United Kingdom Box Office for Teen Titans Go! To The Movies (2018)
Theatrical Performance (US$) | ||
United Kingdom Box Office | $2,300,000 | Details |
Worldwide Box Office | $51,620,593 | Details |
Home Market Performance | ||
North America DVD Sales | $585,744 | Details |
North America Blu-ray Sales | $3,037,363 | Details |
Total North America Video Sales | $3,623,107 | |
Further financial details... |
Synopsis
When the Teen Titans go to the big screen, they go big! Teen Titans GO! to the Movies finds our egocentric, wildly satirical Super Heroes in their first feature film extravaganza—a fresh, gleefully clever, kid-appropriately crass and tongue-in-cheek play on the superhero genre, complete with musical numbers. It seems to the Teens that all the major superheroes out there are starring in their own movies—everyone but the Teen Titans, that is! But de facto leader Robin is determined to remedy the situation, and be seen as a star instead of a sidekick. If only they could get the hottest Hollywood film director to notice them. With a few madcap ideas and a song in their heart, the Teen Titans head to Tinsel Town, certain to pull off their dream. But when the group is radically misdirected by a seriously Super-Villain and his maniacal plan to take over the Earth, things really go awry. The team finds their friendship and their fighting spirit failing, putting the very fate of the Teen Titans themselves on the line!
Metrics
Movie Details
Production Budget: | $10,000,000 |
United Kingdom Releases: | August 3rd, 2018 (Wide) |
Video Release: | October 30th, 2018 by Warner Home Video |
MPAA Rating: | PG for action and rude humor. (Rating bulletin 2525 (Cert #51579), 5/2/2018) |
Running Time: | 92 minutes |
Keywords: | 2D Digitally Animated Films, D.C. Comics, Movie Business, Celebrity Worship, Cyborg, Friendly Alien on Earth, Demons, Shapeshifter, Coming of Age, Family Adventure |
Source: | Based on TV |
Genre: | Adventure |
Production Method: | Digital Animation |
Creative Type: | Kids Fiction |
Production/Financing Companies: | Warner Animation Group |
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 Prediction: Smallfoot Looking for Big Box Office
September 26th, 2018
The final weekend of September is home to three wide releases. Two of these, Night School and Smallfoot could be solid hits. And since they are aimed at vastly different audiences, they shouldn’t cannibalize each other at the box office. On the other hand, Hell Fest is a low-budget horror movie that should earn more during its opening weekend than its $5.5 million production budget. Meanwhile, last week’s number one film, The House with a Clock in its Walls, should still have a solid weekend haul, giving the box office reasonable depth. This weekend last year, no film earned more than $20 million, while this year we should have two above that mark. Last year did have better depth, but I think 2018 will end its mini-losing streak in the year-over-year comparison.
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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 Wrap-Up: July Ends on an Impossibly Good Weekend
July 30th, 2018
Mission: Impossible—Fallout was easily the biggest hit of the weekend earning more than the rest of the top five combined. Its opening weekend of $61.24 million was the best in the franchise, but it wasn’t enough to prevent the overall box office from dropping 9.3% from last weekend earning $156 million. This is 8.0% higher than the same weekend last year, which is the more important result. 2018 is now ahead of 2017 by a margin of 8.5% or $570 million at $7.23 billion to $6.66 billion.
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Weekend Estimates: Impossible Tops Chart with Franchise Best $61.5 million Debut
July 29th, 2018
Mission: Impossible—Fallout dominated the weekend box office chart with $61.5 million over the weekend. This is the best opening in the franchise, unless you take inflation into account. Assuming the film can have the same legs as Rogue Nation, it will be able to top $200 million domestically. The film’s reviews and its A from CinemaScore, and the nearly total lack of quality competition in August, make that seem likely; however, I think we should wait a week before predicting a final box office tally. Internationally, the film made $92 million in 36 markets, which is close to 20% higher than Rogue Nation’s debuts in those markets, which should be enough to keep Paramount happy. Although given the studio’s struggles in the past few years, if the film was just marginally profitable, it would have been reason for Paramount to celebrate.
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Friday Estimates: Fallout on top Friday with Franchise Record
July 28th, 2018
Mission: Impossible—Fallout earned $23.0 million on Friday, putting it on pace for an opening weekend of $58 million, according to Paramount. This is the fastest start in the franchise; although given the age of the franchise and the ticket price inflation, that’s much less impressive. The film’s reviews are among the best we’ve seen from a wide release this year, while it earned an A from CinemaScore, so its legs should be long. That said, this is weaker than we predicted. I really thought the reviews would translate into more ticket sales.
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Thursday Night Previews: Fallout Rises to the Top
July 27th, 2018
Mission: Impossible—Fallout had the best previews in the franchise with $6 million; although that’s a bit of a backhanded compliment, as only Rogue Nation is new enough to be part of the preview era of Hollywood releases. That film pulled in $4 million during its previews; however, it also opened three years ago when previews were not as lucrative, so it is not a good comparison. On the other hand, The Equalizer 2 is a solid comparison as both are action sequels. If the two films have the same legs, then Fallout will open with nearly $70 million. Its reviews strongly suggest it will have better legs, but the long-running franchise suggests slighly longer legs. Overally, I’m still happy with our $67 million prediction and I expect the film to earn a little more than that, but be close enough to call it a victory.
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Weekend Predictions: Can Teen Titans do the Impossible?
July 26th, 2018
The last weekend of the month has two wide releases, both of which are earning stellar reviews. Mission: Impossible—Fallout is the sixth film in the franchise. It wasn’t that long ago where a sixth installment in a franchise would be impressive. Teen Titans Go! To the Movie is the first big screen appearance for most of these characters. There should also be three, maybe four other films with $10 million or more during the weekend. 2018 won’t need that depth to win in the year-over-year comparison, as this weekend last year was pretty weak, so the month should end on a winning note.
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Weekend Wrap-Up: Equalizer 2 Also has no Equal
July 23rd, 2018
The Equalizer 2 was the surprise winner at the weekend box office chart with $36.01 million over the weekend, which put it just ahead of the $34.95 million earned by Mamma Mia: Here We Go Again! The overall box office topped expectations with $171 million, up 2.7% from last week. This is 5.1% lower than the same weekend last year, but this is better than expected. Also, 2018 is still ahead of 2017 by a sizable margin of $560 million / 8.8% at $6.98 billion to $6.42 billion. Again, if 2018 just maintains the raw dollar margin for the rest of the year, it will be a reason to celebrate.
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Weekend Estimates: Equalizer more than Equals Mamma Mia
July 22nd, 2018
In a shocking turn of events, The Equalizer 2 overtook Mamma Mia: Here We Go Again! over the weekend with $35.83 million. This is better than predicted and is better than the original managed. Its reviews are not great, but it earned an A from CinemaScore and it is aimed at a more mature target audience, so it should have better than average legs. We will have a better picture this time next week. Internationally, the film managed $3.3 million on 704 screens in 11 markets, including $2.2 million in Australia. The film first didn’t do great internationally, so while this is a 30% improvement, it is still nothing special.
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2018 Preview: July
July 1st, 2018
June was amazing, with two absolute monster hits and a solid $100 million hit. By the end of the month, 2018’s lead over 2017 will be well over $500 million, or close to 10%. Even if 2018 only managed to maintain this lead in terms of raw numbers for the rest of the year, it will be a massive jump at the box office. As for July, there are a couple of potential monster hits, Ant-Man and the Wasp and Mission: Impossible—Fallout, plus four potential $100 million hits. Last July, there was only one monster hit, Spider-Man: Homecoming, and three $100 million hits. I don’t think 2018 will match 2017 at the top, but 2018 appears to have more depth and that should put it a little ahead over the full month.
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Teens Titans Go! to the Movies Trailer
June 26th, 2018
Animated comedy opens July 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 |
---|---|---|---|---|---|---|---|
2018/08/03 | 6 | $507,456 | 458 | $1,108 | $507,456 | 1 | |
2018/08/10 | 8 | $314,634 | -38% | 480 | $655 | $1,293,726 | 2 |
2018/08/17 | 11 | $162,282 | -48% | 452 | $359 | $1,776,331 | 3 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 7/27/2018 | $503,000 | 194 | 194 | 194 | $931,000 | 12/2/2018 |
Australia | 9/7/2018 | $176,704 | 230 | 235 | 1217 | $2,064,832 | 11/8/2018 |
Brazil | 8/31/2018 | $1,000,000 | 694 | 746 | 2118 | $3,238,707 | 8/7/2020 |
Bulgaria | 8/17/2018 | $40,136 | 0 | 0 | 0 | $199,301 | 2/26/2019 |
Italy | 8/17/2018 | $56,869 | 0 | 284 | 284 | $757,324 | 9/24/2018 |
Mexico | 8/24/2018 | $1,208,949 | 0 | 735 | 735 | $3,400,000 | 9/19/2018 |
Netherlands | 8/10/2018 | $93,805 | 114 | 114 | 398 | $385,460 | 9/4/2018 |
North America | 7/27/2018 | $10,411,189 | 3,188 | 3,188 | 10,071 | $29,790,236 | |
Peru | 8/17/2018 | $0 | 0 | 0 | 0 | $489,000 | 1/1/2019 |
Poland | 8/10/2018 | $268,849 | 0 | 0 | 0 | $1,100,000 | 1/1/2019 |
Portugal | 8/10/2018 | $70,781 | 65 | 65 | 261 | $261,725 | 11/20/2018 |
Spain | 8/31/2018 | $367,122 | 188 | 203 | 944 | $1,241,098 | 10/11/2018 |
Turkey | 8/3/2018 | $83,468 | 261 | 261 | 720 | $237,843 | 2/26/2019 |
United Arab Emirates | 8/3/2018 | $0 | 0 | 0 | 0 | $319,000 | 1/1/2019 |
United Kingdom | 8/3/2018 | $507,456 | 458 | 480 | 1390 | $2,300,000 | 9/17/2018 |
Rest of World | $4,905,067 | ||||||
Worldwide Total | $51,620,593 | 8/7/2020 |
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.
Lead Ensemble Members
Greg Cipes | Beast Boy |
Scott Menville | Robin |
Khary Payton | Cyborg |
Tara Strong | Raven |
Hynden Walch | Starfire |
Will Arnett | Slade Wilson/Deathstroke |
Supporting Cast
Kristen Bell | Jade Wilson |
Nicolas Cage | Superman |
Eric Bauza | Aquaman, Stan Lee’s Assistant |
Michael Bolton | Tiger |
Kal-El Cage | Young Bruce Wayne |
Joey Cappabianca | Plastic Man |
Greg Davies | Balloon Man |
John DiMaggio | Guard, Synth Skate Voice |
Halsey | Wonder Woman |
David Kaye | Trailer Voice, Announcer Inside Premiere |
Tom Kenny | Machine Voice |
Jimmy Kimmel | Batman |
Vanessa Marshall | Vault Voice |
Phil Morris | Red Carpet Announcer, Doomsday Device |
Patton Oswalt | Atom |
Alexander Polinsky | Control Freak |
Meredith Salenger | Supergirl |
Dave Stone | Challengers of the Unknown |
Fred Tatasciore | Jor-El, Security Guard |
James Arnold Taylor | Fake Slade Actor |
Lil Yachty | Green Lantern |
Wil Wheaton | Flash |
Cameos
Stan Lee | Himself |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Aaron Horvath | Director |
Peter Rida Michail | Director |
Aaron Horvath | Screenwriter |
Michael Jelenic | Screenwriter |
Bob Haney | Story Based on ‘Teen Titans’ by |
Bruno Premiani | Story Based on ‘Teen Titans’ by |
Aaron Horvath | Story Based on ‘Teen Titans’ by |
Michael Jelenic | Story Based on ‘Teen Titans’ by |
Aaron Horvath | Producer |
Michael Jelenic | Producer |
Will Arnett | Producer |
Peter Rida Michail | Producer |
Peggy Regan | Producer |
Sam Register | Executive Producer |
Michael E. Uslan | Executive Producer |
Dan Hipp | Production Designer |
Nick Kenway | Editor |
Jared Faber | Music by |
Luke Cormican | Head of Story |
Gerald DeJesus | Art Director |
Rafael Hurtado | Art Director |
Eric J. Pringle | Animation Director |
Crystal Stromer | Animation Director |
Eric Erickson | Visual Effects Supervisor |
Marina Gardner | Lead Character Designer |
Junpei Takayama | Character Designer |
Halima K. Gilliam | First Assistant Editor |
Noelleen Westcombe | First Assistant Editor |
Christopher J. Sacco | Production Manager |
Janice Evans | Production Supervisor |
Angela Chisholm | Production Designer |
Rebecca Macinnes | Animation Director |
Ron Doucet | Animation Director |
Daniel Luke Smits | Animation Supervisor |
Francis Jason Lerma | Animation Director |
Benjy Brooke | Animation Director |
McKenzie Kerman | Animation Supervisor |
Edwin Poon | Animation Director |
Kang Hei Chui | Animation Director |
Todd Toon | Sound Designer |
Todd Toon | Supervising Sound Editor |
David E. Fluhr | Re-recording Mixer |
Gregg Rudloff | Re-recording Mixer |
Dane Leon | Music Editor |
Greg ten Bosch | Sound Effects Editor |
Luke Gibleon | Sound Effects Editor |
Rob McIntyre | Sound Effects Editor |
G. W. Brown | Supervising Dialogue/ADR Editor |
Charles W. Ritter | Sound Editor |
Evan Dockter | Sound Editor |
Kelly Foley Downs | Supervising Dialogue Editor |
Mark A. Keatts | Dialogue Editor |
Noah Snyder | Score Mixer |
Harrison T. Barth | Assistant Editor |
Gabriel Gianola | Assistant Editor |
Matt Hanchey | Assistant Editor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.