France Box Office for White Boy Rick (2018)
Theatrical Performance (US$) | ||
France Box Office | $570,717 | Details |
Worldwide Box Office | $25,947,983 | Details |
Home Market Performance | ||
North America DVD Sales | $1,720,462 | Details |
North America Blu-ray Sales | $980,921 | Details |
Total North America Video Sales | $2,701,383 | |
Further financial details... |
Synopsis
Set in 1980s Detroit at the height of the crack epidemic and the War on Drugs, WHITE BOY RICK is based on the moving true story of a blue-collar father and his teenage son, Rick Wershe, who became an undercover police informant and later a drug dealer, before he was abandoned by his handlers and sentenced to life in prison.
Metrics
Movie Details
Production Budget: | $30,000,000 |
France Releases: | January 2nd, 2019 (Wide) |
Video Release: | December 11th, 2018 by Sony Pictures Home Entertainment |
MPAA Rating: | R for language throughout, drug content, violence, some sexual references, and brief nudity. (Rating bulletin 2543 (Cert #51433), 9/5/2018) |
Running Time: | 111 minutes |
Keywords: | Hood Film, 1980s, FBI, Drug Trafficking, Crime Drama, Biography, Dysfunctional Family, Father’s Footsteps, Organized Crime, Gunrunner, Narcotics |
Source: | Based on Real Life Events |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Dramatization |
Production/Financing Companies: | Protozoa Pictures, Studio 8, LBI Entertainment, Columbia Pictures, Le Grisbi |
Production Countries: | United States |
Languages: | English |
Home Market Releases for December 25th, 2018
December 24th, 2018
This year, Christmas Day lands on a Tuesday. Tuesday is the usual day for new DVD / Blu-ray releases. You can see why releasing a DVD / Blu-ray on Christmas Day is a bad idea, so it should come as no surprise that there are almost no releases worth talking about. The only “big” release of the week is White Boy Rick and on an average week, that would be relegated to the Secondary Blu-ray list. The biggest release on this week’s list is The Predator, but that’s because the screener arrived a week late.
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Weekend Wrap-Up: Clocking the Opposition
September 24th, 2018
As expected, The House with a Clock in its Walls topped the chart over the weekend. It was able to open faster than expected with $26.61 million. The other three films combined earned a fraction of that and A Simple Favor was the only other film to earn more than $10 million over the weekend. This caused the overall box office to fall 16% from last weekend to just $90 million. Worse still, this is 23% lower than the same weekend last year, which is a terrible margin. 2018 still has a massive 9.1% / $720 million lead over 2017 at $8.63 billion to $7.91 billion, so there’s no need to panic just yet.
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Weekend Wrap-Up: Predator Tops Chart, Simple a Success
September 18th, 2018
The Predator earned top spot on the weekend box office chart with $24.63 million. However, the best new release was arguably A Simple Favor with $16.01 million, as it is the only film that will match its production budget at the domestic box office. On the other hand, White Boy Rick struggled and will likely not pay for its $30 million price-tag any time soon, while Unbroken: Path to Redemption bombed. Overall, the weekend box office was $107 million, 12% lower than last weekend. It was also down from this weekend last year, but only by 3.5%. That’s better than expected at the beginning of the month and that’s great news for 2018. Granted, its lead over 2017 went down, but it still has a 9.6% / $740 million lead with $8.50 billion compared to $7.76 billion in 2017. It would take something incredible to happen to lose this entire lead by the end of the year.
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Weekend Estimates: Predator Misses Expectations, Still Tops Soft Weekend
September 16th, 2018
This isn’t a great weekend at the box office, as three of the four new releases are missing expectations, according to studio Sunday morning estimates, as well as the biggest holdover. The Predator will come out on top with $24.0 million over the weekend, but, while that’s not bad for a September release, there’s not a lot to be excited about either. Its reviews are just 34% positive, while it only managed a C plus from CinemaScore, both of which suggest short legs. It is way too early to tell how it will perform internationally, but it only managed fourth place in South Korea with a total opening of $1.2 million on 572 screens. That’s not good and the film needs to be a major hit outside of the domestic market if it is to break even any time soon.
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Friday Estimates: Predator Tops Chart, Doesn’t Bag Biggest Catch
September 15th, 2018
The Predator missed expectations by a small margin with $10.45 million on Friday. It should earn about $26 million over the full weekend, which is below average for the franchise, if you take inflation into account. That’s close enough to our $28 million prediction that I’m satisfied. However, the film cost $88 million to make, so it needed a lot more than this to be a real financial success. Its reviews are just 34% positive, while it only earned C plus from CinemaScore, so it likely won’t have good legs. As for why this film isn’t connecting with audiences, there appears to have been a lot of studio interference. That rarely helps the final product.
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Thursday Night Previews: Predator Begins its Hunt with $2.5 million
September 14th, 2018
The Predator started its box office run with $2.5 million during its Thursday previews. We can’t use any of the other films in the franchise as comparisons, because they opened way too long ago. We could use The Nun, which opened with $5.4 million last week and went on to earn nearly 10 times that during its opening weekend. This film should have slightly better legs, as it has slightly better reviews and action films tend to having slightly longer legs than horror films do. That said, our prediction of $28 million seems like a safe bet at this point.
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Weekend Prediction: Not So Simply Weekend at the Box Office
September 13th, 2018
There are four films opening wide or semi-wide this weekend, which is one more than expected. Of these, only one movie, The Predator, has a real shot at top spot. Meanwhile, A Simple Favor is the only one of the four that is earning good reviews. White Boy Rick is opening truly wide, which is a bit of a surprise. Unbroken: Path to Redemption is the sequel to Unbroken, which earned over $100 million. No one is talking about this movie earning $100 million. This weekend last year, It remained on top with just a hair over $60 million. However, last year’s depth was really bad, so while I expect 2018 to lose in the year-over-year comparison, I don’t think it will be a major loss.
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2018 Preview: September
September 1st, 2018
Overall, August was a little better than expected. Granted, there were no monster hits, but Warner Bros. had two $100 million hits in The Meg and Crazy Rich Asians. Meanwhile, Christopher Robin will come close enough to that milestone to be a hit. This allowed 2018 to stretch its lead over 2017 by over $700 million. Will that lead grow in September? Nope. Not even close. There are three major problems that will hurt September’s box office. Firstly, there are a lot of films that may or may not open wide. Secondly, there are no films opening this month that have a better than 50/50 chance of hitting $100 million. Finally... It. It destroyed records last September, earning more during its opening weekend than any film opening this month will earn in total. Fortunately, 2018 has such an enormous lead that even with It, 2018 should remain ahead of 2107 by $500 million at the end of the month.
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White Boy Rick Trailer
July 20th, 2018
Real-life drama starring Richie Merritt and Matthew McConaughey opens September 14 ... 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 |
---|---|---|---|---|---|---|---|
2019/01/04 | - | $380,207 | 115 | $3,306 | $382,241 | 1 | |
2019/01/11 | - | $116,371 | -69% | 111 | $1,048 | $570,717 | 2 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
France | 1/2/2019 | $380,207 | 115 | 115 | 226 | $570,717 | 1/16/2019 |
Germany | 3/7/2019 | $20,263 | 101 | 101 | 151 | $109,791 | 4/2/2019 |
Italy | 3/7/2019 | $198,137 | 0 | 89 | 105 | $379,374 | 5/23/2019 |
Netherlands | 1/3/2019 | $168,047 | 52 | 53 | 215 | $484,691 | 2/20/2019 |
North America | 9/14/2018 | $8,860,431 | 2,504 | 2,504 | 8,254 | $24,004,833 | |
Russia (CIS) | 1/31/2019 | $99,366 | 296 | 296 | 609 | $179,110 | 2/28/2019 |
South Africa | 3/8/2019 | $0 | 0 | 6 | 8 | $10,349 | 3/26/2019 |
Spain | 2/8/2019 | $5,151 | 14 | 14 | 19 | $8,971 | 2/20/2019 |
Sweden | 2/1/2019 | $4,595 | 14 | 14 | 20 | $8,246 | 2/12/2019 |
United Kingdom | 12/7/2018 | $38,361 | 103 | 103 | 141 | $81,828 | 1/29/2019 |
Rest of World | $110,073 | ||||||
Worldwide Total | $25,947,983 | 5/23/2019 |
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
Matthew McConaughey | Richard Wershe Sr. |
Richie Merritt | Richard Wershe Jr. |
Supporting Cast
Bel Powley | Dawn Wershe |
Jennifer Jason Leigh | FBI Agent Snyder |
Brian Tyree Henry | Officer Mel “Roach” Jackson |
Rory Cochrane | FBI Agent Byrd |
RJ Cyler | Rudell “Boo” Curry |
Jonathan Majors | Johnny “Lil Man” Curry |
Eddie Marsan | Art Derrick |
Taylour Paige | Cathy Volsan-Curry |
Bruce Dern | Grandpa Roman “Ray” Wershe |
Piper Laurie | Grandma Vera Wershe |
Raekwon Haynes | Edwin “Nugg” Crutcher |
IshDARR IshDARR | “Freaky Steve” Roussell |
James Howard | Chief Homicide Inspector Hill |
Y. G. | Leo “Big Man” Curry |
Danny Brown | “Black Ed” Hanserd |
Kyanna Simone Simpson | Brenda Moore |
Morerice Thornton | Jamil Cannon |
Isaiah Ali | Demetrius Johnson |
E’ Xavion Walker | Clarence Bishop |
Lawrence Adimora | Tyler Finney |
Alan Bomar Jones | Willie Volsan |
Art Terry | Mayor Coleman Young |
Santos Velasquez | FBI Agent Crespo |
Heidi Sulzman | Blonde Gun Buyer |
LaShawn Little | Leon Lucas |
Ronald Williams Jr | Frankie Lucas |
Anthony Woods | Damian Lucas |
James Shinkle | William Bufalino Jr. |
Lauren Ashley Berry | Caesar’s Ticket Lady |
Peter Lawson Jones | Judge Thomas Jackson |
Jim Yost | Policeman |
Brad Carter | Gun Show Dealer Bob |
Meg Rasmussen | Gun Show Annie |
Carmen Gangale | Juror Foreman |
Pamela Morton | Juror #1 |
Cassandra Collier-Williams | Juror #2 |
Michael Smith | Juror #3 |
William Bower | Juror #4 |
Jerrod Primm | Crack House Doorman |
David Lozada | Corrections Officer |
Jerry Slomka | Guard |
DeVito Parker Jr | Marcus |
Velma Booker | Mrs. Angela |
Donald Scruggs III | TJ |
Joe Gallipoli | Sheriff |
Ahmed Thomas | Isaac “Doc” Mueller |
Leigh Kilton Smith | Ginger |
Donald White | Jimmy Harris |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Yann Demange | Director |
Logan Miller | Screenwriter |
Noah Miller | Screenwriter |
Andy Weiss | Screenwriter |
John Lesher | Producer |
Darren Aronofsky | Producer |
Jeff Robinov | Producer |
Georgia Kacandes | Executive Producer |
Matthew Krul | Executive Producer |
Ari Handel | Executive Producer |
Michael J. Weiss | Executive Producer |
Christopher Mallick | Executive Producer |
Logan Miller | Executive Producer |
Noah Miller | Executive Producer |
Tat Radcliffe | Director of Photography |
Stefania Cella | Production Designer |
Chris Wyatt | Editor |
Georgia Kacandes | Unit Production Manager |
Thomas Patrick Smith | First Assistant Director |
Robert E. Kay | Second Assistant Director |
Dan Rodgers | Music Supervisor |
Thomas Patrick Smith | Associate Producer |
Marie Nguyen | Associate Producer |
Sean Murphy | Associate Producer |
Nathan Kelly | Production Supervisor |
Michael Arnold | Choreography |
Ele Bardha | Stunt Coordinator |
Mark Norby | Stunt Coordinator |
Audra Avery | Supervising Art Director |
Bryan Felty | Art Director |
Jon Bush | Set Decorator |
Scott Peterson | Script Supervisor |
Steffany Bernstein-Pratt | Costume Supervisor |
Brian B. Badie | Hairstylist |
Anita Gibson | Make up |
Adrien Morot | Special Make-up Effects |
Willie D. Burton | Sound Mixer |
William Dawson | Special Effects Supervisor |
Charles Harrington* | Supervising Location Manager |
Gregory Chiodo | Location Manager |
Geza Kassai | Set Designer |
Josh Sheppard | Story Artist |
Jeff Robinson | Post-Production Supervisor |
Michael Fleming | Assistant Editor |
Patrick Shewmaker | Assistant Editor |
Christopher S. Aud | Supervising Sound Editor |
Michael Barry | Re-recording Mixer |
Jeremy Peirson | Re-recording Mixer |
Aaron Glascock | Supervising Sound Editor |
Michael Feuser | Dialogue Editor |
Eliza Paley | Dialogue Editor |
Matthew Haasch | Foley Editor |
Igor Nikolic | Foley Editor |
Micah Bliachman | Foley Mixer |
Nancy Allen | Supervising Music Editor |
Jonathan Schultz | Music Editor |
Rupert Coulson | Score Recordist |
Rupert Coulson | Score Mixer |
Jacob Slutsky | Visual Effects Supervisor |
Tom Bussell | Visual Effects Supervisor |
Charlotte Arnold | Visual Effects Executive Producer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.