| Theatrical Performance (US$) | ||
| China Box Office | $199,270,000 | Details |
| Worldwide Box Office | $199,276,793 | Details |
| Further financial details... | ||
| China Releases: | December 5th, 2019 (Wide) |
| Running Time: | 90 minutes |
| Keywords: | Crime, Crime Drama, Sex Crimes, Blackmail, Killing in Self Defence, Corrupt Cops |
| Source: | Original Screenplay |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production Countries: | China |
| Languages: | Mandarin |
January 1st, 2020
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Star Wars: The Rise of Skywalker remained on the top of the international chart with an impressive $94.3 million in 52 markets for totals of $363.0 million internationally and $725.2 million worldwide. It got to $750 million worldwide on Monday. The film has had strong runs in a number of major markets, including the U.K. ($51.4 million); Germany ($44.1 million); France ($34.7 million); Japan ($29.2 million); and Australia ($21.2 million). The film opens in Vietnam this weekend and South Korea next weekend, but that’s the end of its run. It will get to $1 billion worldwide, which is more than enough to ensure a healthy profit, but it is far below initial expectations.
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December 19th, 2019
Jumanji: The Next Level expanded worldwide this past weekend helping it secure first place with a full haul of $86.96 million, including some previews and weekday numbers, on 40,908 screens in 69 markets for totals of $153.76 million internationally and $213.01 million worldwide. The film’s biggest opening came in the U.K., where it earned first place with $6.97 million on 1,651 screens over the three-day weekend for a total opening of $12.63 million, which is a little better than the previous film earned in that market. Likewise, The Next Level improved on Welcome to the Jungle’s $5.00 million opening in Russia by earning $5.97 million on 2,890 screens over the weekend for a total opening of $9.29 million. Granted, sequels tend to have shorter legs than their predecessors, but a start like this is still great news and keeps $1 billion worldwide as a possibility. I’m not saying it is going to get there; in fact, we really won’t know until we see the film’s box office numbers for the next couple of weeks. I choose to remain cautiously optimistic.
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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.
| Date | Rank | Gross | % Change | Screens | Per Screen | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| 2019/12/13 | 1 | $29,650,000 | 108,128 | $274 | $32,770,000 | 2 | |
| 2019/12/20 | 2 | $23,730,000 | -20% | 80,922 | $293 | $78,430,000 | 3 |
| 2019/12/27 | 2 | $17,000,000 | -28% | 83,607 | $203 | $112,990,000 | 4 |
| 2020/01/03 | 3 | $8,800,000 | -48% | 58,105 | $151 | $137,670,000 | 5 |
| 2020/01/10 | 3 | $8,700,000 | -1% | 52,251 | $167 | $152,470,000 | 6 |
| 2020/01/17 | 1 | $7,800,000 | -10% | 68,443 | $114 | $168,180,000 | 7 |
| 2020/01/24 | 8 | $92,538 | -99% | 11,723 | $8 | $174,494,296 | 8 |
| 2020/01/31 | 2 | $46,269 | -50% | 305 | $152 | $174,673,588 | 9 |
| 2020/02/07 | 2 | $27,142 | -41% | 62 | $438 | $172,641,173 | 10 |
| 2020/02/21 | 3 | $8,540 | 9 | $949 | $172,043,271 | 12 | |
| 2020/03/06 | 1 | $11,544 | 15 | $770 | $174,466,796 | 14 | |
| 2020/07/24 | 3 | $2,280,000 | 16,549 | $138 | $178,770,000 | 34 | |
| 2020/07/31 | 4 | $2,470,000 | +8% | 20,455 | $121 | $184,030,000 | 35 |
| 2020/08/07 | 4 | $2,030,000 | -18% | 22,441 | $90 | $187,890,000 | 36 |
| 2020/08/21 | 5 | $510,000 | 8,139 | $63 | $193,600,000 | 38 | |
| 2020/09/04 | - | $30,000 | 427 | $70 | $195,620,000 | 40 | |
| 2020/09/11 | - | $50,000 | +67% | 295 | $169 | $195,720,000 | 41 |
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.
| Xiao Yang | Li Weijie |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
| Sam Quah | Director | |
| Yang Weiwei | Screenwriter |
