China Box Office for Yao Ling Ling (2017)
Theatrical Performance (US$) | ||
China Box Office | $57,366,400 | Details |
Worldwide Box Office | $57,628,372 | Details |
Further financial details... |
Synopsis
A quirky internet star, a pair of retired gangsters, and the black sheep of a prolific family of herbalists are a few of the oddball tenants that call the dilapidated apartments of Humble Grove home. Fearful of being locked out by a ruthless property developer with his eye on the building, they’ve stayed inside for years. So, when supernatural incidents befall them all on one night, instead of running, they turn to flamboyant ghost hunter Golden Ling to perform a most unusual exorcism.
Metrics
Movie Details
China Releases: | December 29th, 2017 (Wide) |
Video Release: | April 3rd, 2018 by Well Go USA Video |
MPAA Rating: | Not Rated |
Running Time: | 89 minutes |
Keywords: | Internet, Gangs, Land Developer, Supernatural, Haunting, Paranormal Investigation, Exorcism |
Source: | Original Screenplay |
Genre: | Comedy |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production Countries: | China |
Languages: | Mandarin |
Theater Averages: Post Haunts the Theater Average Chart
January 10th, 2018
None of the new releases reached the $10,000 club, which is not unexpected. The Post remained in first place earning an average of $47,167 in 36 theaters. This is an amazing omen for its upcoming wide expansion. Phantom Thread slipped to $40,040 in four theaters. There was a large gap to the third place film, Ex Files 3: Return of the Exes, which earned an average of $10,418 in 17 theaters, while I, Tonya was right behind with $10,107 in 242 theaters. The best new release of the week was actually the only wide release of the week, Insidious: The Last Key, with an average of $9,493.
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Limited and VOD Releases: In Between a Rock and a Hard Place
January 4th, 2018
It’s a bad weekend to release a limited release, as the Golden Globes are given out on Sunday. There are still some good films that are trying to find an audience, including Blame, Bob le flambeur, and In Between. I doubt any will have breakout success, but all three deserve to find an audience, either in theaters or on the home market.
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International Box Office: The Last Jedi Completes the Hat-Trick with $68.0 million
January 3rd, 2018
We’ve been tracking Star Wars: The Last Jedi’s international numbers on a daily basis, since it debuted, so talking about the weekend numbers would actually be behind our most recent report. Just a quick recap: The film earned $68.0 million in 54 markets for totals of $523.3 million internationally and $1.040 billion worldwide. The film is on pace for $1.4 billion to $1.5 billion worldwide, including China, where it opens on Friday.
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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 |
---|---|---|---|---|---|---|---|
2017/12/29 | 2 | $38,650,000 | 74,120 | $521 | $38,770,000 | 1 | |
2018/01/05 | 6 | $2,460,000 | -94% | 17,355 | $142 | $54,380,000 | 2 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Australia | 1/12/2018 | $42,132 | 15 | 15 | 22 | $64,798 | 1/22/2018 |
China | 12/29/2017 | $38,650,000 | 74120 | 74120 | 91475 | $57,366,400 | 4/26/2019 |
New Zealand | 1/12/2018 | $6,421 | 3 | 3 | 6 | $11,039 | 1/22/2018 |
North America | 1/5/2018 | $79,180 | 24 | 24 | 38 | $186,135 | |
Worldwide Total | $57,628,372 | 4/26/2019 |
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.
Uncategorized
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Sandra Ng | Director |
Peter Ho-Sun Chan | Producer |