Australia Box Office for The White Storm 2: Drug Lords (2019)
Theatrical Performance (US$) | ||
Australia Box Office | $230,557 | Details |
Worldwide Box Office | $185,427,900 | Details |
Further financial details... |
Synopsis
A wealthy businessman tries to take down a drug kingpin that he used to work with, while a policeman tries to find justice without breaking the law.
Metrics
Movie Details
Australia Releases: | July 12th, 2019 (Wide) |
MPAA Rating: | Not Rated |
Running Time: | 99 minutes |
Keywords: | Action Thriller, Crime Boss, Narcotics, Drug Dealer, Hong Kong, Prologue, 2000s, Death of a Spouse or Fiancée / Fiancé, Hitman Killing an Innocent Bystander, Police Detective, Friends turned Enemies, Triads, Organized Crime, Going Legit |
Source: | Original Screenplay |
Genre: | Action |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | Entertainment Universe, Guangdong, Sublime Media Group, Sil-Metropole Organisation, Focus Films, Sun Entertainment Culture, Hero Films Co Ltd |
Production Countries: | China, Hong Kong |
Languages: | Cantonese |
International Box Office: Lion King has a Regal Expansion
July 24th, 2019
After an early start in China, The Lion King expanded nearly worldwide earning $269.4 million in 52 markets for two-week totals of $346.0 million internationally and $537.8 million worldwide. The film’s best new market was the U.K. at $20.84 million in 713 theaters, but France wasn’t too far behind at $19.6 million. It also had stellar starts in Mexico ($18.43 million) and Brazil ($17.9 million), as well as is in Russia ($17.06 million). Other major markets include Australia where it earned with $14.46 million over the weekend for a total opening of $17.43 million and in South Korea with $13.44 million over the weekend for a total opening of $17.45 million. The film has yet to open in Japan and Italy and it will be over $1 billion before it gets there.
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International Box Office: Spider-Man’s Worldwide Vacation
July 18th, 2019
Spider-Man: Far from Home ended its international run by opening in Italy this past weekend and this helped it remain in top spot on the international chart. Overall, the film pulled in $97.50 million on 30,559 screens in 86 markets for totals of $569.88 million internationally and $844.47 million worldwide. The film earned first place in Italy with $4.38 million on 829 screens over the weekend for a four-day opening of $6.08 million. If we compare just the three-day weekend, which is unfair to Far From Home, this result is still 45% more than Homecoming’s debut in that market. The film’s top holdover was South Korea, where it remained in first place with $9.80 million on 1,708 screens over the weekend for a two-week total of $48.97 million. China wasn’t too far behind with $9.61 million over the weekend for a three-week total of $192.18 million. The film has very likely overtaken Homecoming at the global box office by the time you read this and could top $1 billion this weekend, assuming The Lion King doesn’t take too big a bite out of Far from Home’s box office numbers.
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International Box Office: Spider-Man’s Worldwide Vacation
July 11th, 2019
Spider-Man: Far from Home expanded nearly worldwide over the weekend, and earned $236.74 million on 53,120 screens in 85 markets for a still early international total of $393.37 million, and $578.43 million worldwide. The film’s biggest new market was South Korea, where it earned $24.55 million on 2,173 screens over the weekend for a total opening of $33.45 million. Far From Home also cracked $10 million in the U.K. with $10.53 million on 979 screens over the weekend for a total opening of $17.77 million and in Mexico with $10.39 million on 3,806 screens over the weekend for a total opening of $13.42 million. The film earned a total opening of $12.11 million in Australia, including $7.26 million on 332 screens over the weekend. The film’s biggest holdover was China, where it earned $29.88 million over the weekend for a two-week total of $166.63 million. Italy was the only market the film wasn’t playing in over the weekend, but that changed on Wednesday and we will have those numbers next week.
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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 |
---|---|---|---|---|---|---|---|
2019/07/12 | 16 | $103,905 | 16 | $6,494 | $103,905 | 1 | |
2019/07/19 | 19 | $44,399 | -57% | 14 | $3,171 | $190,232 | 2 |
2019/07/26 | - | $17,347 | -61% | 11 | $1,577 | $221,666 | 3 |
2019/08/02 | - | $2,975 | -83% | 5 | $595 | $228,258 | 4 |
2019/08/09 | - | $1,304 | -56% | 2 | $652 | $230,557 | 5 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Australia | 7/12/2019 | $103,905 | 16 | 16 | 48 | $230,557 | 8/13/2019 |
China | 7/4/2019 | $60,730,000 | 148487 | 148487 | 316102 | $185,186,464 | 1/10/2020 |
United Kingdom | 7/12/2019 | $10,879 | 11 | 11 | 11 | $10,879 | 7/17/2019 |
Worldwide Total | $185,427,900 | 1/10/2020 |
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.
Leading Cast
Andy Lau | Yu Shun-tin |
Louis Koo | Fung Chun-kwok |
Michael Miu | Lam Ching-fung |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Herman Yau | Director |
Herman Yau | Screenwriter |
Eric Lee | Screenwriter |
Erica Lee | Screenwriter |
Andy Lau | Producer |
Alvin Lam | Producer |
Esther Koo | Producer |
Daniel Lam | Executive Producer |
Leo Yu | Executive Producer |
Chung Wai-chiu | Editor |