Slovakia Box Office for Piadinôžka (2018)

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Smallfoot
Theatrical Performance (US$)
Slovakia Box Office $572,899Details
Worldwide Box Office $214,244,195Details
Home Market Performance
North America DVD Sales $11,073,183 Details
North America Blu-ray Sales $10,877,318 Details
Total North America Video Sales $21,950,501
Further financial details...

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

Synopsis

A Young yeti finds something he thought didn’t exist—a human. News of this “smallfoot” throws the simple yeti community into an uproar over what else might be out there in the big world beyond their snowy village, in an all new story about friendship, courage and the joy of discovery.

Metrics

Movie Details

Production Budget:$80,000,000
Slovakia Releases: September 21st, 2018 (Wide), released as Piadinôžka
Video Release: December 4th, 2018 by Warner Home Video
MPAA Rating: PG for some action, rude humor, and thematic elements.
(Rating bulletin 2537 (Cert #51715), 7/25/2018)
Running Time: 96 minutes
Keywords: Bigfoot, Mountain Climbing, Humans as Monsters, Falsely Accused, 3-D, 3-D - Shot in 3-D, Family Adventure
Source:Based on Fiction Book/Short Story
Genre:Adventure
Production Method:Digital Animation
Creative Type:Kids Fiction
Production/Financing Companies: Zaftig Films, RatPac Entertainment, Warner Bros., Warner Animation Group
Production Countries: United States
Languages: English

Home Market Releases for December 11th, 2018

December 11th, 2018

Collette

There isn’t a huge number of releases on this week’s list home market release report. The Equalizer 2 is the biggest, but it is far from the best. As for the best, there are some Pick of the Week contenders, including Colette, My Neighbor Totoro and A Simple Favor. My Neighbor Totoro is worth owning, but it is a triple-dip at this point, maybe more. A Simple Favor is coming out on VOD this week. This leaves Colette’s DVD or Blu-ray Combo Pack as the Pick of the Week. More...

Home Market Releases for December 4th, 2018

December 4th, 2018

The Handmaid’s Tale

It’s not a bad week when it comes to the home market. The biggest release is Mission: Impossible—Fallout and while I didn’t like it as much as most critics, the Blu-ray / 4K Ultra HD Combo Packs are still worth picking up. There were also a trio of releases that were contenders for Pick of the Week, all of which were TV on DVD release: The Handmaid’s Tale: Season Two, Love, Chunibyo & Other Delusions: Take On Me, and Westworld: Season Two: The Door. In the end, it came down to a roll of the dice, with The Handmaid’s Tale coming out on top. More...

Thursday Night Previews: Grinch Grabs $2.2 million on Thursday Night

November 9th, 2018

The Grinch

Dr Seuss’ The Grinch started its box office run with previews in 3,200 theaters earning $2.2 million. By comparison, Smallfoot, the most recent computer animated film, earned $850,000 during its previews. If The Grinch has the same legs, then it would make $60 million during its opening weekend, which is a little lower than our prediction, but still a great start for a film that cost $75 million to make. On the other hand, this film’s reviews are not as good as Smallfoot’s reviews are, which could lead to weaker word-of-mouth. Additionally, it is based on a well-known book, so that could front-load the film’s box office numbers. Hopefully this won’t be an issue and the film will top $60 million with ease. We will know more by this time tomorrow when the Friday Estimates show up. More...

International Box Office: Halloween Rises from the Dead and into First Place

October 31st, 2018

Halloween

Halloween rose from fifth to first with $26.0 million in 62 markets for a two-week total of $46.0 million. The film’s biggest new market was Germany, where it earned first place with $3.41 million on 513 screens. On the other hand, it only managed fifth place in France with $2.37 million on 316 screens. Its Australian debut was in-between those two results at second place and $1.99 million on 264 screens. It’s best holdover was in Mexico, where it earned first place with $2.34 million over the weekend for a two-week total of $9.39 million. Like I mentioned last week, this film isn’t doing as well internationally as it is domestically, but it has done so well domestically that it will break even before taking its international numbers into consideration. More...

International Box Office: Venom Claws Closer to Half a Billion Dollars

October 25th, 2018

Venom

Venom earned its fourth first place finish on the international chart with $33.17 million on 14,966 screens in 83 markets for totals of $291.61 million internationally and $462.68 million worldwide. The film had no major market openings this past weekend, but it has yet to open in Japan and China, so it has a shot at $400 million internationally and $600 million worldwide, which would be more than enough to become Sony’s biggest hit released in 2018. More...

International Box Office: Venom Secures Win, Closes in on Summer Vacation

October 17th, 2018

Venom

Venom remained the top draw internationally earning $70.89 million on 20,248 screens in 83 markets for totals of $236.49 million internationally and $378.60 million worldwide. The film’s biggest new market was France, where it opened in first place with $6.65 million on 703 screens over the weekend for a total opening of $7.04 million. It also opened in first place in Thailand with $2.14 million on 365 screens and in Vietnam with $1.05 million on 501 screens over the weekend for a total opening of $2.22 million. Its biggest market overall is South Korea, where it has amassed $25.41 million, including $4.38 million on 1,011 screens this past weekend. At this pace, the film will soon overtake Hotel Transylvania 3: Summer Vacation, becoming Sony’s biggest hit released in 2018. More...

Weekend Wrap-Up: Venom Beats Up Expectations, and New Releases

October 16th, 2018

Venom

Last weekend, Venom and A Star is Born opened better than predicted by a large margin and they even held on better than expected this weekend. Unfortunately, none of the new releases matched predictions and that hurt the overall box office. The total box office was down 25% from last weekend at $136 million. More importantly, this is 36% higher than the same weekend last year. Year-to-date, 2018 is ahead of 2017 at $9.18 billion to $8.31 billion, which is a $880 million or 10.5% lead. A double-digit lead at this point of the year is stunning and while it very likely won’t last, it would take an complete collapse for the lead to evaporate by the end of the year. More...

Weekend Estimates: Venom Flexes it Muscles and Keeps the Competition Down

October 14th, 2018

Venom

Last weekend, the new releases topped expectations by a significant degree. It appears I got caught up in that enthusiasm, because the three wide releases this weekend all missed expectations. Fortunately, the holdovers helped compensate. Venom is projected to fall just 56% to $35.6 million over the weekend for a two-week total of $142.6 million. This is a stunningly strong hold, given its reviews, its B plus from CinemaScore, and historical averages for comic book films. Internationally, it pulled in $69.7 million and globally it already has $378.1 million. The film cost $100 million or $116 million, depending on how you look at things. It’s $116 million on the screen, but it cost Sony $100 million after tax breaks. Depending on how much the film cost to advertise and how much Sony’s share of the box office is, the film might have already broken even. It will certainly break even by this time next week. More...

Friday Estimates: New Releases Won’t Finish First, Man

October 13th, 2018

First Man

All of the new releases missed expectations on Friday. This combined with better than expected holds for the holdovers meant there won’t be any new challengers for first place. That said, there will be a relatively close race for first place between Venom and A Star is Born. Venom fell 70% compared to its opening Friday earning $9.79 million. This is enough to put it on pace for $32 million during its sophomore stint, which is on the very high end of expectations. More...

Weekend Predictions: Will First Man Live Up to Its Name?

October 11th, 2018

First Man

There are three wide releases coming out this week. First Man is the biggest release and has the best reviews with 90% positive reviews. Goosebumps 2: Haunted Halloween’s reviews are much, much worse, but it should still do relatively well at the box office. It is a horror movie for kids opening just before Halloween. The final wide release of the week is Bad Times at the El Royale, which is earning really good reviews, but the buzz is rather quiet. These films will have to compete with Venom and A Star is Born, both of which are expected to do big business during their second weekend of release. This weekend last year, Happy Death Day opened with $26.04 million; however, it was the only film that earned more than $20 million over the weekend. This year, we could have as many as four films earn more than $20 million. More...

Weekend Wrap-Up: Venom Invades Record Books with $80.26 million

October 9th, 2018

Venom

Venom topped the high end of expectations over the weekend with $80.26 million, breaking several October records. A Star is Born also topped expectations with $44.26 million during its opening weekend and should have very long legs. Overall, the box office pulled in $177 million, which is 68% more than last weekend and this weekend last year. That’s a strange coincidence. Year-to-date, 2018 was able to stretch its lead over 2017, which now sits at 9.9% or $810 billion at $8.98 billion to $8.16 billion. I was worried we might be down to a $500 million lead at this point, but 2018 continues to impress. More...

Weekend Estimates: Venom Punches its Way to the Top with $80 million

October 7th, 2018

Venom

If studio estimates are correct, then Venom has crushed expectations over the weekend earning $80.03 million. This easily destroys the October weekend record, previously held by Gravity. The film is also projected to pull in $125.2 million on 20,800 screens in 58 markets. On the other hand, the film earned 32% positive reviews and a B plus from CinemaScore, so I don’t expect good legs going forward. That said, Sony’s share of the film’s global debut is likely very close to the film’s $100 million production budget, so unless the advertising budget was unreasonable, even really short legs won’t prevent the movie from earning a profit. More...

Friday Estimates: Venom Shines on Opening Day

October 6th, 2018

Venom

Despite earning terrible reviews, Venom was able to destroy the record for biggest October day with $32.75 million on Friday, topping the previous record holder Paranormal Activity 3 by a significant margin. Not only will the film blow past $70 million over the weekend, it could come close to $80 million. On the down side, as previously mentioned, its reviews are terrible, while it only managed a B plus from CinemaScore, so it won’t have good legs going forward. That said, the film reportedly cost $100 million to make ($116 million on the screen, $100 million after tax breaks) so even tragically short legs won’t stop the film from breaking even. More...

Weekend Predictions: Can Venom Take Down October’s Record?

October 4th, 2018

Venom

The first weekend of October could see records fall, as most have Venom opening with between $60 million and $70 million. The movie with the line “Turd in the wind” in its trailer is expected to open better than Gravity did. On the other hand, A Star is Born is expected to open in second place, but have much, much longer legs and I believe it will be the bigger hit in the end. Both Night School and Smallfoot will earn more than $10 million over the weekend, which will help the overall box office performance. This weekend last year, Blade Runner 2049 opened with $32.75 million, while only one other film earned more than $10 million. Even on the low end, Venom will earn more than those two films combined. On the high end, it could match last year’s top five by itself. More...

International Box Office: Can None stop The Nun?

October 2nd, 2018

The Nun

For the fourth weekend in a row, The Nun earned first place on the international chart. This past weekend, the film earned $16.4 million on 9,490 screens in 80 markets for totals of $220.2 million internationally and $329.2 million worldwide. There were no new markets this weekend, which explains the sharp decline from last week’s haul. That said, it remained in first place in France with $2.4 million on 367 screens for a two-week total of $7.6 million. The film is now the biggest hit in the franchise, both internationally and worldwide. More...

Weekend Wrap-Up: Wishing September Good Night

October 2nd, 2018

Night School

Overall, the weekend matched our predictions almost perfectly. All three new releases came within a rounding error of our prediction, if not better. This includes Night School, which led the way with $27.26 million during its opening weekend, while Smallfoot wasn’t too far behind with $23.05 million. Overall, the box office was 14% higher than last weekend at $105 million. This is also 16% higher than the same weekend last year. 2018’s lead over 2017 remained nearly identical this week at 9.0% / $720 million with $8.77 billion compared to $8.04 billion. More...

Weekend Estimates: Night School earns a Passing Grade with $28 million

September 30th, 2018

Night School

The weekend box office lived up to expectations, for the most part. Night School is projected to earn $28 million over the weekend, which almost matches its $29 million production budget. It would take tiny legs to fail to cover its production budget, which is unlikely. Granted, its reviews are only 31% positive, but it earned an A minus from CinemaScore, so its target audience liked it a whole lot more than the critics did. Its international start wasn’t great at $5.5 million in 19 markets, but within expectations. It earned second place in the U.K. with $2.02 million in 452 theaters, as well as third place in Australia with $1.20 million on 198. More...

Estimates: Friday’s Numbers are a little on the Small(foot) Size

September 29th, 2018

Smallfoot

New releases did well during previews, but returned to the levels we were predicting on Friday. Night School earned $9.5 million during its opening day, which isn’t enough to get to $30 million over the weekend, but it could be enough to match our $27 million prediction, or at least come within a rounding error of that figure. Audiences liked the movie more than critics did, as it earned an A minus from CinemaScore. Meanwhile, the film reportedly cost $29 million to make, so Universal should be happy with this result. More...

Thursday Night Previews: Night School gets off to an Intelligent Start

September 28th, 2018

Night School

Night School earned $1.35 million during its previews last night. In order to match our $27 million prediction, the film needed about $1.2 million during its previews, so this start makes opening above $30 million a lot more likely. Granted, its reviews are not going to help, but the film still has an excellent shot at topping its production budget during its opening weekend. It would take a combination of tragic legs, zero international demand, and irresponsibly high advertising costs for this film to not break even after this start. More...

Weekend Prediction: Smallfoot Looking for Big Box Office

September 26th, 2018

Night School

The final weekend of September is home to three wide releases. Two of these, Night School and Smallfoot could be solid hits. And since they are aimed at vastly different audiences, they shouldn’t cannibalize each other at the box office. On the other hand, Hell Fest is a low-budget horror movie that should earn more during its opening weekend than its $5.5 million production budget. Meanwhile, last week’s number one film, The House with a Clock in its Walls, should still have a solid weekend haul, giving the box office reasonable depth. This weekend last year, no film earned more than $20 million, while this year we should have two above that mark. Last year did have better depth, but I think 2018 will end its mini-losing streak in the year-over-year comparison. More...

2018 Preview: September

September 1st, 2018

The Predator

Overall, August was a little better than expected. Granted, there were no monster hits, but Warner Bros. had two $100 million hits in The Meg and Crazy Rich Asians. Meanwhile, Christopher Robin will come close enough to that milestone to be a hit. This allowed 2018 to stretch its lead over 2017 by over $700 million. Will that lead grow in September? Nope. Not even close. There are three major problems that will hurt September’s box office. Firstly, there are a lot of films that may or may not open wide. Secondly, there are no films opening this month that have a better than 50/50 chance of hitting $100 million. Finally... It. It destroyed records last September, earning more during its opening weekend than any film opening this month will earn in total. Fortunately, 2018 has such an enormous lead that even with It, 2018 should remain ahead of 2107 by $500 million at the end of the month. More...

Smallfoot Trailer

November 28th, 2017

Animated adventure with the voices of Channing Tatum, James Corden, Zendaya, and Common, opens September 28, 2018 ... 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
2018/09/21 5 $32,165   16 $2,010   $32,165 1
2018/09/28 - $120,367 +274% 75 $1,605   $152,214 2
2018/10/05 3 $72,084 -40% 54 $1,335   $237,027 3
2018/10/12 5 $42,618 -41% 34 $1,253   $289,962 4
2018/10/19 4 $62,808 +47% 41 $1,532   $357,451 5
2018/10/26 4 $60,880 -3% 29 $2,099   $420,687 6
2018/11/02 5 $36,656 -40% 27 $1,358   $499,516 7
2018/11/09 9 $14,320 -61% 17 $842   $513,822 8
2018/11/16 7 $12,932 -10% 21 $616   $530,973 9
2018/11/23 11 $7,622 -41% 16 $476   $538,080 10
2018/11/30 10 $7,255 -5% 15 $484   $545,159 11
2018/12/07 11 $10,115 +39% 19 $532   $560,773 12
2018/12/14 17 $1,958 -81% 7 $280   $558,507 13
2018/12/21 14 $3,277 +67% 9 $364   $567,519 14
2018/12/28 18 $2,225 -32% 3 $742   $572,146 15
2019/01/04 19 $1,934 -13% 5 $387   $572,899 16

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 9/28/2018 $374,542 0 161 616 $1,327,540 1/14/2019
Australia 9/21/2018 $719,130 276 306 1860 $9,210,719 1/8/2019
Brazil 9/28/2018 $1,300,000 917 917 3171 $5,300,000 8/7/2020
Bulgaria 9/28/2018 $97,294 0 0 0 $393,941 2/26/2019
Chile 9/27/2018 $0 0 0 0 $2,300,000 12/4/2018
China 10/19/2018 $3,890,000 28979 28979 55537 $10,800,000 12/4/2018
Colombia 10/4/2018 $0 0 0 0 $3,500,000 12/4/2018
Czech Republic 9/21/2018 $60,531 31 150 652 $902,551 1/1/2019
France 10/19/2018 $1,500,000 544 617 4073 $14,644,717 12/23/2018
Germany 10/11/2018 $775,000 968 968 3559 $4,800,000 12/4/2018
Italy 10/4/2018 $963,674 0 428 527 $1,790,038 1/15/2019
Lithuania 10/19/2018 $82,063 178 178 643 $334,877 12/10/2019
Mexico 9/28/2018 $3,475,541 2551 2551 3523 $9,300,000 12/4/2018
Netherlands 10/12/2018 $212,381 132 134 1162 $4,914,125 1/3/2019
North America 9/28/2018 $23,045,635 4,131 4,131 23,062 $83,240,103 1/10/2023
Poland 9/28/2018 $806,000 263 263 789 $2,100,000 1/1/2019
Portugal 10/5/2018 $185,442 69 79 535 $762,722 6/4/2019
Russia (CIS) 10/18/2018 $1,001,977 916 1593 6770 $9,629,912 1/1/2019
Slovakia 9/21/2018 $32,165 16 75 388 $572,899 1/10/2019
Spain 10/12/2018 $1,516,203 309 327 2323 $5,373,440 12/14/2018
Turkey 9/28/2018 $133,269 326 326 1144 $545,919 2/26/2019
United Kingdom 10/12/2018 $3,057,339 554 639 4170 $14,286,486 1/2/2019
 
Rest of World $28,214,206
 
Worldwide Total$214,244,195 1/10/2023

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.

Lead Ensemble Members

Channing Tatum    Migo
James Corden    Percy
Zendaya    Meechee
Common    Stonekeeper
LeBron James    Gwangi
Danny DeVito    Dorgle
Gina Rodriguez    Kolka
Jimmy Tatro    Thorp

Supporting Cast

Yara Shahidi    Brenda
Ely Henry    Flem
Anna Faris    Liv
Patricia Heaton    Mama Bear
Justin Roiland    Garry
Jack Quaid    Pilot
Sarah Baker    Soozie’s Mom
Kelly Holden Bashar    Additional Voice
Jonathan Mangum    Additional Voice
Clare Sera    Additional Voice
Rick Zieff    Additional Voice
Peter Ettinger    Additional Voice
Joel McCrary    Additional Voice
Luke Smith    Additional Voice
Jonathan Kite    Additional Voice
Vanessa Ragland    Additional Voice
Jessica Tuck    Additional Voice

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

Production and Technical Credits

Karey Kirkpatrick    Director
Karey Kirkpatrick    Screenwriter
Claire Sera    Screenwriter
John Requa    Screen Story by
Glenn Ficarra    Screen Story by
Karey Kirkpatrick    Screen Story by
Sergio Pablos    Story By
Bonne Radford    Producer
Glenn Ficarra    Producer
John Requa    Producer
Christopher Miller    Executive Producer
Nicholas Stoller    Executive Producer
Phil Lord    Executive Producer
Jared Stern    Executive Producer
Karey Kirkpatrick    Executive Producer
Sergio Pablos    Executive Producer
Courtenay Valenti    Executive Producer
Allison Abbate    Executive Producer
Ron Kurniawan    Production Designer
Peter Ettinger    Editor
Heitor Pereira    Composer
Jason Resig    Co-Director
Devin Crane    Art Director
Wayne Kirkpatrick    Song Writer
Karey Kirkpatrick    Song Writer
Ruth Lambert    Casting Director
Karl Edward Herbst    Visual Effects Supervisor
Skye Lyons    Associate Producer
Kevin Webb    Animation Supervisor
Henrik Karlsson    Character Effects Supervisor
Bertrand Bry-Marfaing    Character CG Supervisor
Jason Greenblum    Character CG Supervisor
Nicola Lavender    Character CG Supervisor
Jim McLean    Character CG Supervisor
Michael Muir    Character CG Supervisor
Steven Gizicki    Music Supervisor
Katrina Beshears    Production Manager
Michael Babcock    Supervising Sound Editor
Michael Babcock    Sound Designer
Gabriel Lin    Story Artist
Ken Morrissey    Story Artist
Delia Gosman    Story Artist
Ethan Hegge    Story Artist
Luther McLaurin    Story Artist
Vadim Bazhanov    Story Artist
Rafael Zentil    Story Artist
Carrie Liao    Story Artist
Max Lang    Story Artist
Nassos Vakalis    Story Artist
Kaitlyn Ritter    Story Artist
Scott Santoro    Story Artist
Andrew Gaskill*    Story Artist
Tom Parkinson    Story Artist
Chuck Klein    Story Artist
Devin Crane    Character Designer
Maria Yi    Character Designer
Anton Capaldo-Smith    Associate Editor
Roderick Finney    Additional Editor
Jessica Ambinder-Rojas    Additional Editor
Wyatt Jones    Additional Editor
Ryan Folsey    Additional Editor
Vanara Taing    Additional Editor
Steven Liu    Additional Editor
Will Erokan    First Assistant Editor
Daniel Ortiz    Assistant Editor
Mathias Hilger    Assistant Editor
Ben Murphy    Assistant Editor
Gina Zappala    Assistant Editor
Noel Brydebell    Assistant Editor
Barbara Gerety    Assistant Editor
Earl Brawley    Supervising Animator
Julius Kwan    Supervising Animator
Robert Lehman    Supervising Animator
Paul Pammesberger    Supervising Animator
Daniel Pozo    Supervising Animator
Burke Roane    Supervising Animator
Sigurdur Orri Thorhannesson    Supervising Animator
Peter Nash    Supervising Animator
John Vassallo    Supervising Animator
Randall James Bol    Post-Production Supervisor
David E. Fluhr    Re-recording Mixer
Michael Babcock    Re-recording Mixer
Jeff Sawyer    Sound Effects Editor
Chris Diebold    Sound Effects Editor
Darrin Mann    Foley Mixer
Slamm Andrews    Music Editor

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