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| Theatrical Performance (US$) | ||
| Australia Box Office | $86,013 | Details |
| Worldwide Box Office | $67,043,823 | Details |
| Further financial details... | ||
| Australia Releases: | August 30th, 2019 (Wide), released as Exit |
| MPAA Rating: | Not Rated |
| Running Time: | 100 minutes |
| Genre: | Adventure |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production Countries: | Republic of Korea |
| Languages: | Korean |
August 8th, 2019
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It was a busy weekend on the theater average chart with five films in the $10,000 club. Luce led the way with an average of $26,597 in five theaters. This bodes well for any future expansion. The Nightingale was next with an average of $20,041 in two theaters. Jay Myself arguably had a stronger opening, earning $18,909 in one theater over the weekend for a five-day debut of $27,571. Exit managed an average of $16,221 in two theaters, which is excellent for a foreign-language film and hopefully means more Asian movies will be released here. The final film in the $10,000 club was the overall box office champ, Hobbs and Shaw, with an average of $14,117.
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August 8th, 2019
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Nezha continued to grow in China, earning $128.49 million over the weekend, which was not only the best film in China, but the biggest movie internationally. Furthermore, the film has earned $342.33 million, putting it ahead of Zootopia as the biggest animated film of all time in that market. And it didn’t just tiptoe ahead of the competition. Nezha is over $100 million above Zootopia in China. I really hope it gets a release here, as not enough Chinese movies are seen outside of Asia.
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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 |
|---|---|---|---|---|---|---|---|
| 2019/08/30 | - | $40,511 | 14 | $2,894 | $40,511 | 1 | |
| 2019/09/06 | 30 | $16,911 | -58% | 13 | $1,301 | $75,847 | 2 |
| 2019/09/13 | - | $3,626 | -79% | 6 | $604 | $86,013 | 3 |
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Australia | 8/30/2019 | $40,511 | 14 | 14 | 33 | $86,013 | 9/17/2019 |
| New Zealand | 8/29/2019 | $10,222 | 4 | 4 | 8 | $22,477 | 10/19/2022 |
| North America | 8/2/2019 | $32,441 | 2 | 19 | 56 | $478,949 | |
| South Korea | 7/31/2019 | $14,883,881 | 1660 | 1660 | 7158 | $66,456,384 | 12/4/2019 |
| Worldwide Total | $67,043,823 | 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.
| Jo Jung-suk |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
| Sang Geun Lee | Director |
