Portugal Box Office for Venom: Tempo de Carnificina (2021)
| Theatrical Performance (US$) | ||
| Portugal Box Office | $1,300,095 | Details |
| Worldwide Box Office | $501,546,922 | Details |
| Home Market Performance | ||
| North America DVD Sales | $15,123,982 | Details |
| North America Blu-ray Sales | $24,414,548 | Details |
| Total North America Video Sales | $39,538,530 | |
| Further financial details... | ||
Synopsis
Eddie Brock is still struggling to coexist with the shape-shifting extraterrestrial Venom. When deranged serial killer Cletus Kasady also becomes host to an alien symbiote, Brock and Venom must put aside their differences to stop his reign of terror.
Metrics
Movie Details
| Production Budget: | $110,000,000 |
| Portugal Releases: | October 14th, 2021 (Wide), released as Venom: Tempo de Carnificina |
| Video Release: | November 23rd, 2021 by Sony Pictures Home Entertainment |
| MPAA Rating: | PG-13 for intense sequences of violence and action, some strong language, disturbing material and suggestive references. (Rating bulletin 2696 (cert #52628), 9/1/2021) |
| Running Time: | 97 minutes |
| Franchise: | Venom, Sony’s Marvel Universe |
| Keywords: | Action Thriller, Serial Killer, Friendly Alien on Earth, Investigative Journalist, Prison Break |
| Source: | Spin-Off |
| Genre: | Action |
| Production Method: | Animation/Live Action |
| Creative Type: | Super Hero |
| Production/Financing Companies: | Marvel Studios, Columbia Pictures |
| Production Countries: | United States |
| Languages: | English |
Weekend estimates: Spider-Man rewrites pandemic rulebook with $253-million opening
December 19th, 2021
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After two dismal years for the theatrical business, Spider-Man has returned to change the rules of the game. Again. Back in 2002, the first Spider-Man movie set an all-time record by opening with $114.8 million—becoming the first film to top $100 million at the box office in a single weekend. That was arguably the beginning of the modern era at the box office.
This weekend, Spider-Man: No Way Home may be kicking off the post-pandemic era with a gargantuan $253-million opening. That’s not just the best result of the pandemic. It’s the best by a huge margin, more than doubling the opening of Venom: Let There Be Carnage, which itself significantly outperformed expectations. Even more impressively, it’s the third-best weekend of all time, behind only Avengers: Endgame ($357 million) and Avengers: Infinity War ($258 million). In fact, a good Sunday number would take it into second place on that list.
Oh, and it’s already the highest-grossing film of 2021.
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Weekend estimates: Ghostbusters comes to life with $44-million weekend
November 21st, 2021
Ghostbusters: Afterlife is tearing into theaters this weekend with a strong $44-million opening, according to Sony’s Sunday-morning projection. That’s well ahead of our model’s pre-release prediction of $25 million, and comfortably exceeds the model’s prediction based on Thursday previews of $36.2 million. It’s also the studio’s second legitimate hit of the year after Venom: Let There Be Carnage and evidence that their theatrical-only strategy is paying off (even if the total dollars involved are modest compared to the pre-pandemic market).
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Weekend estimates: Eternals’ good hold keeps it on top
November 14th, 2021
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Eternals will, as expected, come out on top at the box office this weekend, but it’ll do so by a healthier margin than expected thanks to a decent hold, and a very slight under-performance by Clifford the Big Red Dog through the weekend. Eternals is set to earn $27.5 million, according to Disney’s Sunday-morning projection, which will take it to $118.8 million domestically. That makes it one of the top 10 films of 2021 already, with quite a way to run.
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Weekend estimates: top three stay the same as bevy of new releases fight over the scraps
October 31st, 2021
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There was something for everyone in movie theaters this weekend, but the combination of Halloween falling on the weekend and too much competition made going tough for the six films either opening, expanding, or being re-issued in wide release. The competition hit Dune a touch harder than our model expected, but it will easily remain the top film at the box office, with $15.53 million taking it to $69.4 million in total after 10 days. With another $21.4 million from international markets, it now has $292.1 million worldwide so far.
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Weekend estimates: Dune lands with $40.1 million stateside, hits $220 million worldwide
October 24th, 2021
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While Dune isn’t quite living up to the most optimistic predictions, it’s doing enough to be considered a success so far, with Warner Bros. projecting it will earn $40.1 million domestically by close of business today. That includes $9.03 million from 404 IMAX screens, which amounts to 22.5% of the nationwide total—one of the highest opening-weekend shares for IMAX in history. Clearly a segment of the population is keen to see it in all its glory on the biggest screen possible. All told, it’ll do $17.8 million in business from IMAX screens around the world this weekend.
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Weekend estimates: Halloween kills it with $50.4-million debut
October 17th, 2021
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Halloween Kills is continuing the good run of results at the domestic box office this weekend with a very solid opening, which Universal is projecting will just clear $50 million. That’s easily ahead of Friday morning’s predicted $41.2 million, and the second-best weekend for the 43-year-old franchise, only surpassed by the 2018 incarnation. It also means a hat-trick of $50-million-plus weekends to start October.
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Weekend predictions: Halloween Kills headed to weekend win
October 15th, 2021
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Halloween Kills, the 12th installment in the virtually un-killable Halloween franchise, should comfortably top the box office chart this weekend, even it falls well short of the $76.2-million opening weekend earned by its predecessor, simply titled Halloween, back in 2018. It has already banked a respectable $4.850 million from previews in 2,950 theaters on Thursday, and adds another 755 locations today. Here’s what our model has to say about its likely opening, based on what we know so far. I’ll also dig into the prospects for The Last Duel, and see how the weekend as a whole is stacking up.
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Weekend estimates: No Time to Die lands with solid $56 million domestically, hits $300 million worldwide
October 10th, 2021
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After posting record-breaking preview numbers on Thursday, No Time to Die has shown surprisingly weak legs over the remainder of the weekend, and United Artists is projecting it will earn $56.007 million this weekend. While that’s below what seemed possible as of Friday morning, it’s a very solid number for the pandemic era, and almost exactly the same as our model’s original prediction of $56.8 million. That counts as a victory at the end of the day, albeit one that feels a bit diminished given its strong start. Curiously, by almost every measure, it looks like a film that should have performed well through the weekend, and it might yet prove to have long legs.
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Weekend estimates: Venom delivers pandemic-era-record $90 million as No Time to Die and Dune both top $100m internationally
October 3rd, 2021
Venom: Let There Be Carnage will set a new pandemic-era benchmark this weekend, with Sony Pictures projecting a stellar $90-million opening weekend as of Sunday morning, easily eclipsing the $80-million debut of Black Widow back in July. That number also represents a very solid 7.8 times the movie’s Thursday-evening preview number, which suggests good word of mouth. The good news doesn’t stop there, with this weekend’s other domestic openers, The Addams Family 2 and The Many Saints of Newark both doing better than predicted, No Time to Die opening with spectacular (for the pandemic era) numbers internationally, and Dune continuing to do well around the world.
First, here’s how the domestic numbers look this morning…
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Weekend predictions: Venom headed to excellent opening weekend
October 1st, 2021
A critical month for the theatrical industry has started with some promising news: Venom: Let There Be Carnage posted a very solid $11.6 million from “preview” screenings on Thursday evening, the second-best result from previews during the pandemic, and not far behind Black Widow’s $13.2 million. Sony Pictures, while presumably very happy with how things are going so far, are urging caution when extrapolating that number out to the whole weekend. Their current projection for the weekend is towards the high end of the $50 million to $60 million range, with a preview-to-weekend multiplier around five.
Here’s what our model has to say about Venom’s prospects, along with this weekend’s other new wide releases and returning films…
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Weekend predictions: Shang-Chi still rules as industry braces for worst weekend since May
September 24th, 2021
Dear Evan Hansen will be taking a long-shot swing at unseating Shang-Chi and the Legend of the Ten Rings from the top of the chart this weekend. Our model, and the movie’s preview numbers, suggest it’ll fall some way short, giving the Marvel action movie a fourth straight weekend at the top of the chart. That’s the longest continuous run at the top since Tenet dominated the pandemic-ravaged chart in September last year (The Croods: A New Age also spent five weeks at number one, split between December and February, but didn’t have four straight weekends at the top). The limited number of major new releases since Shang-Chi came out is significantly hitting the market as a whole, and this will be the slowest weekend at the box office since Spiral’s $4.6-million second weekend was enough to give it a weekend win back on May 21.
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Weekend predictions: Shang-Chi looks unstoppable
September 17th, 2021
One of this weekend’s two new wide releases will have to do much, much better than expected to challenge Shang-Chi and the Legend of the Ten Rings at the top of the chart this weekend. The Marvel movie should come in with something around $20 million (or possibly a bit higher), and there’s a strong possibility that will be more than double the second-placed film. If Cry Macho and CopShop both falter, Shang-Chi might even earn three or four times as much as its nearest competition.
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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 |
|---|---|---|---|---|---|---|---|
| 2021/10/15 | 1 | $483,148 | 109 | $4,433 | $483,148 | 1 | |
| 2021/10/22 | 2 | $209,983 | -57% | 90 | $2,333 | $790,200 | 2 |
| 2021/10/29 | 2 | $190,472 | -9% | 76 | $2,506 | $1,021,636 | 3 |
| 2021/11/05 | 6 | $67,359 | -65% | 66 | $1,021 | $1,165,745 | 4 |
| 2021/11/12 | 6 | $43,751 | -35% | 48 | $911 | $1,219,993 | 5 |
| 2021/11/19 | 7 | $31,847 | -27% | 38 | $838 | $1,248,424 | 6 |
| 2021/11/26 | 8 | $16,522 | -48% | 27 | $612 | $1,269,238 | 7 |
| 2021/12/03 | 11 | $8,046 | -51% | 18 | $447 | $1,283,460 | 8 |
| 2021/12/10 | 14 | $6,158 | -23% | 12 | $513 | $1,295,233 | 9 |
| 2021/12/17 | - | $1,478 | -76% | 6 | $246 | $1,293,756 | 10 |
| 2021/12/24 | - | $342 | -77% | 2 | $171 | $1,299,815 | 11 |
| 2021/12/31 | - | $25 | -93% | 1 | $25 | $1,300,095 | 12 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 10/7/2021 | $1,000,000 | 0 | 0 | 0 | $2,800,000 | 10/20/2022 |
| Australia | 11/25/2021 | $4,614,326 | 595 | 595 | 2310 | $10,842,294 | 10/20/2022 |
| Austria | 10/21/2021 | $775,000 | 0 | 0 | 0 | $775,000 | 10/20/2022 |
| Brazil | 10/7/2021 | $2,700,000 | 0 | 0 | 0 | $10,100,000 | 10/20/2022 |
| Chile | 10/7/2021 | $0 | 0 | 0 | 0 | $3,000,000 | 10/20/2022 |
| Colombia | 10/7/2021 | $0 | 0 | 0 | 0 | $3,600,000 | 10/20/2022 |
| Czech Republic | 10/15/2021 | $1,010,297 | 195 | 195 | 679 | $2,423,308 | 10/20/2022 |
| Finland | 10/22/2021 | $409,373 | 85 | 85 | 422 | $1,096,964 | 10/20/2022 |
| France | 10/20/2021 | $5,200,000 | 0 | 0 | 0 | $9,400,000 | 10/20/2022 |
| Germany | 10/21/2021 | $4,300,000 | 0 | 0 | 0 | $7,400,000 | 10/20/2022 |
| Hong Kong | 10/14/2021 | $0 | 0 | 0 | 0 | $3,600,000 | 10/20/2022 |
| India | 10/15/2021 | $2,100,000 | 0 | 0 | 0 | $4,100,000 | 10/20/2022 |
| Indonesia | 11/18/2021 | $321,000 | 535 | 535 | 535 | $3,700,000 | 10/22/2022 |
| Italy | 10/14/2021 | $3,198,232 | 0 | 0 | 0 | $8,009,802 | 10/20/2022 |
| Japan | 12/3/2021 | $5,500,000 | 0 | 0 | 0 | $9,300,000 | 10/20/2022 |
| Lithuania | 10/14/2021 | $119,409 | 15 | 15 | 72 | $385,430 | 10/20/2022 |
| Mexico | 10/7/2021 | $8,054,565 | 0 | 0 | 0 | $23,424,600 | 10/20/2022 |
| Netherlands | 10/21/2021 | $681,628 | 204 | 204 | 1024 | $2,389,563 | 10/20/2022 |
| New Zealand | 11/25/2021 | $274,313 | 64 | 85 | 397 | $917,645 | 10/20/2022 |
| North America | 10/1/2021 | $90,033,210 | 4,225 | 4,225 | 33,227 | $213,550,366 | |
| Poland | 10/15/2021 | $1,300,000 | 0 | 0 | 0 | $2,900,000 | 10/20/2022 |
| Portugal | 10/14/2021 | $483,148 | 109 | 109 | 493 | $1,300,095 | 1/4/2022 |
| Romania | 10/15/2021 | $399,224 | 82 | 82 | 478 | $854,105 | 10/20/2022 |
| Russia (CIS) | 9/30/2021 | $15,124,606 | 1861 | 1965 | 9313 | $37,097,281 | 10/20/2022 |
| Saudi Arabia | 10/14/2021 | $2,100,000 | 0 | 0 | 0 | $4,700,000 | 10/20/2022 |
| Singapore | 10/14/2021 | $1,100,000 | 0 | 0 | 0 | $1,100,000 | 10/20/2022 |
| Slovakia | 10/14/2021 | $306,448 | 71 | 71 | 240 | $637,454 | 10/20/2022 |
| South Korea | 10/13/2021 | $6,723,064 | 1998 | 1998 | 6109 | $17,879,576 | 12/1/2021 |
| Spain | 10/15/2021 | $3,783,188 | 359 | 366 | 2407 | $10,068,222 | 12/26/2021 |
| Sweden | 10/20/2021 | $910,000 | 0 | 0 | 0 | $910,000 | 10/20/2022 |
| Taiwan | 10/13/2021 | $2,800,000 | 0 | 0 | 0 | $4,900,000 | 10/20/2022 |
| Turkey | 10/15/2021 | $486,834 | 484 | 484 | 2353 | $2,698,025 | 10/20/2022 |
| Ukraine | 10/14/2021 | $2,700,000 | 0 | 0 | 0 | $3,500,000 | 10/20/2022 |
| United Arab Emirates | 10/15/2021 | $2,000,000 | 0 | 0 | 0 | $3,800,000 | 10/31/2021 |
| United Kingdom | 10/15/2021 | $8,483,952 | 597 | 607 | 3641 | $23,908,584 | 12/15/2021 |
| Rest of World | $64,478,608 | ||||||
| Worldwide Total | $501,546,922 | 10/22/2022 | |||||
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
| Tom Hardy | Eddie Brock/Venom |
| Woody Harrelson | Carnage |
Supporting Cast
| Michelle Williams | Anne Weying |
| Naomie Harris | Frances Barrison / Shriek |
| Reid Scott | Dr. Dan Lewis |
| Stephen Graham | Detective Mulligan |
| Peggy Lu | Mrs. Chen |
| Sian Webber | Dr. Pazzo |
| Michelle Greenidge | Mugging Victim |
| Rob Bowen | Beaten Mugger |
| Laurence Spellman | Psycho Patient |
| Little Simz | Little Simz |
| Jack Bandeira | Young Cletus |
| Olumide Olorunfemi | Young Shriek |
| Scroobius Pip | Siegfried |
| Amrou Al-Kadhi | Host Two |
| Beau Sargent | Host Three |
| Brian Copeland | Rodeo Beach Reporter |
| Stewart Alexander | Warden |
| Sean Delaney | Young Detective Mulligan |
| Ed Kear | Revelers |
| Emma Lau | Revelers |
| Louis J. Rhone | Revelers |
| Christopher Godwin | Headmaster (1997) |
| Tiffanie Thomas | San Quentin Tier Guard |
| Rocky Capella | Valet Car Park |
| Sam Robinson | San Quentin Guard |
| Greg Lockett | San Francisco Police Department Officer |
| Sonny Ashbourne Serkis | Plunger Man |
| Otis Winston | Street Man |
| Vaughn Johseph | Tie Down Guard |
| Kristen Simoes | TV Reporter - San Quentin |
| Miguel Arreguin | Gas Station Attendant |
| Shaliz Afshar | San Francisco Reporter |
| Reece Shearsmith | Priest |
| Simon Connolly | Grieving Father |
| Rachel Handshaw | Grieving Mother |
| Amanda Foster | Victim's Sister |
| Akie Kotabe | Victim's Brother |
| Eric Sigmundsson | Startled Witness |
| Chabris Napier-Lawrence | Ravenscroft Guards |
| Larry Olubamiwo | Ravenscroft Guards |
| Jose Palma | San Quentin Last Meal Guards |
| Ashlen Aquila | San Quentin Last Meal Guards |
| Jamal Ajala | Ravenscroft Orderly |
| James Weston II | San Quentin Commander |
| Che Amaro | San Quentin Guard |
| Joshua Eldridge-Smith | Sympathetic Guard |
| Rosie Marcel | Detective in Bathroom |
| Elliot Cable | Host Pre Carnival #1 |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Andy Serkis | Director |
| Kelly Marcel | Screenwriter |
| Tom Hardy | Story Creator |
| Kelly Marcel | Story Creator |
| Amy Pascal | Producer |
| Matt Tolmach | Producer |
| Avi Arad | Producer |
| Hutch Parker | Producer |
| Kelly Marcel | Producer |
| Tom Hardy | Producer |
| Barry Waldman | Executive Producer |
| John Cavendish | Executive Producer |
| Ruben Fleischer | Executive Producer |
| Robert Richardson | Director of Photography |
| Oliver Scholl | Production Designer |
| Maryann Brandon | Editor |
| Stan Salfas | Editor |
| Lucy Bevan | Casting Director |
| Marco Beltrami | Music |
| Sheena Duggal | Visual Effects Supervisor |
| Barrie Hemsley | Visual Effects Producer |
| Joanna Eatwell | Costume Designer |
| James M. Churchman | Stunt Coordinator |
| Franklin Henson | UK Stunt Coordinator |
| Brian Smrz | Second Unit Director |
| Barry Waldman | Unit Production Manager |
| Brent O’Connor | Unit Production Manager |
| K.C. Hodenfield | First Assistant Director |
| Jane Tones | Additional Editor |
| Angus More Gordon | Unit Production Manager |
| Deryn Stafford | Production Manager |
| Troy Sizemore | Supervising Art Director |
| Tom Brown | Supervising Art Director |
| Dominic Capon | Set Decorator |
| Marco Scotti | Costume Supervisor |
| Cédric Andries | Costume Supervisor |
| Peter Swords King | Hair and Makeup Designed |
| Caimin Bourne | Special Effects Supervisor |
| David Watson | Special Effects Supervisor |
| Dave Eves | Special Effects Supervisor |
| Ronnie Durkan | Special Effects Supervisor |
| Jody Eltham | Special Effects Supervisor |
| India Sheridan | Special Effects Coordinator |
| Steve Mortimore | Supervising Location Manager |
| Lynsey Cosford | Location Manager |
| Tom Barnes | Location Manager |
| Damon Crane | Location Manager |
| Bertie Spiegelberg | Production Supervisor |
| Simon Lamont | Art Director |
| Malcolm Stone | Art Director |
| Hayley Easton-Street | Art Director |
| George Benedetti | Production Assistant |
| Vanessa Biermannova | Production Assistant |
| Peter Gosiewski | Production Assistant |
| Freddie Heppell | Production Assistant |
| Alicia Graf | Production Assistant |
| Olivia Lauridsen | Production Assistant |
| JJ McAllister | Production Assistant |
| Sian Midgley | Production Assistant |
| Harry Minter | Production Assistant |
| Maddie Phillips | Production Assistant |
| Charles Sakyi | Production Assistant |
| Katie Bullock-Webster | Post-Production Supervisor |
| Larry McGinley | 1st Assistant Editor |
| James Barham | 1st Assistant Editor |
| Danielle El-Hendi | 1st Assistant Editors |
| Armando Sanchez | Assistant Editor |
| Philip Welch | Assistant Editor |
| Laura Mountford | Assistant Editor |
| Susan Ehrhart | Production Supervisor (San Francisco Unit) |
| Michael Goldman | Art Director (San Francisco Unit) |
| Alex Bradenburg | Set Decorator (San Francisco Unit) |
| Helen Monaghan | Costume Supervisor (San Francisco Unit) |
| Eric Frazier | Special Effects Supervisor (San Francisco Unit) |
| John McLeod | Special Effects Coordinator (San Francisco Unit) |
| Craig Barnett | Special Effects Coordinator (San Francisco Unit) |
| Chad Owens | Set Designer (San Francisco Unit) |
| Victoria Betancourt | Production Assistant (San Francisco Unit) |
| Britt Conlon | Production Assistant (San Francisco Unit) |
| Josh Cronin | Production Assistant (San Francisco Unit) |
| Sarah May Griffin | Production Assistant (San Francisco Unit) |
| Barb Harris | Production Assistant (San Francisco Unit) |
| Quinn Kalisch | Production Assistant (San Francisco Unit) |
| Andre Marigny | Production Assistant (San Francisco Unit) |
| Alex Martini | Production Assistant (San Francisco Unit) |
| Gio Parades | Production Assistant (San Francisco Unit) |
| Caleb Pilkenton | Production Assistant (San Francisco Unit) |
| Mae Riojas | Production Assistant (San Francisco Unit) |
| Ayl Rogers | Production Assistant (San Francisco Unit) |
| Sullivan Rutherford | Production Assistant (San Francisco Unit) |
| Sarah Siskin | Production Assistant (San Francisco Unit) |
| Brittany Travillian | Production Assistant (San Francisco Unit) |
| Sienna Tso | Production Assistant (San Francisco Unit) |
| Tiffany Wong | Production Assistant (San Francisco Unit) |
| Kevin O'Connell | Re-recording Mixer |
| Will Files | Re-recording Mixer |
| Beau Borders | Re-recording Mixer |
| Erin Oakley | Supervising Sound Editor |
| Kami Asgar | Supervising Sound Editor |
| Will Files | Sound Designer |
| Ken McGill | Sound Effects Editor |
| Chris Terhune | Sound Effects Editor |
| Sam Fan | Sound Effects Editor |
| Matt Cavanaugh | Sound Effects Editor |
| Matt Yocum | Sound Effects Editor |
| Justin Davey | Sound Effects Editor |
| Steve Urban | Dialogue Editor |
| Ailene Roberts | Dialogue Editor |
| Gary Hecker | Foley Artist |
| Adam DeCoster | Foley Artist |
| Randy Singer | Foley Mixer |
| Jim Schultz | Music Editor |
| Adam Michalak | Score Recorded |
| Tyson Lozensky | Score Mixer |
| Melody Woodford | VFX Associate Producer |
| Mary Lobb | VFX Production Manager |
| Michael Collard | VFX Coordinators |
| Cristina Manlises | VFX Coordinators |
| Kat Greene | VFX Coordinators |
| Crisanta Melendez | VFX Coordinators |
| Rockford Moore | VFX Coordinators |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.