Bolivia Box Office for Slender Man (2018)

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Slender Man
Theatrical Performance (US$)
Bolivia Box Office $75,010Details
Worldwide Box Office $51,945,949Details
Home Market Performance
North America DVD Sales $1,109,389 Details
North America Blu-ray Sales $624,976 Details
Total North America Video Sales $1,734,365
Further financial details...

  1. Summary
  2. News
  3. Box Office
  4. Worldwide
  5. Full Financials
  6. Cast & Crew
  7. Trailer

Synopsis

In a small town in Massachusetts, a group of friends perform a ritual in an attempt to debunk the lore of SLENDER MAN. When one of them goes mysteriously missing, they begin to suspect that she is, in fact, HIS latest victim.

Metrics

Movie Details

Production Budget:$10,000,000
Bolivia Releases: August 23rd, 2018 (Wide)
Video Release: October 30th, 2018 by Sony Pictures Home Entertainment
MPAA Rating: PG-13 for disturbing images, sequences of terror, thematic elements and language including some crude sexual references.
(Rating bulletin 2536 (Cert #51434), 7/18/2018)
Running Time: 93 minutes
Keywords: Supernatural, Missing Child, Mental Hospital, Mind Control, Demons, Massachusetts, Internet, Hallucinations, Supernatural Horror
Source:Based on Folk Tale/Legend/Fairytale
Genre:Horror
Production Method:Live Action
Creative Type:Contemporary Fiction
Production/Financing Companies: Mythology Entertainment, Madhouse Entertainment, Screen Gems
Production Countries: United States
Languages: English

Home Market Releases for October 30th, 2018

October 30th, 2018

Made In Abyss

It’s another slow week on the home market, with not a lot of big releases and not a lot of Pick of the Week contenders. There were several that came close, including 2001: A Space Odyssey, Never Goin’ Back, The Princess Bride, etc. In the end, Mandy on Blu-ray was the only true contender for that title. More...

Weekend Wrap-Up: Crazy Rich Asians are $1 million Richer than Estimated

August 21st, 2018

Crazy Rich Asians

Crazy Rich Asians beat the weekend estimates by more than $1 million, which is great news for the film’s future, as it suggests even better word-of-mouth. The rest of the new releases were well back, but their weakness didn’t sink the weekend box office, as it pulled in $129 million. This was still down 12% from last weekend, but more importantly, this was a stunning 35% higher than the same weekend last year, which helped extend 2018’s lead over 2017. 2018’s lead is now 9.6% or $690 million at $7.88 billion to $7.19 billion. I suspect we have likely nearly reached the peak this lead will be throughout the rest of the year, but it would take a major collapse for 2018 to not finish with a healthy victory in the year-over-year comparison. More...

Weekend Wrap-Up: Meg Chows Down on Moviegoers

August 14th, 2018

The Meg

The Meg was arguably the biggest box office surprise of the summer, earning more during its opening weekend than many thought it would earn in total and it doubled our prediction. It also earned more than the next three films earned combined, so it was a rather one-sided affair at the box office. Its $45.40 million debut did help the overall box office rise 5.6% from last weekend reaching $147 million. More importantly, this is 26% higher than the same weekend last year. Year-to-date, 2018 now has a 9.1% / $640 million lead over 2017 at $7.68 billion to $7.04 million. More...

Weekend Estimates: Meg is Biggest Killer Shark Movie In Decades

August 12th, 2018

The Meg

The Meg not only beat our initial prediction, it topped yesterday’s revised estimate and that’s a really good sign. Warner Bros. is reporting an opening weekend of $44.5 million. If this is accurate, then the film’s internal multiplier will be a healthy 2.70. Granted, its reviews are mixed and it only managed a B plus from CinemaScore and that’s not a great sign for its long term chances. However, there are no movies opening for the rest of the summer that are as big as this film, so that could help its legs. After all, The Hitman’s Bodyguard had a multiplier of 3.53. Internationally, the numbers were even better, as the film earned $96.8 million, including $50.3m on 12,650 screens in China. It is also a hit in Mexico ($6.2 million) and Russia ($5.0 million), although it is a more muted success in the U.K. with $4.4 million. That last market is on par with what we thought the film would open with here. On a side note, you are more likely to die eating shark that being eaten by a shark, so don’t kill sharks. They are apex predators and are very important to the environment. More...

Friday Estimates: Meg Keeps Summer Alive

August 11th, 2018

The Meg

Surprisingly, The Meg dominated the box office on Friday with a very summer-like opening day of $16.5 million. There were some who thought the film wouldn’t earn that much during the entire weekend. Our prediction wasn’t that pessimistic, but this result still blows it out of the water. The film earned 51% positive reviews and a B plus from CinemaScore. Both results are fine. They are nothing special, but also nothing to worry about. The genre does tend to be front-loaded, so a $40 million weekend isn’t not a sure thing, but more of a coin toss. Even if the film doesn’t reach that mark over its opening weekend, this will still be a major win for Warner Bros., which has not has a good year. More...

Thursday Night Previews: Meg Takes a Big Bite out of the Box Office

August 10th, 2018

The Meg

The Meg earned $4 million during its Thursday previews. This is about double what I was expecting and puts it on a clear path to over $30 million during its opening weekend. It will likely be front-loaded, as the reviews are barely above 50% positive and this genre of film tends to be front-loaded, even with good reviews. That said, it could match Annabelle: Creation’s opening from last year with just over $35 million. We will know more tomorrow when Friday’s estimates come in. The film also reportedly earned $16 million during its opening day in China, earning third place in the process. It’s going to be a busy weekend in China if a $16 million opening day is only good enough for third place. More...

Weekend Predictions: Do the New Releases Face Impossible Obstacle?

August 9th, 2018

The Meg

There are four films opening wide or semi-wide this week. This includes Dog Days, which started on Wednesday. However, while it was released first, it is widely expected to be the last at the box office of the five wide releases. The Meg is widely expected to be the biggest new release of the week and it is the only film with a real shot at unseating Mission: Impossible—Fallout for top spot. I was expecting BlacKkKlansman to only open in limited release this week before trying to expand next week, but it is opening in 1,500 theaters giving it a real shot at a top five opening. Finally there’s Slender Man, a horror movie based on an internet meme that peaked years ago. It likely won’t be the worse box office performer of the weekend, but I’m not sure it will reach the top five. This weekend last year, Annabelle: Creation was the last blockbuster of summer opening with $35 million. No movie is going to match that this year. However, all three new releases made less than $50 million, while the four new releases could top that this weekend. I don’t think 2018 will win, but it should at least be close. More...

2018 Preview: August

August 1st, 2018

Christopher Robin

Overall, July was a a little weaker than expected. Ant-Man and the Wasp appears to be on pace for $200 million, while it is too soon to tell if Mission: Impossible—Fallout will also get there. That said, 2018 is still ahead of 2017 by $550 million, so the month of July was a success in that regard. As for August, there’s only one movie that is expected to earn $100 million, Christopher Robin, and maybe a few others that could hit $50 million. It’s a rather sad slate of movies. Fortunately, last August was even worse, so 2018 should at least maintain its lead. Maybe we can get lucky and come away with a $600 million lead by the end of the month. More...

Slender Man Trailer

January 4th, 2018

Horror movie opens May 18 ... Full Movie Details. 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.

Weekend Box Office Performance

DateRankGross% ChangeScreensPer ScreenTotal GrossWeek
2018/08/24 - $26,608   18 $1,478   $26,608 1
2018/08/31 - $15,075 -43% 14 $1,077   $57,825 2
2018/09/07 - $4,215 -72% 10 $422   $70,388 3
2018/09/14 - $1,395 -67% 4 $349   $75,010 4

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 9/27/2018 $123,235 117 117 225 $225,015 1/1/2019
Aruba 8/9/2018 $2,137 3 3 5 $4,485 1/1/2019
Australia 8/17/2018 $61,598 96 165 607 $1,285,092 10/16/2018
Bahrain 8/30/2018 $29,216 8 8 10 $38,583 1/1/2019
Bolivia 8/23/2018 $26,608 18 18 46 $75,010 1/1/2019
Brazil 8/23/2018 $712,268 479 479 1161 $1,582,678 10/25/2018
Bulgaria 8/31/2018 $18,914 0 46 48 $59,647 2/26/2019
Cambodia 8/24/2018 $18,984 60 60 99 $35,800 1/1/2019
Central America 8/23/2018 $202,110 134 134 249 $421,055 9/19/2018
Chile 8/23/2018 $112,539 56 62 157 $309,786 1/1/2019
Colombia 9/20/2018 $140,605 137 137 242 $258,918 1/1/2019
Croatia 8/23/2018 $40,355 43 43 107 $96,970 1/1/2019
Curacao 8/9/2018 $947 2 3 6 $2,599 1/1/2019
Czech Republic 8/23/2018 $109,509 90 90 189 $227,464 1/1/2019
Dominican Republic 8/23/2018 $7,524 14 14 27 $17,154 1/1/2019
East Africa 8/31/2018 $1,319 1 1 2 $1,678 9/11/2018
Ecuador 8/24/2018 $109,117 39 39 129 $370,073 1/1/2019
Egypt 8/29/2018 $25,242 10 10 24 $59,166 1/1/2019
Estonia 8/24/2018 $16,165 14 14 35 $52,110 9/19/2018
Germany 8/23/2018 $504,912 209 249 1203 $1,519,355 11/27/2018
Greece 8/23/2018 $43,603 41 41 87 $165,516 9/19/2018
Hungary 8/23/2018 $60,629 42 53 141 $140,892 1/1/2019
Iceland 8/22/2018 $9,395 5 5 11 $35,361 1/1/2019
Indonesia 8/10/2018 $315,903 275 275 437 $563,269 1/1/2019
Iraq 8/30/2018 $20,240 8 8 14 $33,003 1/1/2019
Israel 8/23/2018 $83,022 22 24 63 $219,402 1/1/2019
Italy 9/6/2018 $673,868 0 11 16 $1,560,060 11/6/2018
Jordan 8/30/2018 $20,475 5 5 9 $31,759 1/1/2019
Kuwait 8/30/2018 $104,196 15 15 21 $166,980 1/1/2019
Latvia 8/24/2018 $9,375 7 7 22 $39,629 1/1/2019
Lebanon 8/30/2018 $29,291 12 12 29 $74,271 1/1/2019
Lithuania 8/24/2018 $27,976 94 94 161 $72,201 9/11/2018
Mexico 5/18/2018 $0 0 1117 1222 $3,619,883 10/31/2018
Middle East Region 9/27/2018 $0 0 1 1 $44,014 10/8/2018
Netherlands 8/24/2018 $237,626 68 68 214 $646,312 9/19/2018
New Zealand 8/23/2018 $70,688 36 36 111 $170,378 10/2/2018
North America 8/10/2018 $11,371,866 2,358 2,358 10,120 $30,564,825 7/25/2019
Oman 8/30/2018 $23,563 8 8 10 $31,522 1/1/2019
Paraguay 9/20/2018 $8,135 15 15 27 $18,488 1/1/2019
Peru 8/23/2018 $201,708 84 84 140 $394,189 1/1/2019
Philippines 9/26/2018 $152,373 160 160 181 $191,156 1/1/2019
Poland 8/17/2018 $141,276 89 97 306 $481,631 1/1/2019
Portugal 8/23/2018 $63,483 35 42 97 $192,347 9/19/2018
Qatar 8/30/2018 $41,117 11 11 13 $54,190 1/1/2019
Romania 8/31/2018 $65,196 70 70 201 $196,215 1/1/2019
Russia (CIS) 8/16/2018 $649,060 692 692 1799 $1,612,248 1/1/2019
Serbia and Montenegro 8/23/2018 $15,457 25 25 69 $42,886 1/1/2019
Slovakia 8/23/2018 $71,712 59 59 118 $136,131 9/19/2018
Slovenia 8/23/2018 $13,381 12 12 30 $33,339 9/25/2018
South Africa 11/2/2018 $4,493 5 5 13 $10,226 11/27/2018
Spain 10/19/2018 $558,405 285 285 830 $1,103,552 12/12/2018
Suriname 8/16/2018 $1,180 1 1 2 $2,755 1/1/2019
Sweden 8/10/2018 $127,512 75 75 280 $516,763 10/10/2018
Syria 8/30/2018 $6,501 2 2 5 $12,969 1/1/2019
Trinidad 8/22/2018 $0 0 11 16 $36,578 1/1/2019
Turkey 10/12/2018 $89,751 234 234 519 $233,100 2/26/2019
United Arab Emirates 8/30/2018 $186,960 46 46 64 $246,422 1/1/2019
United Kingdom 8/24/2018 $500,629 280 280 699 $1,358,564 10/9/2018
Uruguay 8/23/2018 $13,589 23 23 43 $27,980 1/1/2019
 
Rest of World $222,305
 
Worldwide Total$51,945,949 7/25/2019

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

Javier Botet    Slender Man

Supporting Cast

Joey King    Wren
Julia Goldani Telles    Hallie
Jaz Sinclair    Chloe
Annalise Basso    Katie
Alex Fitzalan    Tom
Taylor Richardson    Lizzie
Jessica Blank    Hallie’s Mother
Michael Reilly Burke    Hallie’s Dad
Kevin Chapman    Mr. Jensen
Miguel Nascimento    Kyle
Eddie Frateschi    Biology Teacher
Oscar Robert Wahlberg    Boy with Glasses
Daniel Beaton    Burley Kid
Gabrielle Lorteh    Cheerleader
Marc Carver    Doctor
Kris Sidberry    Librarian
Angela Hope Smith    Nurse
Michael Tow    Calculus Teacher
Damon D’ Amico Jr    Student
Yohanna Perez    Student
Timothy Brierley    Tour Guide

For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.

Production and Technical Credits

Sylvain White    Director
David Birke    Screenwriter
Victor Surge*    Character Creator
Bradley J. Fischer    Producer
James Vanderbilt    Producer
William Sherak    Producer
Robyn Meisinger    Producer
Sarah Snow    Producer
Louis Sallerson    Executive Producer
Tracey Nyberg    Executive Producer
Adam Kolbrenner    Executive Producer
Ryan Cunningham    Executive Producer
Glenn S. Gainor    Executive Producer
Luca Del Puppo    Director of Photography
Jeremy Woodward    Production Designer
Jake York    Editor
Nancy Nayor    Casting Director
Brandon Campbell    Composer
Ramin Djawadi    Composer
Deborah Newhall    Costume Designer
Andrea Ajemian    Co-Producer
Greg Harvey    Stunt Coordinator
Glenn S. Gainor    Unit Production Manager
Tom Davies    First Assistant Director
Jacki O’Brien    Second Assistant Director
Blair Skinner    Production Supervisor
Kim Leoleis    Set Decorator
Aidan Payne    Script Supervisor
Debbie Holbrook    Costume Supervisor
Juliet Loveland    Make up
Adrien Morot    Special Make-up Effects
Paula Dion    Hairstylist
Shayna Passaretti    Hairstylist
Kevin Parker    Sound Mixer
Mike Ricci    Special Effects Supervisor
Jamie Merz    Location Manager
Josh Sgarlata    Assistant Editor
Nick Offord    Re-recording Mixer
Steven Ticknor    Re-recording Mixer
Kami Asgar    Supervising Sound Editor
Kami Asgar    Sound Designer
Jamey Scott    Sound Designer
Trevor Metz    Sound Effects Editor
Steve Urban    Sound Effects Editor
Robert Chen    Dialogue Editor
Craig Dellinger    Dialogue Editor
Jeff Gross    Foley Mixer
Nate Underkuffler    Music Editor
Grant Conway    Music Editor
Raoul Yorke Bolognini    Visual Effects Producer
Raoul Yorke Bolognini    Visual Effects Supervisor
John Haley    Visual Effects Supervisor
Chad Hudson    Visual Effects Producer

The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.