálint Regius | Location Manager |
Laszlo Rorarius | Location Manager |
Balint Kovacs | Location Manager |
Miklos Toth | Production Manager |
Phil Barrie | Sound Designer |
David Esparza | Sound Designer |
Darren Warkentin | Sound Designer |
Bill R. Dean | Sound Effects Editor |
Jay Wilkinson | Sound Effects Editor |
Karen Triest | Sound Effects Editor |
Michael Payne | Sound Effects Editor |
Chase Keehn | Dialogue Editor |
Sean Devereaux | Visual Effects Supervisor |
Whitney Gearin | Visual Effects Executive Producer |
Kevin Daly | Visual Effects Producer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.