United Kingdom Box Office for Stan and Ollie (2018)
Theatrical Performance (US$) | ||
United Kingdom Box Office | $13,619,819 | Details |
Worldwide Box Office | $29,062,674 | Details |
Home Market Performance | ||
North America DVD Sales | $872,067 | Details |
North America Blu-ray Sales | $674,069 | Details |
Total North America Video Sales | $1,546,136 | |
Further financial details... |
Synopsis
Laurel & Hardy, one of the world’s great comedy teams, set out on a variety hall tour of Britain in 1953. Diminished by age and with their golden era as the kings of Hollywood comedy now behind them, they face an uncertain future. As the charm and beauty of their performances shines through, they re-connect with their adoring fans. The tour becomes a hit, but Stan & Ollie can’t quite shake the specter of Laurel and Hardy’s past; the long-buried ghosts, coupled with Oliver’s failing health, start to threaten their precious partnership. They are aware that they may be approaching their swan song, trying to rediscover just how much they mean to each other.
Metrics
Movie Details
Production Budget: | $10,000,000 |
United Kingdom Releases: | January 11th, 2019 (Wide), released as Stan and Ollie |
Video Release: | March 26th, 2019 by Sony Pictures Home Entertainment |
MPAA Rating: | PG for some language, and for smoking. (Rating bulletin 2553 (Cert #51909), 11/14/2018) |
Running Time: | 98 minutes |
Keywords: | Biography, 1950s, On Tour, Set in United Kingdom, Theater, Vaudeville, Biographical Drama, 1930s, Prologue, Epilogue, Intertitle |
Source: | Based on Real Life Events |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Dramatization |
Production/Financing Companies: | BBC Films, Fable House Productions, Entertainment One |
Production Countries: | United Kingdom, United States |
Languages: | English |
Home Market Releases for March 26th, 2019
March 27th, 2019
It is an amazing week for home releases. Not only do we have the biggest hit of last winter on this week’s list, but Aquaman is actually worth owning. That’s only the second time I can say that about the D.C.E.U. Additionally, there are a huge number of contenders for Pick of the Week, ranging from Oscar contenders (If Beale Street Could Talk on Blu-ray Combo Pack); limited releases (The Miseducation of Cameron Post: Special Edition Blu-ray); animated imports (My Hero Academia: Two Heroes on Blu-ray); TV movie aimed at teens (Kim Possible on DVD); and classics (For A Few Dollars More: Special Edition Blu-ray). It was an exceptionally close call, but in the end, I went with If Beale Street Could Talk.
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Theater Averages: Dragons Look Down on the Other New Releases
February 27th, 2019
How to Train Your Dragon: The Hidden World was the only film in the $10,000 Club earning an average of $13,506. The best limited release was Wrestle, which earned $6,027 in its lone theater.
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Theater Averages: Everybody Knows it’s a Slow Time for the Theater Average Chart
February 14th, 2019
There was only one new release in the $10,000 club this week, Everybody Knows, which earned an average of $17,802 in four theaters. Last week’s winner, Never Look Away, expanded into three theaters earning an average of $12,942. The 2019 Oscar Shorts didn’t make the $10,000 club, but it did earn nearly $1 million in 270 theaters for an average of $3,476, which is a better than 30% increase compared to the previous installment and easily the best of the franchise. Granted, it was also the widest release in the franchise, but this is still a start worth celebrating.
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Theater Averages: Most New Releases were Left Out in the Cold
February 6th, 2019
Never Look Away held up well earning $19,033 in its lone theater. Its Oscar Nod is helping, but its real test is when the film tries to expand. The only new release in the $10,000 club was Arctic, with an average of $12,720 in four theaters.
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Theater Averages: Most Films were Never Looked At
January 31st, 2019
Never Look Away was the only film to earn a spot in the $10,000 club, as it earned $25,789 in its lone theater. It did earn an Oscar Nod for Best Foreign-Language Picture, so it could do very well in limited release.
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2018 - Awards Season: BAFTA - Nominations
January 12th, 2019
The BAFTA nominations were announced and The Favorite led the way with 12 nominations. Sometimes the BAFTAs are a really good indicator for who will do well on Oscar night. Other times their bias to British films is too much. I think this year will be an example of the latter and I don't think The Favourite is suddenly an Oscar favorite. That said, there’s still some things you can learn here.
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Theater Averages: New Releases were Destroyed
January 10th, 2019
Destroyer rose to first place on the theater average chart with an average of $16,383 in six theaters. Cold War actually saw its average grow to $15,127, also in six theaters. Last week’s winner, On the Basis of Sex was next with an average of $14,370 in 112 theaters. It’s rare for a limited release to land in the $10,000 club while playing in more than 100 theaters. The final member of the $10,000 club was Stan and Ollie with an average of $10,920 in 8 theaters.
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Theater Averages: This Week’s Chart is Feeling Sexy
January 2nd, 2019
It was a busy week on the theater average chart, as there were three new releases and three holdovers in the $10,000 club. On the Basis of Sex led the way with an average of $20,799 in 33 theaters. That’s an excellent start for a limited release playing in that many theaters. Second place went to Destroyer with an average of $18,449 in three theaters. The final new release in the $10,000 club was Stan and Ollie, which earn an average of $15,935 in five theaters. Cold War held on really well earning an average of $14,777 in three theaters. The overall box office leader, Aquaman, was next with an average of $12,634. If Beale Street Could Talk rounded out the $10,000 with an average of $11,788, and it managed this despite expanding its theater count to 65.
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Weekend Estimates: Aquaman and Entire Top Five have a Repeat Performance
December 30th, 2018
It has been an even more predictable weekend than expected, as every film in the top five finished in the same order as last weekend. This includes Aquaman topping the chart with an estimated $51.55 million over the weekend for a ten-day total of $188.79 million. It will cross $200 million shortly and overtake A Star is Born as Warner Bros.’ biggest domestic hit of the year. Internationally, the film added $85.4 million this weekend to push its global running tally to just shy of $750 million at $748.8 million. It is already ahead of Man of Steel and Suicide Squad on the DCEU chart and should soon step into first place.
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2018 - Awards Season: Golden Globes - Nominations
December 6th, 2018
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. For example Vice led the way with six nominations, so its Oscar chances have gone up, but don’t expect it to lead the way when the Oscars nominations are announced.
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Stan & Ollie Trailer
November 26th, 2018
Biographical drama starring Steve Coogan and John C. Reilly opens December 28 ... Full Movie Details.
Laurel & Hardy, one of the world’s great comedy teams, set out on a variety hall tour of Britain in 1953. Diminished by age and with their golden era as the kings of Hollywood comedy now behind them, they face an uncertain future. As the charm and beauty of their performances shines through, they re-connect with their adoring fans. The tour becomes a hit, but Stan & Ollie can’t quite shake the specter of Laurel and Hardy’s past; the long-buried ghosts, coupled with Oliver’s failing health, start to threaten their precious partnership. A portrait of the most tender and poignant of creative marriages, they are aware that they may be approaching their swan song, trying to rediscover just how much they mean to each other.
More...
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 |
---|---|---|---|---|---|---|---|
2019/01/11 | 1 | $3,310,022 | 654 | $5,061 | $3,310,022 | 1 | |
2019/01/18 | 3 | $2,310,973 | -30% | 679 | $3,403 | $7,863,815 | 2 |
2019/01/25 | 4 | $1,400,325 | -39% | 661 | $2,118 | $10,888,615 | 3 |
2019/02/01 | 9 | $541,167 | -61% | 542 | $998 | $12,138,659 | 4 |
2019/02/08 | 15 | $264,452 | -51% | 357 | $741 | $12,693,332 | 5 |
2019/02/15 | - | $122,666 | -54% | 198 | $620 | $12,972,292 | 6 |
2019/02/22 | - | $44,499 | -64% | 127 | $350 | $13,384,943 | 7 |
2019/03/01 | - | $40,869 | -8% | 96 | $426 | $13,700,242 | 8 |
2019/03/08 | - | $8,989 | -78% | 51 | $176 | $13,588,953 | 9 |
2019/03/15 | - | $9,691 | +8% | 14 | $692 | $13,920,599 | 10 |
2019/03/22 | - | $6,813 | -30% | 7 | $973 | $13,876,616 | 11 |
2019/03/29 | - | $1,191 | -83% | 3 | $397 | $13,692,133 | 12 |
2019/04/05 | - | $1,301 | +9% | 17 | $77 | $13,691,848 | 13 |
2019/04/12 | - | $128 | -90% | 1 | $128 | $13,778,444 | 14 |
2019/04/26 | - | $508 | 1 | $508 | $13,619,819 | 16 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Australia | 2/22/2019 | $536,754 | 263 | 268 | 1254 | $1,655,240 | 9/17/2019 |
France | 3/8/2019 | $117,445 | 135 | 135 | 135 | $117,445 | 3/15/2019 |
Germany | 5/3/2019 | $0 | 0 | 269 | 269 | $2,242,415 | 5/24/2019 |
Italy | 5/1/2019 | $942,622 | 0 | 12 | 42 | $2,363,378 | 10/11/2019 |
Lithuania | 2/8/2019 | $1,776 | 27 | 27 | 28 | $2,701 | 2/19/2019 |
Netherlands | 1/11/2019 | $132,555 | 54 | 56 | 208 | $405,152 | 2/5/2019 |
North America | 12/28/2018 | $78,104 | 5 | 754 | 2,817 | $5,470,235 | 3/4/2021 |
Portugal | 3/1/2019 | $20,695 | 46 | 46 | 89 | $55,472 | 3/19/2019 |
South Africa | 8/2/2019 | $0 | 0 | 4 | 8 | $8,143 | 9/17/2019 |
Spain | 3/15/2019 | $138,488 | 143 | 180 | 372 | $340,450 | 4/5/2019 |
Turkey | 6/28/2019 | $5,942 | 58 | 58 | 61 | $13,036 | 7/11/2019 |
United Kingdom | 1/11/2019 | $3,310,022 | 654 | 679 | 3408 | $13,619,819 | 5/1/2019 |
Rest of World | $2,769,188 | ||||||
Worldwide Total | $29,062,674 | 3/4/2021 |
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
Steve Coogan | Stan Laurel |
John C. Reilly | Oliver Hardy |
Supporting Cast
Nina Arianda | Ida Laurel |
Shirley Henderson | Lucille Hardy |
Danny Huston | Hal Roach |
Rufus Jones | Bernard Delfont |
Susy Kane | Cynthia Clark |
Ella Kenion | Holiday Camp Organizer |
Harry Hepple | Wally Brady |
Bentley Kalu | Elephant Wrangler |
Joseph Balderrama | James Horne |
Rebecca Yeo | Concierge Savoy |
Lucy Appleton | Audience Member |
Sanjeev Kohli | Manager of Glasgow Empire |
Gary Kiely | Irishman |
Greg Canestrari | Stan’s Lawyer |
Julie Eagleton | Irish Woman, Cork Harbour |
Nick Owenford | Studio Executive |
Roger Ringrose | Doctor |
Martin Bratanov | Audience Member |
Michael Haydon | Audience Member |
David Gambier | Audience Member |
Daniel Fearn | Cab Driver |
Patrick Alexander Stewart | Joe Schenck |
Charlie Robinson | Savoy Guest |
Andy Mihalache | Arthur I. Royce |
Laraine Dix | Savoy Guest |
Callum Forman | Stage Hand |
Danny Scheinman | Jeweler |
Bethany Audley | Lyceum Theatre Guest |
Paul Riddell | Holidaymaker |
Conrad Asquith | Lord Warley |
Geoffrey Osborne | Photographer |
Eve Harding | Train Passenger #1 |
Swaylee Loughnane | Theatre Goer |
Tom Bates | Roach Scene Hand |
Alex Jaep | Audience Member |
Simon Ager | Poster Man Newcastle |
Elise Lamb | Plymouth Girl |
Ashley Robinson | Gordon Douglas |
James Thomas Scott | Train Buffet Customer |
Sophie Wardlow | Laurel and Hardy’s Makeup Artist |
Steve Healey | Theatre Goer |
Charles Walters | Bill Payer Station Guard |
James Francis Andrews | Clapper Loader |
Kate Okello | Newcastle Receptionist |
Kevin Millington | Clapper |
Richard Clark | Member of Public |
Josh Alexander | Stall Holder |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Jon S. Baird | Director |
Faye Ward | Producer |
Jeff Pope | Screenwriter |
Jim Spencer | Co-Producer |
Xavier Marchand | Executive Producer |
Kate Fasulo | Executive Producer |
Joe Oppenheimer | Executive Producer |
Nichola Martin | Executive Producer |
Jeff Pope | Executive Producer |
Eugenio Perez | Executive Producer |
Gabrielle Tana | Executive Producer |
Christine Langan | Executive Producer |
Una Ni Dhonghaile | Editor |
Bill Sneddon | Editor |
Laurie Rose | Director of Photography |
John Paul Kelly | Production Designer |
Guy Speranza | Costume Designer |
Louise Seymour | Post-Production Supervisor |
Rolfe Kent | Composer |
Karen Elliott | Music Supervisor |
Andy Pryor | Casting Director |