| Theatrical Performance (US$) | ||
| Lithuania Box Office | $39,161 | Details |
| Worldwide Box Office | $42,130,116 | Details |
| Home Market Performance | ||
| North America DVD Sales | $602,636 | Details |
| North America Blu-ray Sales | $1,110,331 | Details |
| Total North America Video Sales | $1,712,967 | |
| Further financial details... | ||
First there was an opportunity…then there was a betrayal. Twenty years have gone by. Much has changed but just as much remains the same. Mark Renton returns to the only place he can ever call home. They are waiting for him: Spud, Sick Boy, and Begbie. Other old friends are waiting too: sorrow, loss, joy, vengeance, hatred, friendship, love, longing, fear, regret, diamorphine, self-destruction and mortal danger, they are all lined up to welcome him, ready to join the dance.
June 27th, 2017
-1-News.jpg)
It’s a really slow week on the home market. (Next week is even worse. ) The Fate of the Furious is the biggest release of the week, but it is only coming out on Video on Demand, so I would wait. The biggest release of the week is Power Rangers, but it feels like a pilot to a TV show and not a self-contained movie. The best new release of the week is T2: Trainspotting and the Blu-ray Combo Pack. That said, if you don’t have Home Movies yet, then buy the Complete Series right now.
More...
June 26th, 2017
The original Trainspotting came out 20 years ago and earned amazing reviews and was one of the biggest limited release hits of the year. It was also not a film that usually gets a sequel. T2 Trainspotting failed to live up to the original at the box office, but does that mean it is a bad movie? Is it a pale imitation of the original film? Or should more people have given it a chance?
More...
June 12th, 2017
It’s a good week, but a shallow weak. The biggest release of the week is The Lego Batman Movie, which is also one of the best. There are a couple of other big releases that are must haves, like Dark Matter: Season Two, but the size and quality quickly drop-off after that. As for the Pick of the Week, the John Wick: Chapter Two Blu-ray Combo Pack claims that title.
More...
April 26th, 2017
There were only two films in the $10,000 club on this week's theater average chart and both of them were biographical documentaries. Interesting coincidence. Citizen Jane: Battle for the City led the way with an average of $15,726 in two theaters. Meanwhile, Jeremiah Tower: The Last Magnificent just managed to hit the $10,000 mark with an average of $10,134, also in two theaters.
More...
April 4th, 2017
Wide releases again dominated the theater average chart taking two of the top three spots. This includes The Boss Baby, which led the way with $13,305. The only limited release in the $10,000 club was David Lynch: The Art Life with $10,823 in its lone theater. Last week’s champ, Beauty and the Beast, was right behind with an average of $10,789.
More...
March 21st, 2017
-7-News.jpg)
Beauty and the Beast had the best theater average of 2017, so far, at $41,508. This puts it just ahead of Kedi, which opened with $40,103 in its lone theater. The second best average of the week was earned by T2: Trainspotting at $34,115 in five theaters, which is the third best average of the year so far. Song to Song was the only other film to earn an average above $10,000 over the weekend, pulling in $12,640 in four theaters. While Frantz didn’t quite get into the $10,000 club over the weekend, it came close with an average of $9,373. Furthermore, it was a Wednesday release and earned a five-date average of $11,470.
More...
March 19th, 2017
-5-News.jpg)
Beauty and the Beast set out this weekend to show that it’s not just super heroes who can deliver big openings at the box office, and it’s doing so in some style. Disney is projecting a $170 million opening weekend for the live action fairytale, and the film is setting records around the world. At home, it’ll have the biggest March weekend of all time, and the fourth-best Saturday of all time. The studio is projecting it will have the sixth-best Sunday in history, although my money would be on it slightly outperforming today, for the fifth-best Sunday, and that it will challenge Iron Man 3’s $174 million for the sixth-best opening of all time. Only Star Wars, super heroes, and dinosaur-themed movies have done better on opening weekend.
More...
March 18th, 2017
-4-News.jpg)
As expected, Beauty and the Beast earned first place on Friday. Its performance was a little better than expected, with Disney’s movie earning $63.79 million. To put this into perspective, this is more than Kong: Skull Island earned during its opening weekend. There are some confusing elements to deal with. Firstly, the reviews improved to 71% positive, which is still lower than anticipated, but good enough to not hurt the film’s legs. Additionally, it earned a solid A from CinemaScore. Strangely, the demographics changed, with women representing 72% of Friday’s audiences. That’s up from just under 60% during Thursday’s previews and a lot of times it goes in the other direction. So what does this mean for the future? The film just needs an internal multiplier above 2.6 to become the biggest March opening of all time. That seems very likely at this point. In fact, anything less than $175 million will be seen as a little disappointing.
More...
March 17th, 2017
Beauty and the Beast scared away most of the wide-release competition and there are not many limited releases either this weekend. T2: Trainspotting is by far the biggest in terms of buzz. We also have a few like Mean Dreams, which have good reviews, but are playing on VOD. Or foreign-language films like Frantz.
More...
March 9th, 2017
-1-News.jpg)
Like this weekend, there is only one truly wide release next weekend: Beauty and the Beast. The Belko Experiment is opening in just 1,200 theaters and it looks like T2: Transpotting is opening in even fewer theaters, 5 to be exact. Because it is the only truly wide release of the week, it is the only choice for the target film in this week’s box office prediction contest. In order to win, one must simply predict the opening weekend box office number for Beauty and the Beast.
Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going over, will win a Frankenprise consisting of their choice of either one TV on DVD release, two movies, or a kids package (could be a theatrical release, a couple of single-disc TV on DVD releases, or a full season TV on DVD release). Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going under, will also win a Frankenprize, as described above. Finally, we will be choosing an entrant from the group of people who haven't won, or haven't won recently, and they will win the final Frankenprize, as described above.
Entries must be received by 10 a.m., Pacific Time on Friday to be eligible, so don't delay!
More...
March 1st, 2017
-2-News.jpg)
February was an okay month. The films that missed expectations were mostly balanced by the films that were pleasant surprises. Unfortunately, last February was amazing as Deadpool dominated the chart, so 2017 has fallen further behind 2016 and 2016’s lead is now about $100 million. It is not so bad that a good March won’t help 2017 back into the lead. Will that happen? We have some good news and some bad news. Good news: Every week there is one movie that has at least a shot at $100 million. Two of them, Logan and Beauty and the Beast, could reach $200 million or a lot more. Bad News: last March, both Zootopia and Batman v Superman: Dawn of Justice earned more than $300 million. That’s a really powerful one-two punch and I don’t think we can replicate that this time around. On the other hand, last March, the third best film of the month was 10 Cloverfield Lane, while there were four films that were expected to open wide that earned less than $10 million at the box office. 2017 likely won’t be as good at the top, but I also don’t think it will have as many bombs either. If Beauty and the Beast reaches the very high end of expectations, then 2017 could even close the gap with 2016 entirely. I’ll be happy getting halfway there.
More...
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.
| Date | Rank | Gross | % Change | Screens | Per Screen | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| 2017/03/10 | 6 | $17,791 | 102 | $174 | $18,074 | 1 | |
| 2017/03/17 | - | $6,074 | -66% | 11 | $552 | $32,147 | 2 |
| 2017/03/24 | 19 | $447 | -93% | 4 | $112 | $36,220 | 3 |
| 2017/03/31 | 20 | $61 | -86% | 1 | $61 | $36,210 | 4 |
| 2017/04/21 | 17 | $119 | 1 | $119 | $36,809 | 7 | |
| 2017/04/28 | 17 | $297 | +150% | 2 | $149 | $37,855 | 8 |
| 2017/05/19 | 17 | $44 | 1 | $44 | $39,122 | 11 | |
| 2017/05/26 | 18 | $83 | +89% | 2 | $42 | $39,161 | 12 |
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 3/2/2017 | $172,660 | 102 | 102 | 203 | $396,584 | 1/1/2019 |
| Australia | 2/17/2017 | $283,371 | 197 | 264 | 905 | $2,242,949 | 10/19/2022 |
| Austria | 3/10/2017 | $63,241 | 58 | 59 | 261 | $199,303 | 5/31/2017 |
| Belgium | 3/1/2017 | $72,999 | 28 | 28 | 100 | $177,651 | 4/11/2017 |
| Brazil | 3/23/2017 | $75,618 | 32 | 32 | 105 | $279,956 | 6/6/2017 |
| Bulgaria | 2/17/2017 | $19,934 | 45 | 45 | 120 | $64,302 | 2/26/2019 |
| Chile | 3/9/2017 | $67,471 | 25 | 25 | 69 | $221,958 | 12/20/2018 |
| Colombia | 4/20/2017 | $42,708 | 17 | 17 | 68 | $162,157 | 1/1/2019 |
| Croatia | 2/23/2017 | $39,865 | 54 | 54 | 130 | $89,814 | 1/1/2019 |
| Czech Republic | 2/16/2017 | $148,438 | 120 | 120 | 331 | $432,757 | 1/1/2019 |
| Denmark | 3/2/2017 | $52,768 | 64 | 64 | 143 | $152,509 | 4/19/2017 |
| Estonia | 3/17/2017 | $14,419 | 10 | 10 | 30 | $43,929 | 4/24/2017 |
| Finland | 2/17/2017 | $93,522 | 55 | 55 | 189 | $333,276 | 5/2/2017 |
| France | 3/1/2017 | $440,890 | 254 | 254 | 489 | $749,792 | 3/21/2017 |
| Germany | 2/17/2017 | $496,607 | 376 | 376 | 1569 | $1,471,306 | 6/20/2017 |
| Greece | 3/2/2017 | $53,994 | 64 | 64 | 128 | $167,494 | 4/4/2017 |
| Hong Kong | 3/2/2017 | $88,928 | 37 | 37 | 71 | $232,784 | 4/11/2017 |
| Hungary | 3/2/2017 | $50,163 | 48 | 59 | 165 | $152,630 | 1/1/2019 |
| Iceland | 2/17/2017 | $14,312 | 9 | 9 | 19 | $40,587 | 1/1/2019 |
| Israel | 2/23/2017 | $34,485 | 22 | 22 | 49 | $69,713 | 1/1/2019 |
| Italy | 2/24/2017 | $1,135,856 | 287 | 287 | 721 | $2,620,659 | 4/19/2017 |
| Japan | 4/8/2017 | $302,951 | 86 | 86 | 350 | $1,561,515 | 6/20/2017 |
| Latvia | 3/17/2017 | $8,982 | 8 | 8 | 14 | $18,944 | 1/1/2019 |
| Lebanon | 2/23/2017 | $6,406 | 5 | 5 | 6 | $8,595 | 1/1/2019 |
| Lithuania | 3/10/2017 | $17,791 | 102 | 102 | 124 | $39,161 | 6/1/2017 |
| Mexico | 3/17/2017 | $107,514 | 44 | 94 | 396 | $826,490 | 5/31/2017 |
| Netherlands | 2/16/2017 | $149,934 | 73 | 75 | 379 | $617,001 | 4/24/2017 |
| New Zealand | 2/24/2017 | $145,860 | 72 | 72 | 351 | $549,706 | 5/31/2017 |
| North America | 3/17/2017 | $170,575 | 5 | 331 | 1,020 | $2,402,004 | |
| Norway | 2/24/2017 | $55,570 | 136 | 136 | 193 | $127,054 | 3/27/2017 |
| Peru | 5/4/2017 | $27,979 | 10 | 10 | 21 | $71,208 | 1/1/2019 |
| Philippines | 3/1/2017 | $4,801 | 2 | 2 | 2 | $4,801 | 1/1/2019 |
| Poland | 3/3/2017 | $75,175 | 93 | 95 | 257 | $249,981 | 1/1/2019 |
| Portugal | 2/23/2017 | $56,799 | 44 | 44 | 128 | $166,132 | 5/9/2017 |
| Romania | 2/24/2017 | $50,434 | 68 | 68 | 162 | $94,618 | 1/1/2019 |
| Russia (CIS) | 3/8/2017 | $507,247 | 433 | 433 | 959 | $1,238,519 | 1/1/2019 |
| Serbia and Montenegro | 2/16/2017 | $14,990 | 21 | 21 | 61 | $48,541 | 1/1/2019 |
| Singapore | 3/2/2017 | $21,621 | 8 | 8 | 16 | $40,151 | 3/14/2017 |
| Slovakia | 2/16/2017 | $74,511 | 72 | 72 | 140 | $159,707 | 3/23/2017 |
| Slovenia | 2/16/2017 | $7,874 | 19 | 19 | 46 | $21,351 | 3/21/2017 |
| South Africa | 2/24/2017 | $16,639 | 30 | 31 | 71 | $43,831 | 4/4/2017 |
| Spain | 2/24/2017 | $382,412 | 305 | 316 | 959 | $1,282,991 | 6/20/2017 |
| Sweden | 2/22/2017 | $99,592 | 76 | 76 | 123 | $191,680 | 4/4/2017 |
| Switzerland | 2/16/2017 | $75,919 | 33 | 34 | 140 | $261,577 | 4/4/2017 |
| Thailand | 6/1/2017 | $8,081 | 2 | 2 | 4 | $17,519 | 6/20/2017 |
| Turkey | 5/4/2017 | $26,440 | 42 | 42 | 81 | $83,709 | 2/26/2019 |
| United Kingdom | 1/27/2017 | $6,449,613 | 590 | 609 | 2868 | $21,675,104 | 4/26/2017 |
| Uruguay | 3/9/2017 | $9,375 | 6 | 6 | 19 | $26,116 | 1/1/2019 |
| Worldwide Total | $42,130,116 | 10/19/2022 | |||||
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.
| Ewan McGregor | Renton | |
| Ewen Bremner | Spud | |
| Jonny Lee Miller | Simon | |
| Robert Carlyle | Begbie |
| Kelly Macdonald | Diane | |
| Shirley Henderson | Gail | |
| James Cosmo | Renton’s Father | |
| Anjela Nedyalkova | Veronika | |
| Logan Gillies | Simon (aged 9) | |
| Ben Skelton | Renton (aged 9) | |
| Aiden Haggarty | Spud (aged 9) | |
| Daniel Smith | Begbie (aged 9) | |
| Elijah Wolf | Tommy (aged 9) | |
| Steven Robertson | Stoddart | |
| John Kazek | Tom (Rehab Group) | |
| Charlie Hardie | Fergus (aged 9) | |
| Scott Aitken | Farmer | |
| Gordon Kennedy | Tulloch | |
| Tereza Duskova | Tourism Girl | |
| Elek Kish | Dozo | |
| Lewis Gribben | Dealer | |
| Dominic Maccoll | Dealer | |
| Calum Verrecchia | Dealer | |
| Simon Weir | Jailhouse | |
| Bradley Welsh | Doyle | |
| Katie Leung | Nurse | |
| Thierry Mabonga | Security Officer Wilson | |
| Atta Yaqub | Medical Student | |
| Christopher Douglas | Chris the Oracle | |
| Pauline Turner | June | |
| Scot Greenan | Frank Junior | |
| James McElvar | Simon (aged 20) | |
| Connor McIndoe | Renton (aged 20) | |
| Bryan Quinn | Man in Music Video | |
| Irvine Welsh | Mickey Forrester | |
| Ged Hanley | Social Club Band | |
| Neil Thomson | Social Club Band | |
| Margaret Davies | Social Club Singer | |
| Alex Jackson | Social Club Singer | |
| Tom Urie | Big Bear | |
| Phil Coppola | Boxing Instructor | |
| John Bell | Spud (aged 20) | |
| Kyle Fitzpatrick | Fergus | |
| Eileen Nicholas | Renton’s Mother | |
| Michael Shaw | Tommy (aged 20) | |
| Kevin McKidd | Tommy | |
| Lauren Lamb | Baby Dawn | |
| Devon Lamb | Baby Dawn | |
| Amy Manson | Woman in Club | |
| Russell Dunsmore | Hard Guy Driver | |
| Nebli Basani | Hardman | |
| Edyta Szewczyk | Girl in Sauna | |
| Fiori Miari | Girls in Sauna | |
| Pauline Lynch | Lizzy | |
| Christopher Mullen | Begbie (aged 20) | |
| Hamish Haggerty | Young Renton | |
| Daniel Jackson | Young Begbie | |
| Svetlana Yancheva | Veronika’s Mother | |
| Emil Bonev | Veronika’s Son |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
| Danny Boyle | Director | |
| John Hodge | Screenwriter | |
| Irvine Welsh | Based on the books ‘Porno’ and ‘Trainspotting’ by | |
| Andrew MacDonald | Producer | |
| Danny Boyle | Producer | |
| Christian Colson | Producer | |
| Bernard Bellew | Producer | |
| Allon Reich | Executive Producer | |
| Irvine Welsh | Executive Producer | |
| Anthony Dod Mantle | Director of Photography | |
| Mark Tildesley | Production Designer | |
| Patrick Rolfe | Production Designer | |
| Jon Harris | Editor | |
| Rick Smith (Composer-Underworld) | Composer | |
| Rachael Fleming | Costume Designer | |
| Steven Noble | Costume Designer | |
| Ivana Primorac | Make-up and Hair Designer | |
| Adam Gascoyne | Visual Effects Supervisor | |
| Glenn Freemantle | Sound Designer | |
| Colin Nicolson | Sound Mixer | |
| Gail Stevens | Casting Director | |
| Julian Spencer | Stunt Coordinator | |
| Claire Campbell | Production Manager | |
| David Gilchrist | First Assistant Director | |
| Veronique Melery | Set Decorator | |
| Clare St. John | Post-Production Supervisor | |
| Adam Squires | Art Director | |
| Chris Wyatt | Art Director | |
| Gerry Fraser | Second Unit Director | |
| Samar Pollitt | Production Manager | |
| Zoe Liang | First Assistant Director | |
| Harry Boyd | First Assistant Director | |
| Michael Queen | Second Assistant Director | |
| Sylvia Parker | Script Supervisor | |
| Tamsin Jeffrey | First Assistant Editor | |
| Ruth Antoine | Second Assistant Editor | |
| Lloret Dunn | Location Manager | |
| Harriet Edmonds | Costume Supervisor | |
| Mike Kelt | Special Effects Supervisor | |
| Joanna Dewar | Special Effects Coordinator | |
| Rebecca Farhall | Casting Associate | |
| Clare Gordon | Casting Assistant | |
| Glenn Freemantle | Supervising Sound Editor | |
| Gillian Dodders | Supervising Dialogue Editor | |
| Danny Freemantle | Sound Effects Editor | |
| Rob Malone | Sound Effects Editor | |
| James Wichall | Dialogue Editor | |
| Emilie O’Connor | Dialogue Editor | |
| Niv Adiri | Re-recording Mixer | |
| Ian Tapp | Re-recording Mixer | |
| Glen Gathard | Foley Mixer | |
| Tim Caplan | Visual Effects Producer | |
| Noga Alon Stein | Visual Effects Producer | |
| Vesselin Karadjov | Line Producer | |
| Allan Jenkins | Music Editor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.
