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DomesticInternationalWorldwideCalendarAll TimeShowdownsIndices
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2024 Worldwide Box Office

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RankRelease Group\n WorldwideDomestic%Foreign%
1Dune: Part Two$506,528,001$207,528,00141%$299,000,00059%
2Kung Fu Panda 4$179,201,285$109,913,28561.3%$69,288,00038.7%
3Bob Marley: One Love$169,363,826$93,563,82655.2%$75,800,00044.8%
4The Beekeeper$152,581,408$66,081,40843.3%$86,500,00056.7%
5Mean Girls$104,404,248$72,404,24869.3%$32,000,00030.7%
6Madame Web$97,442,418$43,570,01344.7%$53,872,40555.3%
7Argylle$95,091,600$45,166,96047.5%$49,924,64052.5%
8Exhuma$58,910,836$60,5120.1%$58,850,32499.9%
9Night Swim$53,514,820$32,494,74060.7%$21,020,08039.3%
10Demon Slayer: Kimetsu No Yaiba - To the Hashira Training$43,958,372$17,499,81739.8%$26,458,55560.2%
11Haikyu!! The Movie: Decisive Battle at the Garbage Dump$42,704,829--$42,704,829100%
12Dune 2024 Re-release$30,344,289--$30,344,289100%
13Mobile Suit Gundam Seed Freedom$26,399,915--$26,399,915100%
14The Master and Margarita$25,387,952--$25,387,952100%
15Imaginary$22,219,589$19,488,50887.7%$2,731,08112.3%
16Mai$21,950,339--$21,950,339100%
17Lyod 3$19,672,932--$19,672,932100%
18Golden Kamuy$18,828,002--$18,828,002100%
19Autumn and the Black Jaguar$18,812,931--$18,812,931100%
20Ordinary Angels$18,116,360$18,116,360100%--
21Kleks Academy$15,346,961--$15,346,961100%
22The Chosen: S4 Episodes 1-3$14,238,396$13,907,43997.7%$330,9572.3%
23Cabrini$13,506,089$13,415,88899.3%$90,2010.7%
24Cocorico$13,479,250--$13,479,250100%
25Citizen of a Kind$12,473,667--$12,473,667100%
26Article 370$11,057,795$980,6498.9%$10,077,14691.1%
27Alienoid: The Return to the Future$10,693,858$60,7200.6%$10,633,13899.4%
28Eine Million Minuten$10,565,715--$10,565,715100%
29Maison de retraite 2$9,966,582--$9,966,582100%
30Lisa Frankenstein$9,927,714$9,774,28598.5%$153,4291.5%
31Cat and Dog$9,753,526--$9,753,526100%
32The Chosen: S4 Episodes 4-6$8,882,174$8,882,174100%--
33Lohusa$8,658,894--$8,658,894100%
34Doraemon the Movie: Nobita's Earth Symphony$8,646,215--$8,646,215100%
35Arthur the King$8,215,103$8,215,103100%--
36Wicked Little Letters$8,087,718--$8,087,718100%
37The Birth of Korea$8,062,718--$8,062,718100%
38Kolpa\u00e7ino 4 4'l\u00fck$7,536,265--$7,536,265100%
39The Chosen: S4 Episodes 7-8$7,011,749$7,011,749100%--
40I.S.S.$6,573,799$6,573,799100%--
41The Book of Clarence$6,132,813$6,132,813100%--
42Baghead$5,809,964--$5,809,964100%
43Air$5,525,303--$5,525,303100%
44Drive-Away Dolls$5,484,332$5,028,21591.7%$456,1178.3%
45Land of Bad$5,158,387$4,604,33689.3%$554,05110.7%
46Table for Six 2$4,832,658--$4,832,658100%
47Force of Nature: The Dry 2$4,802,226--$4,802,226100%
48Matching$4,684,519--$4,684,519100%
49Anweshippin Kandethum$4,459,155--$4,459,155100%
50El Roomie$4,418,253--$4,418,253100%
51Sami Swoi. Poczatek$4,214,048--$4,214,048100%
52I soliti idioti 3: Il ritorno$4,174,340--$4,174,340100%
53Manjummel Boys$3,836,960--$3,836,960100%
54Fighter$3,821,084$1,000,00026.2%$2,821,08473.8%
55Gap Lai Chi Bau$3,743,758--$3,743,758100%
56Onegin$3,713,997--$3,713,997100%
57Daaaaaali!$3,590,133--$3,590,133100%
583391 Kilometre$3,552,862--$3,552,862100%
59Breaking Point$3,532,131--$3,532,131100%
60Konets Slavy$3,461,326--$3,461,326100%
61Peppa's Cinema Party$3,448,795--$3,448,795100%
62Pare parecchio Parigi$3,445,925--$3,445,925100%
63The Moon Thieves$3,429,547--$3,429,547100%
64Baby boom, or Eggnog 5$3,236,512--$3,236,512100%
652024 Oscar Nominated Short Films: Documentary$3,145,126$3,145,126100%--
66Verliefd op Bali$2,816,695--$2,816,695100%
67No Way Up$2,781,096$148,5825.3%$2,632,51494.7%
68Love Lies Bleeding$2,762,268$2,762,268100%--
69Silent Love$2,733,262--$2,733,262100%
70All the Long Nights$2,689,624--$2,689,624100%
71Dog Days$2,658,318--$2,658,318100%
72Rob N Roll$2,593,138--$2,593,138100%
73Kensuke's Kingdom$2,574,642--$2,574,642100%
74Detective Conan vs. Kid the Phantom Thief$2,563,846--$2,563,846100%
75Queen Rock Montreal$2,537,304$2,000,00078.8%$537,30421.2%
76Cinquanta km all'ora$2,445,870--$2,445,870100%
77Coppers$2,402,764--$2,402,764100%
78Tati Part Time$2,391,182--$2,391,182100%
79Operation Portugal 2 - La vie de chateau$2,348,845--$2,348,845100%
80White Bird$2,317,316--$2,317,316100%
81Premalu$2,293,667--$2,293,667100%
82Bonnard: Pierre & Marthe$2,271,568--$2,271,568100%
83Picnic$2,260,917--$2,260,917100%
84It's Raining Men$2,196,213--$2,196,213100%
85Kral Sakir Devler Uyandi$2,133,949--$2,133,949100%
86Don't Lose Your Head!$2,113,320--$2,113,320100%
87Todas menos t\u00fa$2,110,306--$2,110,306100%
88National Theatre Live: Vanya$2,104,145--$2,104,145100%
89Noah's Ark$2,069,725--$2,069,725100%
90Aristokratka ve varu$2,045,586--$2,045,586100%
91Out of Darkness$1,987,281$1,951,54798.2%$35,7341.8%
92Yolo$1,916,954$1,531,01579.9%$385,93920.1%
93Nedelja$1,899,714--$1,899,714100%
94YA - medved$1,827,732--$1,827,732100%
95Valle de sombras$1,827,031--$1,827,031100%
96Love You as the World Ends: Episode #4.5$1,814,466--$1,814,466100%
97El correo$1,794,414--$1,794,414100%
98Komandir$1,776,616--$1,776,616100%
99Kardes Takimi$1,753,257--$1,753,257100%
100Teri Baaton Mein Aisa Uljha Jiya$1,698,069--$1,698,069100%
101Like a Prince$1,681,549--$1,681,549100%
102Dead Man$1,657,173--$1,657,173100%
103I Did It My Way$1,628,896$198,40512.2%$1,430,49187.8%
104La ferme des Bertrand$1,627,510--$1,627,510100%
105Bramayugam$1,596,690--$1,596,690100%
106A Silence$1,562,685--$1,562,685100%
107Dune IMAX$1,550,188$570,00036.8%$980,18863.2%
108Romeo \u00e8 Giulietta$1,523,765--$1,523,765100%
109Let's Go Karaoke!$1,510,372--$1,510,372100%
110National Theatre Live: Dear England$1,436,515--$1,436,515100%
111The American Society of Magical Negroes$1,416,020$1,416,020100%--
112Irklais per Atlanta$1,384,431--$1,384,431100%
113Les ch\u00e8vres!$1,317,742--$1,317,742100%
114A Nice Jewish Boy$1,267,653--$1,267,653100%
115Making Of$1,261,221--$1,261,221100%
116Matka v trapu$1,248,923--$1,248,923100%
117Enea$1,241,570--$1,241,570100%
118Color of Victory$1,210,606--$1,210,606100%
119Madame de S\u00e9vign\u00e9$1,188,112--$1,188,112100%
120Dieci minuti$1,147,973--$1,147,973100%
121The Promised Land$1,094,626$257,74923.5%$836,87776.5%
122Bol\u00e9ro$1,085,539--$1,085,539100%
123Fuks 2$1,078,203--$1,078,203100%
124Noche De Bodas$1,070,753--$1,070,753100%
125Vojna policajtov$1,061,257--$1,061,257100%
126Operation Valentine$1,052,313--$1,052,313100%
127Pol\u00edticamente incorrectos$1,044,456--$1,044,456100%
12814 jours pour aller mieux$1,043,287--$1,043,287100%
129Tainted Soul$1,007,804--$1,007,804100%
130Amelia's Children$1,004,389$11,0731.1%$993,31698.9%
131Kos$995,030--$995,030100%
132Adam & Eve$986,953--$986,953100%
133Abraham Ozler$978,538--$978,538100%
134Unknown Title$961,552--$961,552100%
135Cem Karaca'nin G\u00f6zyaslari$957,421--$957,421100%
136Milosc jak mi\u00f3d$935,067--$935,067100%
137Un altro Ferragosto$926,397--$926,397100%
138Kim Dae Jung on the Road$912,784--$912,784100%
139Efsane$887,531--$887,531100%
140Hatiran Yeter$879,223--$879,223100%
141Beautiful Wedding$862,267--$862,267100%
142Klaus & Barroso$808,665--$808,665100%
143Malaikottai Vaaliban$808,435--$808,435100%
144Stopmotion$804,000$789,22698.2%$14,7741.8%
145Miller's Girl$777,852--$777,852100%
146Hanu Man$775,578--$775,578100%
147Shaitaan$775,414--$775,414100%
148Tomb\u00e9s du camion$772,990--$772,990100%
149Victoria m\u00e5 d\u00f8$762,225--$762,225100%
150My Home Hero$752,621--$752,621100%
151Erdal ile Ece$748,654--$748,654100%
152Draugu lazybos$727,369--$727,369100%
153Kamen Rider 555 20th: Paradise Regained$716,815--$716,815100%
154Party of Fools$703,176--$703,176100%
155Baby Shark's Big Movie!$696,857--$696,857100%
156Wunderland$695,198--$695,198100%
157god's MASTERPIECE the Movie$690,636--$690,636100%
158De Legende van Familie Vos$656,343--$656,343100%
159Game On$646,235--$646,235100%
160Guntur Kaaram$608,300--$608,300100%
161Volare$601,016--$601,016100%
162Race for Glory: Audi vs. Lancia$590,686--$590,686100%
163Maria Montessori$584,583--$584,583100%
164Pegasus 2$579,283--$579,283100%
165Dao, Pho Va Piano$574,869--$574,869100%
166Salle des profs$569,721--$569,721100%
167Vivants$555,094--$555,094100%
168Caracas$553,794--$553,794100%
169L'Empire$531,447--$531,447100%
170Flight 404$495,884--$495,884100%
171Ultraman Blazar the Movie: Tokyo Kaiju Showdown$488,345--$488,345100%
172Captain Miller$484,768--$484,768100%
173Am\u00e9lie 2024 Re-release$483,602$483,602100%--
174Three$466,757--$466,757100%
175Jorgovani$464,890--$464,890100%
176Lyubov so vtorogo vzglyada$463,828--$463,828100%
177Vivre avec les loups$461,239--$461,239100%
178C Takimi$459,517--$459,517100%
179Ayalaan$458,476--$458,476100%
180La B\u00eate$451,153--$451,153100%
181Les Mis\u00e9rables 2024 Re-release$450,370$450,370100%--
182Gepack$432,125--$432,125100%
183Asterix: The Secret of the Magic Potion 2023 Re-release$431,180--$303,49170.4%
184Scrambled$422,555$422,555100%--
185Piep*zyc Mickiewicza$419,607--$419,607100%
186Finally Dawn$410,610--$410,610100%
187The Metropolitan Opera HD Live: Verdi: La Forza del Destino$406,847--$406,847100%
188Space Frank$406,343--$406,343100%
189Kamen Rider Geats: Jyamato Awakening$397,059--$397,059100%
190The Blue Star$392,672--$392,672100%
191Dziewczyna influencera$385,655--$385,655100%
192Karlos$383,702--$383,702100%
193Black Tea$378,173--$378,173100%
194White Courage$371,408--$371,408100%
195This is My Mother$370,891--$370,891100%
196The Gullsp\u00e5ng Miracle$358,399--$358,399100%
197Warning 2$356,023--$356,023100%
198The Successor$354,961--$354,961100%
199Especial \u00c9ste$352,664--$352,664100%
200Comme un fils$336,786--$336,786100%
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DomesticInternationalWorldwideCalendarAll TimeShowdownsIndices
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2024 Worldwide Box Office

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RankRelease Group\n WorldwideDomestic%Foreign%
1Dune: Part Two$506,528,001$207,528,00141%$299,000,00059%
2Kung Fu Panda 4$179,201,285$109,913,28561.3%$69,288,00038.7%
3Bob Marley: One Love$169,363,826$93,563,82655.2%$75,800,00044.8%
4The Beekeeper$152,581,408$66,081,40843.3%$86,500,00056.7%
5Mean Girls$104,404,248$72,404,24869.3%$32,000,00030.7%
6Madame Web$97,442,418$43,570,01344.7%$53,872,40555.3%
7Argylle$95,091,600$45,166,96047.5%$49,924,64052.5%
8Exhuma$58,910,836$60,5120.1%$58,850,32499.9%
9Night Swim$53,514,820$32,494,74060.7%$21,020,08039.3%
10Demon Slayer: Kimetsu No Yaiba - To the Hashira Training$43,958,372$17,499,81739.8%$26,458,55560.2%
11Haikyu!! The Movie: Decisive Battle at the Garbage Dump$42,704,829--$42,704,829100%
12Dune 2024 Re-release$30,344,289--$30,344,289100%
13Mobile Suit Gundam Seed Freedom$26,399,915--$26,399,915100%
14The Master and Margarita$25,387,952--$25,387,952100%
15Imaginary$22,219,589$19,488,50887.7%$2,731,08112.3%
16Mai$21,950,339--$21,950,339100%
17Lyod 3$19,672,932--$19,672,932100%
18Golden Kamuy$18,828,002--$18,828,002100%
19Autumn and the Black Jaguar$18,812,931--$18,812,931100%
20Ordinary Angels$18,116,360$18,116,360100%--
21Kleks Academy$15,346,961--$15,346,961100%
22The Chosen: S4 Episodes 1-3$14,238,396$13,907,43997.7%$330,9572.3%
23Cabrini$13,506,089$13,415,88899.3%$90,2010.7%
24Cocorico$13,479,250--$13,479,250100%
25Citizen of a Kind$12,473,667--$12,473,667100%
26Article 370$11,057,795$980,6498.9%$10,077,14691.1%
27Alienoid: The Return to the Future$10,693,858$60,7200.6%$10,633,13899.4%
28Eine Million Minuten$10,565,715--$10,565,715100%
29Maison de retraite 2$9,966,582--$9,966,582100%
30Lisa Frankenstein$9,927,714$9,774,28598.5%$153,4291.5%
31Cat and Dog$9,753,526--$9,753,526100%
32The Chosen: S4 Episodes 4-6$8,882,174$8,882,174100%--
33Lohusa$8,658,894--$8,658,894100%
34Doraemon the Movie: Nobita's Earth Symphony$8,646,215--$8,646,215100%
35Arthur the King$8,215,103$8,215,103100%--
36Wicked Little Letters$8,087,718--$8,087,718100%
37The Birth of Korea$8,062,718--$8,062,718100%
38Kolpa\u00e7ino 4 4'l\u00fck$7,536,265--$7,536,265100%
39The Chosen: S4 Episodes 7-8$7,011,749$7,011,749100%--
40I.S.S.$6,573,799$6,573,799100%--
41The Book of Clarence$6,132,813$6,132,813100%--
42Baghead$5,809,964--$5,809,964100%
43Air$5,525,303--$5,525,303100%
44Drive-Away Dolls$5,484,332$5,028,21591.7%$456,1178.3%
45Land of Bad$5,158,387$4,604,33689.3%$554,05110.7%
46Table for Six 2$4,832,658--$4,832,658100%
47Force of Nature: The Dry 2$4,802,226--$4,802,226100%
48Matching$4,684,519--$4,684,519100%
49Anweshippin Kandethum$4,459,155--$4,459,155100%
50El Roomie$4,418,253--$4,418,253100%
51Sami Swoi. Poczatek$4,214,048--$4,214,048100%
52I soliti idioti 3: Il ritorno$4,174,340--$4,174,340100%
53Manjummel Boys$3,836,960--$3,836,960100%
54Fighter$3,821,084$1,000,00026.2%$2,821,08473.8%
55Gap Lai Chi Bau$3,743,758--$3,743,758100%
56Onegin$3,713,997--$3,713,997100%
57Daaaaaali!$3,590,133--$3,590,133100%
583391 Kilometre$3,552,862--$3,552,862100%
59Breaking Point$3,532,131--$3,532,131100%
60Konets Slavy$3,461,326--$3,461,326100%
61Peppa's Cinema Party$3,448,795--$3,448,795100%
62Pare parecchio Parigi$3,445,925--$3,445,925100%
63The Moon Thieves$3,429,547--$3,429,547100%
64Baby boom, or Eggnog 5$3,236,512--$3,236,512100%
652024 Oscar Nominated Short Films: Documentary$3,145,126$3,145,126100%--
66Verliefd op Bali$2,816,695--$2,816,695100%
67No Way Up$2,781,096$148,5825.3%$2,632,51494.7%
68Love Lies Bleeding$2,762,268$2,762,268100%--
69Silent Love$2,733,262--$2,733,262100%
70All the Long Nights$2,689,624--$2,689,624100%
71Dog Days$2,658,318--$2,658,318100%
72Rob N Roll$2,593,138--$2,593,138100%
73Kensuke's Kingdom$2,574,642--$2,574,642100%
74Detective Conan vs. Kid the Phantom Thief$2,563,846--$2,563,846100%
75Queen Rock Montreal$2,537,304$2,000,00078.8%$537,30421.2%
76Cinquanta km all'ora$2,445,870--$2,445,870100%
77Coppers$2,402,764--$2,402,764100%
78Tati Part Time$2,391,182--$2,391,182100%
79Operation Portugal 2 - La vie de chateau$2,348,845--$2,348,845100%
80White Bird$2,317,316--$2,317,316100%
81Premalu$2,293,667--$2,293,667100%
82Bonnard: Pierre & Marthe$2,271,568--$2,271,568100%
83Picnic$2,260,917--$2,260,917100%
84It's Raining Men$2,196,213--$2,196,213100%
85Kral Sakir Devler Uyandi$2,133,949--$2,133,949100%
86Don't Lose Your Head!$2,113,320--$2,113,320100%
87Todas menos t\u00fa$2,110,306--$2,110,306100%
88National Theatre Live: Vanya$2,104,145--$2,104,145100%
89Noah's Ark$2,069,725--$2,069,725100%
90Aristokratka ve varu$2,045,586--$2,045,586100%
91Out of Darkness$1,987,281$1,951,54798.2%$35,7341.8%
92Yolo$1,916,954$1,531,01579.9%$385,93920.1%
93Nedelja$1,899,714--$1,899,714100%
94YA - medved$1,827,732--$1,827,732100%
95Valle de sombras$1,827,031--$1,827,031100%
96Love You as the World Ends: Episode #4.5$1,814,466--$1,814,466100%
97El correo$1,794,414--$1,794,414100%
98Komandir$1,776,616--$1,776,616100%
99Kardes Takimi$1,753,257--$1,753,257100%
100Teri Baaton Mein Aisa Uljha Jiya$1,698,069--$1,698,069100%
101Like a Prince$1,681,549--$1,681,549100%
102Dead Man$1,657,173--$1,657,173100%
103I Did It My Way$1,628,896$198,40512.2%$1,430,49187.8%
104La ferme des Bertrand$1,627,510--$1,627,510100%
105Bramayugam$1,596,690--$1,596,690100%
106A Silence$1,562,685--$1,562,685100%
107Dune IMAX$1,550,188$570,00036.8%$980,18863.2%
108Romeo \u00e8 Giulietta$1,523,765--$1,523,765100%
109Let's Go Karaoke!$1,510,372--$1,510,372100%
110National Theatre Live: Dear England$1,436,515--$1,436,515100%
111The American Society of Magical Negroes$1,416,020$1,416,020100%--
112Irklais per Atlanta$1,384,431--$1,384,431100%
113Les ch\u00e8vres!$1,317,742--$1,317,742100%
114A Nice Jewish Boy$1,267,653--$1,267,653100%
115Making Of$1,261,221--$1,261,221100%
116Matka v trapu$1,248,923--$1,248,923100%
117Enea$1,241,570--$1,241,570100%
118Color of Victory$1,210,606--$1,210,606100%
119Madame de S\u00e9vign\u00e9$1,188,112--$1,188,112100%
120Dieci minuti$1,147,973--$1,147,973100%
121The Promised Land$1,094,626$257,74923.5%$836,87776.5%
122Bol\u00e9ro$1,085,539--$1,085,539100%
123Fuks 2$1,078,203--$1,078,203100%
124Noche De Bodas$1,070,753--$1,070,753100%
125Vojna policajtov$1,061,257--$1,061,257100%
126Operation Valentine$1,052,313--$1,052,313100%
127Pol\u00edticamente incorrectos$1,044,456--$1,044,456100%
12814 jours pour aller mieux$1,043,287--$1,043,287100%
129Tainted Soul$1,007,804--$1,007,804100%
130Amelia's Children$1,004,389$11,0731.1%$993,31698.9%
131Kos$995,030--$995,030100%
132Adam & Eve$986,953--$986,953100%
133Abraham Ozler$978,538--$978,538100%
134Unknown Title$961,552--$961,552100%
135Cem Karaca'nin G\u00f6zyaslari$957,421--$957,421100%
136Milosc jak mi\u00f3d$935,067--$935,067100%
137Un altro Ferragosto$926,397--$926,397100%
138Kim Dae Jung on the Road$912,784--$912,784100%
139Efsane$887,531--$887,531100%
140Hatiran Yeter$879,223--$879,223100%
141Beautiful Wedding$862,267--$862,267100%
142Klaus & Barroso$808,665--$808,665100%
143Malaikottai Vaaliban$808,435--$808,435100%
144Stopmotion$804,000$789,22698.2%$14,7741.8%
145Miller's Girl$777,852--$777,852100%
146Hanu Man$775,578--$775,578100%
147Shaitaan$775,414--$775,414100%
148Tomb\u00e9s du camion$772,990--$772,990100%
149Victoria m\u00e5 d\u00f8$762,225--$762,225100%
150My Home Hero$752,621--$752,621100%
151Erdal ile Ece$748,654--$748,654100%
152Draugu lazybos$727,369--$727,369100%
153Kamen Rider 555 20th: Paradise Regained$716,815--$716,815100%
154Party of Fools$703,176--$703,176100%
155Baby Shark's Big Movie!$696,857--$696,857100%
156Wunderland$695,198--$695,198100%
157god's MASTERPIECE the Movie$690,636--$690,636100%
158De Legende van Familie Vos$656,343--$656,343100%
159Game On$646,235--$646,235100%
160Guntur Kaaram$608,300--$608,300100%
161Volare$601,016--$601,016100%
162Race for Glory: Audi vs. Lancia$590,686--$590,686100%
163Maria Montessori$584,583--$584,583100%
164Pegasus 2$579,283--$579,283100%
165Dao, Pho Va Piano$574,869--$574,869100%
166Salle des profs$569,721--$569,721100%
167Vivants$555,094--$555,094100%
168Caracas$553,794--$553,794100%
169L'Empire$531,447--$531,447100%
170Flight 404$495,884--$495,884100%
171Ultraman Blazar the Movie: Tokyo Kaiju Showdown$488,345--$488,345100%
172Captain Miller$484,768--$484,768100%
173Am\u00e9lie 2024 Re-release$483,602$483,602100%--
174Three$466,757--$466,757100%
175Jorgovani$464,890--$464,890100%
176Lyubov so vtorogo vzglyada$463,828--$463,828100%
177Vivre avec les loups$461,239--$461,239100%
178C Takimi$459,517--$459,517100%
179Ayalaan$458,476--$458,476100%
180La B\u00eate$451,153--$451,153100%
181Les Mis\u00e9rables 2024 Re-release$450,370$450,370100%--
182Gepack$432,125--$432,125100%
183Asterix: The Secret of the Magic Potion 2023 Re-release$431,180--$303,49170.4%
184Scrambled$422,555$422,555100%--
185Piep*zyc Mickiewicza$419,607--$419,607100%
186Finally Dawn$410,610--$410,610100%
187The Metropolitan Opera HD Live: Verdi: La Forza del Destino$406,847--$406,847100%
188Space Frank$406,343--$406,343100%
189Kamen Rider Geats: Jyamato Awakening$397,059--$397,059100%
190The Blue Star$392,672--$392,672100%
191Dziewczyna influencera$385,655--$385,655100%
192Karlos$383,702--$383,702100%
193Black Tea$378,173--$378,173100%
194White Courage$371,408--$371,408100%
195This is My Mother$370,891--$370,891100%
196The Gullsp\u00e5ng Miracle$358,399--$358,399100%
197Warning 2$356,023--$356,023100%
198The Successor$354,961--$354,961100%
199Especial \u00c9ste$352,664--$352,664100%
200Comme un fils$336,786--$336,786100%
\n

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", + "page_last_modified": "" + }, + { + "page_name": "Bitch (2017) - Financial Information - The Numbers", + "page_url": "https://www.the-numbers.com/movie/Bitch-(2017)", + "page_snippet": "Financial analysis of Bitch (2017) including budget, domestic and international box office gross, DVD and Blu-ray sales reports, total earnings and profitability.See the Box Office tab (Domestic) and International tab (International and Worldwide) for more Cumulative Box Office Records. 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.", + "page_result": "\r\n\r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n \n\n \t\t\r\n \r\n \r\n \n\n\n \n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n Bitch (2017) - Financial Information\r\n \n\r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n\n\r\n\r\n\r\n\r\n
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Bitch (2017)

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\n\"Bitch\"\n
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Theatrical Performance
Domestic Box Officen/a
International Box Office$689Details
Worldwide Box Office$689
Home Market Performance
Est. Domestic DVD Sales$6,752Details
Est. Domestic Blu-ray Sales$6,636Details
Total Est. Domestic Video Sales$13,388
Further financial details...
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Synopsis

The story of a housewife who, after her philandering husband and unruly kids break her psyche, upends the family dynamic by assuming the persona of a vicious dog.\n

Metrics

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Latest Ranking on Cumulative Box Office Lists

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RecordRankAmount
All Time International Box Office (Rank 28,601-28,700)28,676$689
All Time Worldwide Box Office (Rank 38,201-38,300)38,288$689
\n

See the Box Office tab (Domestic) and International tab (International and Worldwide) for more Cumulative Box Office Records.\n

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Watch Now On

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Amazon VOD:Amazon
iTunes:iTunes
Google Play:Google Play
Vudu:Vudu
\n\n\n

Movie Details

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Domestic Releases:November 10th, 2017 (Limited) by Dark Sky Films
International Releases:October 13th, 2017 (Wide) (United Kingdom)\n
Video Release:January 9th, 2018 by Dark Sky Films
MPAA Rating:Not Rated
Running Time:96 minutes
Comparisons:vs. Diary of a Wimpy Kid: Dog Days
Create your own comparison chart…
Keywords:Early / Simultaneous Video-on-Demand release, Dysfunctional Family, Relationships Gone Wrong, Infidelity, Mental Illness, Spoiled Child, Screenplay Written By the Star, Directing Yourself
Source:Original Screenplay
Genre:Black Comedy
Production Method:Live Action
Creative Type:Contemporary Fiction
Production/Financing Companies:MarVista Entertainment, Company X
Production Countries:United States
Languages:English
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Weekend Box Office Performance

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Daily Box Office Performance

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Weekly Box Office Performance

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Box Office Summary Per Territory

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TerritoryRelease
Date		Opening
Weekend		Opening
Weekend
Screens		Maximum
Screens		Theatrical
Engagements		Total
Box Office		Report
Date
United Kingdom10/13/2017$689111$68910/18/2017
 
International Total$68910/18/2017
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International Cumulative Box Office Records

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Worldwide Cumulative Box Office Records

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\nFull financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue\nare available through our research services. For more information, please contact us at research@the-numbers.com.

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Leading Cast

\n\n\n\n\n\n\n\n\n\n\n\n
Jason Ritter  Bill
Jaime King  Beth
\n
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Supporting Cast

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Marianna Palka  Jill Hart
Brighton Sharbino  Tiffany Hart
Rio Mangini  Max Hart
Kingston Foster  Cindy Hart
Jason Maybaum  Jed
Ren Hanami  Attorney
Sol Rodriguez  Annabelle
Jaime Moyer  Plumber Joe
\n
\n

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

\n

Production and Technical Credits

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Marianna Palka  Director
Marianna Palka  Screenwriter
Daniel Noah  Producer
Josh C. Waller  Producer
Elijah Wood  Producer
Michael Moran  Producer
Lisa Whalen  Executive Producer
Elisa Lleras  Executive Producer
Michael M McGuire  Executive Producer
Fernando Szew  Executive Producer
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\n

Home Market Releases for January 9th, 2018

\n

January 9th, 2018

\n\n\n\"It\"\n\n

\n\nUsually this is a terrible time of year on the home market, because it is too late for the summer blockbusters, but too early for the holiday hits. However, the home market is terrible this week, because It comes out and it destroyed records at the box office and is scaring away nearly all of the competition. Fortunately, its reviews were very good, so it is a contender for Pick of the Week. Its main competition are two classics, Inherit the Wind and Young Mr. Lincoln. All three are worth picking up, but I\u2019m giving the title to It, because of its wider appeal. \n\nMore...\n

Limited and VOD Releases: Three, Four, Five films worth Checking Out

\n

November 10th, 2017

\n\n\n\"Three\n\n

\n\nIt is not a particularly long list this week, but fortunately we do have one top-notch limited release: Three Billboards Outside Ebbing, Missouri. This film will likely pick up at least a few Awards Season nominations. Also worth checking out are Destination Unknown, Mayhem, Thelma, and Gold Star. Although I\u2019m a little biased when it comes to that last one, as we helped writer / director / star Victoria Negri create her business plan to get that film produced. It is also free on Video on Demand, if you have an Amazon Prime account, so you don\u2019t have to risk any money to watch it, if you have already signed up for Amazon Prime. \n\nMore...\n

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  1. Summary
    2. \r\n
  2. News
    3. \r\n
  3. Box Office
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  4. International
    5. \n
  5. Video Sales
    6. \r\n
  6. Full Financials
    7. \n
  7. Cast & Crew
    8. \r\n
  8. Trailer
    9. \r\n
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Synopsis

The story of a housewife who, after her philandering husband and unruly kids break her psyche, upends the family dynamic by assuming the persona of a vicious dog.\n

Metrics

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\n
\n
\n\t\n\n

Latest Ranking on Cumulative Box Office Lists

\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n
RecordRankAmount
All Time International Box Office (Rank 28,601-28,700)28,676$689
All Time Worldwide Box Office (Rank 38,201-38,300)38,288$689
\n

See the Box Office tab (Domestic) and International tab (International and Worldwide) for more Cumulative Box Office Records.\n

\n
\n
\n\n\n

Watch Now On

\n\n
Amazon VOD:Amazon
iTunes:iTunes
Google Play:Google Play
Vudu:Vudu
\n\n\n

Movie Details

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Domestic Releases:November 10th, 2017 (Limited) by Dark Sky Films
International Releases:October 13th, 2017 (Wide) (United Kingdom)\n
Video Release:January 9th, 2018 by Dark Sky Films
MPAA Rating:Not Rated
Running Time:96 minutes
Comparisons:vs. Diary of a Wimpy Kid: Dog Days
Create your own comparison chart…
Keywords:Early / Simultaneous Video-on-Demand release, Dysfunctional Family, Relationships Gone Wrong, Infidelity, Mental Illness, Spoiled Child, Screenplay Written By the Star, Directing Yourself
Source:Original Screenplay
Genre:Black Comedy
Production Method:Live Action
Creative Type:Contemporary Fiction
Production/Financing Companies:MarVista Entertainment, Company X
Production Countries:United States
Languages:English
\n\n
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\n

Leading Cast

\n\n\n\n\n\n\n\n\n\n\n\n
Jason Ritter  Bill
Jaime King  Beth
\n
\n
\n

Supporting Cast

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Marianna Palka  Jill Hart
Brighton Sharbino  Tiffany Hart
Rio Mangini  Max Hart
Kingston Foster  Cindy Hart
Jason Maybaum  Jed
Ren Hanami  Attorney
Sol Rodriguez  Annabelle
Jaime Moyer  Plumber Joe
\n
\n

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

\n

Production and Technical Credits

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Marianna Palka  Director
Marianna Palka  Screenwriter
Daniel Noah  Producer
Josh C. Waller  Producer
Elijah Wood  Producer
Michael Moran  Producer
Lisa Whalen  Executive Producer
Elisa Lleras  Executive Producer
Michael M McGuire  Executive Producer
Fernando Szew  Executive Producer
\n
\n
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\r\n
\n

Home Market Releases for January 9th, 2018

\n

January 9th, 2018

\n\n\n\"It\"\n\n

\n\nUsually this is a terrible time of year on the home market, because it is too late for the summer blockbusters, but too early for the holiday hits. However, the home market is terrible this week, because It comes out and it destroyed records at the box office and is scaring away nearly all of the competition. Fortunately, its reviews were very good, so it is a contender for Pick of the Week. Its main competition are two classics, Inherit the Wind and Young Mr. Lincoln. All three are worth picking up, but I\u2019m giving the title to It, because of its wider appeal. \n\nMore...\n

Limited and VOD Releases: Three, Four, Five films worth Checking Out

\n

November 10th, 2017

\n\n\n\"Three\n\n

\n\nIt is not a particularly long list this week, but fortunately we do have one top-notch limited release: Three Billboards Outside Ebbing, Missouri. This film will likely pick up at least a few Awards Season nominations. Also worth checking out are Destination Unknown, Mayhem, Thelma, and Gold Star. Although I\u2019m a little biased when it comes to that last one, as we helped writer / director / star Victoria Negri create her business plan to get that film produced. It is also free on Video on Demand, if you have an Amazon Prime account, so you don\u2019t have to risk any money to watch it, if you have already signed up for Amazon Prime. \n\nMore...\n

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Weekend Box Office Performance

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Daily Box Office Performance

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Weekly Box Office Performance

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Box Office Summary Per Territory

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TerritoryRelease
Date		Opening
Weekend		Opening
Weekend
Screens		Maximum
Screens		Theatrical
Engagements		Total
Box Office		Report
Date
United Kingdom10/13/2017$689111$68910/18/2017
 
International Total$68910/18/2017
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International Cumulative Box Office Records

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Worldwide Cumulative Box Office Records

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\nFull financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue\nare available through our research services. For more information, please contact us at research@the-numbers.com.

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\n\r\n\r\n\r\n\r\n\r\n\r\n", + "page_last_modified": "" + }, + { + "page_name": "Box office - Wikipedia", + "page_url": "https://en.wikipedia.org/wiki/Box_office", + "page_snippet": "A box office or ticket office is a place where tickets are sold to the public for admission to an event. Patrons may perform the transaction at a countertop, through a hole in a wall or window, or at a wicket. By extension, the term is frequently used, especially in the context of the film ...Box office business can be measured in the terms of the number of tickets sold or the amount of money raised by ticket sales (revenue). The projection and analysis of these earnings is greatly important for the creative industries and often a source of interest for fans. A film that earns $20 million on its opening weekend and finishes with $80 million has a multiple of 4. From 2004 to 2014, films viewers graded as A+ on CinemaScore had a 4.8 multiple, while films graded as F had a 2.2 multiple. Admissions refers to the number of tickets sold at the box office. In countries such as France, box office reporting was historically reported in terms of admissions, with rules regulated by the government and fines issued if exhibitors failed to report the data. Gross refers to gross earnings. On average, the movie's distributor receives a little more than half of the final gross (often referred to as the rentals) with the remainder going to the exhibitor (i.e., movie theater). Multiple is the ratio of a film's total gross to that of the opening weekend. A film that earns $20 million on its opening weekend and finishes with $80 million has a multiple of 4. From 2004 to 2014, films viewers graded as A+ on CinemaScore had a 4.8 multiple, while films graded as F had a 2.2 multiple. Later in 1946, Variety published a list of All-Time Top Grossers with a list of films that had achieved or gave promise of earning $4,000,000 or more in domestic (U.S. and Canada) theatrical rentals. This became a leading source of data for a film's performance.", + "page_result": "\n\n\n\nBox office - Wikipedia\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJump to content\n
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Box office

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From Wikipedia, the free encyclopedia
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Office selling event tickets
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\"Booking office\" redirects here. For airline booking offices, see city ticket office.
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For the publication, see BoxOffice (magazine). For the Aja album, see Box Office (album).
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Box office at the Ohio Theatre in Columbus, Ohio
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Ticket sales booth, Charing Cross Road, London, England, opposite the Garrick Theatre
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Folk festival box office in Edmonton, Alberta
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Ticket window at North Port High School Performing Arts Center
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A box office or ticket office is a place where tickets are sold to the public for admission to an event. Patrons may perform the transaction at a countertop, through a hole in a wall or window, or at a wicket. By extension, the term is frequently used, especially in the context of the film industry, as a metonym for the amount of business a particular production, such as a film or theatre show, receives. The term is also used to refer to a ticket office at an arena or a stadium.[1]\n

Box office business can be measured in the terms of the number of tickets sold or the amount of money raised by ticket sales (revenue). The projection and analysis of these earnings is greatly important for the creative industries and often a source of interest for fans. This is predominant in the Hollywood movie industry.\n

To determine if a movie made a profit, it is not correct to directly compare the box office gross with the production budget, because the movie theater keeps nearly half of the gross on average. The split varies from movie to movie, and the percentage for the distributor is generally higher in early weeks. Usually the distributor gets a percentage of the revenue after first deducting a \"house allowance\" or \"house nut\". It is also common that the distributor gets either a percentage of the gross revenue, or a higher percentage of the revenue after deducting the nut, whichever is larger.[2][3] The distributor's share of the box office gross is often referred to as the \"distributor rentals\", especially for box office reporting of older films.[4]\n

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Etymology[edit]

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The name box office was used at the Globe Theatre, owned by William Shakespeare, and also in wider Elizabethan theatre. Admission was collected in a tudor money box by a \"gatherer\" at the entrance to the theatre. While the name box office was used in Elizabethan theatre, there is disagreement around whether the term originates from this time.[5][6][7]\n

The term box office was being widely used from at least 1786, deriving from the office from which theatre boxes were being sold; this is the derivation favoured by the Oxford English Dictionary.[5][6][8] The term box office was being used to describe total sales from at least 1904.[9]\n

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Related terminology[edit]

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The following is film industry specific terminology used by box office reporters such as Variety and Box Office Mojo.[10] For films released in North America, box office figures are usually divided between domestic, meaning the United States and Canada, and foreign which includes all other countries. Weekly box office figures are now normally taken to be from Friday through Thursday to allow for the fact that most films are officially released in the United States on a Friday. With Variety being published for many years every Wednesday, most weekly box office figures they reported from the 1920s to the 1990s were for the week from Thursday to Wednesday. A large component of the weekly gross is the weekend box office. Historically, this was reported as the box office receipts around Friday through Sunday plus any public holidays close to the weekend, such as a 4-day Memorial Day weekend, however, with the increased regularity of reporting of box office figures, a comparable 3-day figure for the Friday to Sunday is now also used. In particular, the weekend box office for the initial week of release, or opening weekend, is often widely reported. (See List of highest-grossing openings for films.)\n

Theaters is the number of theaters in which the movie is showing. Since a single theater may show a movie on multiple screens, the total number of screens or engagements is used as another measure. The theaters measure is used to classify whether a film is in wide release, meaning at least 600 theaters, or limited release which is less than 600 theaters. Occasionally, a film may achieve wide release after an initial limited release; Little Miss Sunshine is an example of this.\n

Gross refers to gross earnings. On average, the movie's distributor receives a little more than half of the final gross (often referred to as the rentals) with the remainder going to the exhibitor (i.e., movie theater).\n

Multiple is the ratio of a film's total gross to that of the opening weekend. A film that earns $20 million on its opening weekend and finishes with $80 million has a multiple of 4. From 2004 to 2014, films viewers graded as A+ on CinemaScore had a 4.8 multiple, while films graded as F had a 2.2 multiple.[11]\n

Admissions refers to the number of tickets sold at the box office. In countries such as France, box office reporting was historically reported in terms of admissions, with rules regulated by the government and fines issued if exhibitors failed to report the data.[12] Other countries which historically reported box office figures in terms of admissions include European countries such as Germany, Italy, and Spain, the Soviet Union, and South Korea. Box Office Mojo estimates the North American ticket sales by dividing the domestic box office gross by the average ticket price (ATP) of a given year, a method that Box Office India uses to estimate Indian footfalls (ticket sales). See List of films by box office admissions for the films with the highest known estimated ticket sales.\n

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Box office lists[edit]

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For lists of films which are major box-office hits, see List of highest-grossing films, List of films by box office admissions and Lists of highest-grossing films. Films that are considered to have been very unsuccessful at the box office are called box-office bombs or box office flops. For a list of these films, see List of biggest box-office bombs.\n

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Box office reporting[edit]

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There are numerous websites that monitor box-office receipts, such as BoxOffice, Box Office Mojo, The Numbers, Box Office India, Koimoi, and ShowBIZ Data. These sites provide box office information for hundreds of movies. Data for older movies is often incomplete due to the way box office reporting evolved, especially in the U.S., and the availability of information prior to the introduction of the internet.[citation needed]\n

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History[edit]

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Rise of Hollywood[edit]

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Variety started reporting box office results by theatre on March 3, 1922, to give exhibitors around the country information on a film's performance on Broadway, which was often where first run showings of a film were held. In addition to New York City, they also endeavoured to include all of the key cities in the U.S. in future and initially also reported results for 10 other cities including Chicago and Los Angeles.[13]\n

In 1929, the first issue of The Motion Picture Almanac was released and included a list of the top 104 grossing films for the past year.[14] In 1932, Variety published the studios' top-grossing films of the year and has maintained this tradition annually since.[15] In 1937, BoxOffice magazine]began publishing box office reports.[16] Beginning in the 1930s, BoxOffice magazine published a Barometer issue in January, which reported the performance of movies for the year expressed as percentages.[17][better source needed]\n

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Golden era of film[edit]

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In 1946, Variety started to publish a weekly National Box Office survey on page 3 indicating the performance of the week's hits and flops based on the box office results of 25 key U.S. cities.[18][19]\n

Later in 1946, Variety published a list of All-Time Top Grossers with a list of films that had achieved or gave promise of earning $4,000,000 or more in domestic (U.S. and Canada) theatrical rentals.[20] This became a leading source of data for a film's performance.[21] Variety would publish an updated all-time list annually for over 50 years, normally in their anniversary edition each January.[21][22][23] The anniversary edition would also normally contain the list of the top performing films of the year.\n

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Dawn of modern film industry[edit]

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In the late 1960s, Variety used an IBM 360 computer to collate the grosses from their weekly reports of 22 to 24 U.S. cities from January 1, 1968. The data came from up to 800 theatres which represented around 5% of the U.S. cinema population at the time but around one-third of the total U.S. box office grosses. In 1969, Variety started to publish a list of the top 50 grossing films each week.[24] The Love Bug was the number one on the first chart published for the week ending April 16, 1969.[25] The chart was discontinued in 1990.[26]\n

In 1974, Nat Fellman founded Exhibitor Relations Co., the first company set up to track box office grosses, which it collected from the studios.[27] Two years later, Marcy Polier, an employee of the Mann theater chain, set up Centralized Grosses to collate U.S. daily box office data on a centralized basis from theaters rather than each theater chain collating their own numbers from other theater chains. The company later became National Gross Service then Entertainment Data, Inc. (EDI).[28]\n

Except for disclosures by the studios on very successful films, total domestic (U.S. and Canada) box office gross information for films was not readily available until National Gross Service started to collate this data around 1981. The collation of grosses led to wider reporting of domestic box office grosses for films. Arthur D. Murphy, a former U.S. Navy lieutenant at Variety was one of the first to organize and chart that information and report it in a meaningful form.[29] During the 1980s, Daily Variety started to publish a weekly chart of the domestic box office grosses of films collated from the studios as compared to the Top 50 chart in Variety which was based on a sample of theatre grosses from key markets.\n

Gradually the focus of a film's performance became its box office gross rather than the rentals that Variety continued to report annually. Prior to the tracking of these grosses, domestic or worldwide box office grosses is not available for many earlier films so the only domestic or worldwide data available is still often the rental figures.\n

Murphy started to publish Art Murphy's Box Office Register annually from 1984 detailing U.S. box office grosses.[29]\n

In 1984, EDI started to report Canadian grosses as well and by 1985 was reporting data for 15,000 screens. In 1987, EDI set up a database of box office information which included data on certain films back to 1970. By 1991, all U.S. studios had agreed to share their complete data reports with EDI.[30] By then box office results were publicized, with Entertainment Tonight segments on the weekend's top films, increasing public discussion of poorly performing films.[31] In 1990, EDI opened an office in the UK, moved into Germany in 1993 and Spain in 1995 reporting box office data for those markets.[32] EDI were acquired by ACNielsen Corporation in 1997 for $26 million and became Nielsen EDI.[33]\n

By the 1990s, Daily Variety started to report studio's weekend estimates from Sundays on Monday mornings which led to other media reporting the data earlier.[27] When Entertainment Weekly was launched in 1990 it started to publish the top 10 box office weekend lists from Exhibitor Relations and the company was also supplying box office data to companies such as the Los Angeles Times, CNN and the Associated Press.[27]\n

In 1994, Variety published their first annual global box office chart showing the top 100 grossing films internationally for the prior year.[34]\n

On August 7, 1998, Box Office Mojo was launched by Brandon Gray and in 1999 he started posting the Friday grosses sourced from Exhibitor Relations so that they were publicly available for free online on Saturdays[27] and posted the Sunday estimates on Sundays.[35] In July 2008, Box Office Mojo was purchased by Amazon.com through its subsidiary, IMDb.[36][37]\n

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Modern film industry[edit]

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Rentrak started tracking box office data from point of sale in 2001 and started to rival EDI in providing the studios with data.[38] In December 2009, Rentrak acquired Nielsen EDI for $15 million, and became the sole provider of worldwide box office ticket sales revenue and attendance information which is used by many of the websites noted above.[39][40]\n

On October 23, 2019, Box Office Mojo unveiled a dramatic redesign resembling IMDb, and was rebranded as \"Box Office Mojo by IMDbPro\" with some of the content move to the subscription based IMDbPro.[41]\n

US box office reporting largely paused for the first time in 26 years in March 2020, as nearly all theaters nationwide were closed because of the coronavirus pandemic.[42] Only drive-in theaters, which are typically not included in box office reporting, remained open.[43]\n

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Average ticket price[edit]

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The average ticket price (ATP) is the average cost to purchase a film ticket at the box office in any given year. According to the UNESCO Institute for Statistics, the ATP is \"calculated as the total revenues generated from tickets sales divided by the number of feature film tickets sold during the year of reference.\"[44]\n

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Year[45]\nWorldwide (US$)[46]\nUS[47]\nUK[48][49]\nAustralia[50]\nChina[51][52]\nEU[53][54]\nFrance[55][54]\nHong Kong[51]\nIndia[56]\nJapan[57]\nUAE[58]\nUSSR[59]\n
1950\n\n\n\u00a30.08 ($0.22)\n\n\n\n\n\n\n\n\n1.75 Rbls[60] ($0.33)\n
1951\n\n$0.53\n\u00a30.08 ($0.22)\n\n\n\n\n\n\n\n\n\n
1952\n\n\n\n\n\n\n\n\n\n\n\n
1953\n\n$0.60\n\n\n\n\n\n\n\n\n\n
1954\n\n$0.45\n\u00a30.09 ($0.25)\n\n\n\n\n\n\n\n\n\n
1955\n\n\n\u00a30.09 ($0.25)\n\n\n\n\nHK$0.95[61]\n\n\u00a563 ($0.18)\n\n\n
1956\n\n$0.50\n\u00a30.09 ($0.25)\n\n\n\n1.22 F ($0.35)[62]\n\n\n\u00a562 ($0.17)\n\n\n
1957\n\n\n\u00a30.10 ($0.28)\n\n\n\n1.33 F[63] ($0.37)\n\n\n\u00a562 ($0.17)\n\n\n
1958\n\n\n\u00a30.11 ($0.31)\n\n\n\n\n\n\n\u00a564 ($0.18)\n\n\n
1959\n\n$0.51\n\u00a30.12 ($0.34)\n\n\n\n\n\n\n\u00a565 ($0.18)\n\n\n
1960\n\n\n\u00a30.13 ($0.36)\n\n\n\n\n\n\u20b91.35 ($0.28)\n\u00a572 ($0.20)\n\n\n
1961\n\n$0.69\n\u00a30.13 ($0.36)\n\n\n\n\n\n\u00a585 ($0.24)\n\n\n
1962\n\n$0.70\n\u00a30.14 ($0.39)\n\n\n\n\n\n\u00a5115 ($0.32)\n\n\n
1963\n\n$0.85\n\u00a30.15 ($0.42)\n\n\n\n\n\n\u20b91.44 ($0.30)\n\u00a5152 ($0.42)\n\n0.25 \u0440\u0443\u0431[64] ($0.28)\n
1964\n\n$0.93\n\u00a30.17 ($0.48)\n\n\n\n\n\n\u20b91.45 ($0.30)\n\u00a5178 ($0.49)\n\n
1965\n\n$1.01\n\u00a30.19 ($0.53)\n\n\n\n3.04 F[63] ($0.62)\n\n\u20b91.46 ($0.31)\n\u00a5203 ($0.56)\n\n
1966\n\n$1.09\n\u00a30.24 ($0.67)\n\n\n\n3.34 F[63] ($0.68)\n\n\u20b91.66 ($0.26)\n\u00a5219 ($0.61)\n\n
1967\n\n$1.20\n\u00a30.22 ($0.61)\n\n\n\n\n\n\u20b91.66 ($0.22)\n\u00a5236 ($0.66)\n\n
1968\n\n$1.31\n\u00a30.24 ($0.58)\n\n\n\n\nHK$1.98[61] (US$0.33)\n\u20b91.67 ($0.22)\n\u00a5262 ($0.73)\n\n\n
1969\n\n$1.42\n\u00a30.27 ($0.65)\n\n\n\n\n\n\u00a5295 ($0.82)\n\n\n
1970\n\n$1.55\n\u00a30.31 ($0.74)\n\n\n\n\n\n\u20b91.89 (US$0.25)\n\u00a5324 ($0.90)\n\n\n
1971\n\n$1.65\n\u00a30.34 ($0.83)\n\n\n\n\n\n\u00a5366 ($1.04)\n\n\n
1972\n\n$1.70\n\u00a30.38 ($0.95)\n\n\n\n\n\n\u20b91.96 (US$0.26)\n\u00a5411 ($1.36)\n\n\n
1973\n\n$1.77\n\u00a30.43 ($1.05)\n\n\n\n\n\n\u20b92.06 (US$0.27)\n\u00a5500 ($1.84)\n\n$0.47[65]\n
1974\n\n$1.87\n\u00a30.50 ($1.17)\n\n\n\n\nHK$6[66] (US$1.19)\n\u20b92.38 (US$0.3)\n\u00a5631 ($2.16)\n\n
1975\n\n$2.05\n\u00a30.61 ($1.35)\n\n\n\n\n\n\u20b92.40 ($0.29)\n\u00a5751 ($2.53)\n\n
1976\n\n$2.13\n\u00a30.73 ($1.31)\nA$3.30\n\n\n\n\n\u20b92.47 (US$0.27)\n\u00a5852 ($2.87)\n\n\n
1977\n\n$2.23\n\u00a30.83 ($1.45)\nA$3.50\n\n\n\nHK$5.33[61] (US$1.14)\n\u20b92.52 (US$0.29)\n\u00a5923 ($3.44)\n\n\n
1978\n\n$2.34\n\u00a30.94 ($1.80)\nA$3.50\n\n\n\n\n\u20b92.55 (US$0.31)\n\u00a5967 ($4.60)\n\n\n
1979\n\n$2.51\n\u00a31.13 ($2.39)\nA$3.70\n\u00a50.2[67] ($0.13)\n\n\n\n\u20b92.76 (US$0.34)\n\u00a5958 ($4.37)\n\n\n
1980\n\n$2.69\n\u00a31.42 ($3.30)\nA$4.00\n\u00a50.2[67] ($0.13)\n\u20ac1.90 ($2.56)\n\u20ac2.70[53] ($3.64)\nHK$9[68] (US$1.81)\n\u20b92.92 (US$0.37)\n\u00a51,009 ($4.45)\n\n\n
1981\n\n$2.78\n\u00a31.58 ($3.17)\nA$4.50\n\u00a50.2[67] ($0.12)\n\n\n\n\u20b93.31 (US$0.38)\n\u00a51,093 ($4.96)\n\n\n
1982\n\n$2.94\n\u00a31.67 ($2.92)\nA$5.00\n\u00a50.2[67] ($0.11)\n\n\nHK$12[68] (US$1.98)\n\u20b94.21 (US$0.44)\n\u00a51,092 ($4.38)\n\n0.50 \u0440\u0443\u0431[69] ($0.72)\n
1983\n\n$3.15\n\u00a31.90 ($2.88)\nA$5.60\n\u00a50.2[67] ($0.10)\n\n\nHK$15[68] (US$2.06)\n\u20b94.21 (US$0.42)\n\u00a51,093 ($4.60)\n\n\n
1984\n\n$3.36\n\u00a31.91 ($2.54)\nA$5.40\n\u00a50.2[67] ($0.09)\n\n\nHK$15[68] (US$1.92)\n\u20b94.21 (US$0.37)\n\u00a51,144 ($4.82)\n\n\n
1985\n\n$3.55\n\u00a31.71 ($2.19)\nA$5.40\n\n\u20ac3.10 ($2.27)\n\u20ac3.70[53] ($2.71)\n\n\u20b94.38 (US$0.35)\n\u00a51,118 ($4.69)\n\n\n
1986\n\n$3.71\n\u00a31.88 ($2.76)\nA$5.31\n\n\n\n\n\u20b94.24 (US$0.34)\n\u00a51,116 ($6.62)\n\n\n
1987\n\n$3.91\n\u00a32.15 ($3.51)\nA$6.16\n\n\n\n\n\u20b97 (US$0.54)[70]\n\u00a51,120 ($7.74)\n\n\n
1988\n\n$4.11\n\u00a32.30 ($4.09)\nA$6.10\n\u00a50.3[71] ($0.08)\n\n\nHK$15[72] (US$1.92)\n\n\u00a51,118 ($8.72)\n\n\n
1989\n\n$3.97\n\u00a32.33 ($3.81)\nA$6.60\n\n\n\nHK$30[66] (US$3.85)\n\n\u00a51,161 ($8.42)\n\n\n
1990\n\n$4.23\n\u00a32.81 ($4.99)\nA$6.61\n\n\u20ac4.20 ($5.32)\n\u20ac4.50[53] ($5.71)\n\n\n\u00a51,177 ($8.13)\n\n\n
1991\n\n$4.21\n\u00a33.03 ($5.34)\nA$6.95\n\n\n\n\n\n\u00a51,181 ($8.77)\n\n\n
1992\n\n$4.15\n\u00a33.21 ($5.63)\nA$7.09\n\n\n\nHK$32[72] (US$4.24)[73]\n\n\u00a51,210 ($9.55)\n\n\n
1993\n\n$4.14\n\u00a33.21 ($4.81)\nA$7.00\n\n\n\n\n\u20b98.45 (US$0.27)[74]\n\u00a51,252 ($11.26)\n\n\n
1994\n\n$4.18\n\u00a33.25 ($4.97)\nA$7.00\n\u00a57.5 ($0.89)[75]\n\n\n\n\u20b911.05 (US$0.35)[76]\n\u00a51,249 ($12.22)\n\n\n
1995\n\n$4.35\n\u00a33.48 ($5.49)\nA$7.17\n\u20ac4.70 ($6.26)\n\u20ac5.30[53] ($7.06)\nHK$48.9[51] (US$6.32)\n\u20b914.37 (US$0.44)[77]\n\u00a51,243 ($13.21)\n\n\n
1996\n\n$4.42\n\u00a33.70 ($5.77)\nA$7.26\n\n\u20ac4.80 ($6.19)\n\u20ac5.40[53] ($6.97)\nUS$6.25[78]\n\u20b915.70 (US$0.44)[79]\n\u00a51,245 ($11.45)\n\n\n
1997\n\n$4.59\n\u00a34.07 ($6.66)\nA$7.47\n$0.84[80]\n\u20ac5.00 ($5.65)\n\u20ac5.30[53] ($5.99)\nUS$6.47[73]\n\u20b917.92 (US$0.49)[81]\n\u00a51,259 ($10.41)\n\n\n
1998\n\n$4.69\n\u00a34.03 ($6.67)\nA$7.87\n\u20ac5.10 ($5.68)\n\u20ac5.30[53] ($5.90)\nUS$6.25[78]\n\u20b919.66 (US$0.48)[82]\n\u00a51,264 ($9.66)\n\n\n
1999\n\n$5.08\n\u00a34.21 ($6.81)\nA$7.93\n\n\u20ac5.30 ($5.64)\n\u20ac5.40[53] ($5.75)\n\u20b921.51[83] ($0.50)\n\u00a51,263 ($11.09)\n\n\n
2000\n\n$5.39\n\u00a34.40 ($6.66)\nA$8.39\n\u00a55[84] ($0.60)\n\u20ac5.40 ($4.97)\n\u20ac5.40[53] ($4.97)\n\n\u20b924.07 (US$0.54)[85]\n\u00a51,262 ($11.71)\n\n\n
2001\n\n$5.66\n\u00a34.14 ($5.96)\nA$8.78 (US$4.54)\n\n\u20ac5.60 ($5.01)\n\u20ac5.50[53] ($4.83)\nHK$55[86] (US$7.05)\n\u20b926.66 (US$0.57)[87]\n\u00a51,226 ($10.09)\nDh 30\n\n
2002\n\n$5.81\n\u00a34.29 ($6.43)\nA$9.13\n\n\n\n\u20b929.98 (US$0.62)[88]\n\u00a51,224 ($9.76)\n\n
2003\n\n$6.03\n\u00a34.44 ($7.25)\nA$9.64\n\n\n\n\n\u20b935.77 (US$0.77)[89]\n\u00a51,252 ($10.8)\n\n
2004\n\n$6.21\n\u00a34.49 ($8.22)\nA$9.92\n\n\n\n\n\u20b942.14 (US$0.93)[90]\n\u00a51,240 ($11.46)\n\n
2005\n\n$6.41\n\u00a34.71 ($8.56)\nA$9.94\n\u00a512.7 ($1.55)\n\n\u20ac5.90[51] ($7.33)\n\n\u20b949.16 (US$1.11)[91]\n\u00a51,235 ($11.21)\n\n
2006\n\n$6.55\n\u00a34.87 ($8.96)\nA$10.37\n\u00a514.9 ($1.87)\n\n\u20ac5.90[51] ($7.40)\nUS$7\n\u20b953.91 (US$1.19)[92]\n\u00a51,233 ($10.60)\n\n
2007\n\n$6.88\n\u00a35.05 ($10.10)\nA$10.57\n\u00a516.9 ($2.22)\n\n\u20ac5.90[51] ($8.07)\nUS$6.70\n\u20b960.73 (US$1.47)[93]\n\u00a51,216 ($10.33)\nDh 35 ($7.90)\n\n
2008\n\n$7.18\n\u00a35.20 ($9.56)\nA$11.17\n\u00a520.1 ($2.89)\n\n\u20ac6 ($8.82)\nUS$7\n\u20b969.76[94] ($1.60)\n\u00a51,214 ($11.75)\n$8.40\n\n
2009\n\n$7.50\n\u00a35.44 ($8.47)\nA$11.99\n\u00a523.5 ($3.44)\n\n\u20ac6.14\nUS$7.30\n\u20b978.63 (US$1.62)[95]\n\u00a51,217 ($13.01)\n$5.30\n\n
2010\n\n$7.89\n\u00a35.95 ($9.19)\nA$12.26\n\u00a535.1 ($5.18)\n\n\u20ac6.33\nUS$7.70\n\u20b988.60 (US$1.94)[96]\n\u00a51,266 ($14.42)\n$7.20\n\n
2011\n\n$7.93\n\u00a36.06 ($9.71)\nA$12.87\n\u00a535.4 ($5.48)\n\n\u20ac6.33\n\n\u20b995.48[97] ($2.05)\n\u00a51,252 ($15.69)\n$8.80\n\n
2012\n\n$7.96\n\u00a36.37 ($10.06)\nA$13.10\n\u00a536.3 ($5.75)\n\n\u20ac6.42\nUS$8.10\n\u20b9101.74[98]\n\u00a51,258 ($15.77)\n$11\n\n
2013\n\n$8.13\n\u00a36.53 ($10.210)\nA$13.41\n\u00a535.6 ($5.75)\n\n\u20ac6.46\nUS$8.40\n\u20b9109.75[99]\n\u00a51,246\n$11.30\n\n
2014[100]\n$4.74\n$8.17\n\u00a36.72 ($13.30)\nA$13.68\n\u00a535.7 ($5.81)\n\n\u20ac6.38 ($12.29)\nUS$8.50\n\u20b9117.89[101] ($3.22)\n\u00a51,285 ($17.67)\n\n\n
2015\n$4.86\n$8.43\n\u00a37.21\nA$13.60\n\u00a535\n\n\u20ac6.48\nUS$10.70\n\u20b9125.97[102]\n\u00a51,303\n$11.60\n\n
2016\n$4.99\n$8.65\n\u00a37.41\nA$13.80\n\u00a535[103]\n\n\u20ac6.51\nUS$9.80\n\u20b9131.57[104]\n\u00a51,307\n\n\n
2017\n$5.11\n$8.97\n\u00a37.49\nA$14.13\n\u00a534.5\n\n\u20ac6.60[51]\n\n\u20b9134.38[105]\n\u00a51,310\n\n\n
2018\n$5.16\n$9.11\n\u00a37.22\nA$13.86\n\u00a535.3[106]\n\n\n\n\n\u00a51,315\n\n\n
2019\n\n$9.01\n\u00a37.11\nA$14.50\n\u00a537.1[106]\n\n\n\n\n\u00a51,340\n\n\n
2020\n\n$9.37\n\u00a36.75\nA$14.23\n\u00a537[106]\n\n\n\n\n\u00a51,350\n\n\n
2021\n\n\n\u00a37.52\nA$15.24\n\u00a540.3[106] ($6.25)\n\n\n\n\n\u00a51,410\n\n\n
2022\n\n\n\u00a37.69\nA$16.26\n\u00a542.1[106]\n\n\n\n\n\u00a51,402\n\n\n
\n

Distributor rentals[edit]

\n

Box-office figures are reported in the form of either gross receipts or distributor rentals, the latter being especially true of older films. Commonly mistaken for home video revenue, the rentals are the distributor's share of the film's theatrical revenue i.e. the box office gross less the exhibitor's cut.[107][108] Historically, the rental price averaged at 30\u201340% when the distributors owned the theater chains, equating to just over a third of the gross being paid to the distributor of the film.[109] As of 1997[update] rental fees varied greatly, depending on a number of factors, with films from the major studios averaging 43% of gross receipts.[107]\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Annual rentals % of box office gross receipts\n
Year\nUnited States[110]\nUnited States and Canada[110]\nJapan[57]\n
1939\n36.4%[109]\n\u2014\n\u2014\n
1955\n\u2014\n\u2014\n58.4%\n
1956\n\u2014\n\u2014\n56.3%\n
1957\n\u2014\n\u2014\n55.2%\n
1958\n\u2014\n\u2014\n54.5%\n
1959\n\u2014\n\u2014\n55.0%\n
1960\n\u2014\n\u2014\n54.6%\n
1961\n\u2014\n\u2014\n53.2%\n
1962\n\u2014\n\u2014\n50.1%\n
1963\n\u2014\n\u2014\n47.2%\n
1964\n\u2014\n\u2014\n44.6%\n
1965\n27.6%\n29.8%\n44.7%\n
1966\n\u2014\n\u2014\n42.2%\n
1967\n\u2014\n\u2014\n40.9%\n
1968\n\u2014\n\u2014\n40.2%\n
1969\n\u2014\n\u2014\n39.9%\n
1970\n26.7%\n28.6%\n37.7%\n
1971\n\u2014\n\u2014\n38.4%\n
1972\n\u2014\n\u2014\n37.3%\n
1973\n\u2014\n\u2014\n38.0%\n
1974\n\u2014\n\u2014\n38.0%\n
1975\n29.7%\n32.7%\n39.4%\n
1976\n28.3%\n31.3%\n39.0%\n
1977\n36.6%\n39.4%\n39.9%\n
1978\n42.4%\n45.3%\n41.2%\n
1979\n37.8%\n40.5%\n39.0%\n
1980\n43.0%\n46.4%\n38.2%\n
1981\n39.2%\n42.2%\n37.9%\n
1982\n38.9%\n41.8%\n38.5%\n
1983\n34.5%\n37.0%\n42.3%\n
1984\n32.6%\n35.3%\n39.6%\n
1985\n29.6%\n31.6%\n40.0%\n
1986\n30.7%\n33.1%\n40.5%\n
1987\n29.3%\n31.5%\n39.5%\n
1988\n31.7%\n34.5%\n40.5%\n
1989\n35.4%\n38.4%\n40.3%\n
1990\n36.4%\n39.4%\n41.3%\n
1991\n38.5%\n41.3%\n40.7%\n
1992\n41.2%\n43.8%\n41.0%\n
1993\n38.8%\n41.3%\n43.9%\n
1994\n37.8%\n40.2%\n41.8%\n
1995\n43.6%\n45.6%\n43.4%\n
1996\n40.9%\n43.4%\n42.5%\n
1997\n41.5%\n44.2%\n44.3%\n
1998\n40.1%\n42.6%\n45.1%\n
1999\n41.9%\n44.7%\n45.3%\n
2000\n37.2%\n39.7%\n\u2014\n
\n

See also[edit]

\n\n\n

References[edit]

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  41. ^ Fuster, Jeremy (October 24, 2019). \"Box Office Mojo Criticized After Redesign That Includes a Paywall for Some Data\". TheWrap. Archived from the original on October 24, 2019. Retrieved October 24, 2019.\n
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  42. ^ \"Reporter's Notebook: The Weekend When Box Office Hit Zero for the First Time\". The Hollywood Reporter. 23 March 2020. Archived from the original on 2020-03-25. Retrieved 2020-03-27.\n
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  43. ^ \"Weekend Box Office Hits Zero for the First Time in 26 Years\". Movieweb. 2020-03-23. Archived from the original on 2020-03-25. Retrieved 2020-03-27.\n
    44. \n
  44. ^ \"Average ticket price (ATP)\". UNESCO Institute for Statistics. UNESCO. 22 June 2020. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    45. \n
  45. ^ Antweiler, Werner (2019). \"Pacific Exchange Rate Service\" (PDF). UBC Sauder School of Business. University of British Columbia. Archived (PDF) from the original on 12 May 2015. Retrieved 8 February 2019.\n
    46. \n
  46. ^ \"Average actual cinema admission price worldwide from 2014 to 2018\". Statista. Archived from the original on 18 July 2020. Retrieved 18 July 2020.\n
    47. \n
  47. ^ \"Box Office Mojo by IMDbPro FAQ (How are grosses adjusted for ticket price inflation?)\". IMDb. Archived from the original on 12 July 2020. Retrieved 16 July 2020.\n
    48. \n
  48. ^ \"UK cinema ticket prices\". Terra Media. Archived from the original on 18 July 2016. Retrieved 16 July 2020.\n
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  49. ^ \"Average ticket price\". UK Cinema Association. Archived from the original on 1 October 2020. Retrieved 16 July 2020.\n
    50. \n
  50. ^ \"Ticket prices\". Screen Australia. Archived from the original on 2019-08-05. Retrieved 2022-05-12.\n
    51. \n
  51. ^ a b c d e f g \"UIS Statistics\". UNESCO Institute for Statistics. UNESCO. Archived from the original on 20 June 2018. Retrieved 3 May 2019.\n
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  52. ^ \"Official exchange rate (LCU per US$, period average) \u2013 China\". World Bank. Archived from the original on 23 July 2020. Retrieved 22 July 2020.\n
    53. \n
  53. ^ a b c d e f g h i j k \"Cinema market\". Cinema, TV and radio in the EU: Statistics on audiovisual services (Data 1980\u20132002) (2003 ed.). Office for Official Publications of the European Communities. 2003. pp. 31\u201364 (61). ISBN 92-894-5709-0. ISSN 1725-4515. Archived from the original on 7 June 2020. Retrieved 23 May 2020 – via Europa (web portal).\n
    54. \n
  54. ^ a b \"Historical exchange rates (EUR)\". fxtop.com. Archived from the original on 27 July 2020. Retrieved 22 July 2020.\n
    55. \n
  55. ^ \"Average cinema ticket price in France 2009-2016\". Statista. November 2017. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    56. \n
  56. ^ Mittal, Ashok (1995). Cinema Industry in India: Pricing and Taxation. Indus Publishing. pp. 71 & 77. ISBN 9788173870231. Archived from the original on 2023-01-18. Retrieved 2020-07-16.\n
    57. \n
  57. ^ a b \"Statistics of Film Industry in Japan (Year 1955\u20131999)\". Eiren. Motion Picture Producers Association of Japan. Archived from the original on 5 May 2005. Retrieved 17 February 2019.\n
    58. \n
  58. ^ Bardsley, Daniel; Hoath, Nissar (November 2, 2007). \"'It is the first time ticket prices have risen in six years'\". Gulf News. Archived from the original on 2022-05-11. Retrieved 2022-05-11.\n
    59. \n
  59. ^ \"Archive\". Central Bank of Russia (in Russian). Archived from the original on 29 December 2009. Retrieved 11 September 2012.\n
    60. \n
  60. ^ \"Political Affairs\". Political Affairs. New Century Publishers. 29: 80. 1950. Archived from the original on 2023-01-18. Retrieved 2020-07-18. In moving picture theaters the price of tickets ranges from 2\u20136 Rbls at first-run houses, and from 50 kopecks to 1 Rbl. 50 kop. in neighborhood houses and clubs.\n
    61. \n
  61. ^ a b c \"Zoning and Ticket Price\". Hong Kong Memory. 2012. Archived from the original on 19 August 2022. Retrieved 19 April 2022.\n
    62. \n
  62. ^ \"French Film Industry Anxious Despite Increase in Features\". Foreign Commerce Weekly. United States Department of Commerce. 58: 35. August 5, 1957. Archived from the original on January 18, 2023. Retrieved July 16, 2020.\n
    63. \n
  63. ^ a b c \"The ... Film Daily Year Book of Motion Pictures\". The ... Film Daily Year Book of Motion Pictures. J.W. Alicoate. 49 (1967): 560. 1967. Archived from the original on 2023-01-18. Retrieved 2020-07-16. (...) 1966 represent only a one per cent decline from the preceding year, the average ticket price having increased from 3.04 F to 3.34 F. Thus, the level of receipts is safeguarded by a constant process of re-evaluating the ticket prices. (The average price in 1957 was only 1.33 F.)\n
    64. \n
  64. ^ Roth-Ey, Kristin (2011). \"Chapter 1: The Soviet Film Industry\" (PDF). Moscow Prime Time: How the Soviet Union Built the Media Empire that Lost the Cultural Cold War. Cornell University Press. pp. 47\u20138. ISBN 978-0-8014-4874-4. Archived (PDF) from the original on 2018-05-10. Retrieved 2019-01-25.\n
    65. \n
  65. ^ \"Cinema Going\". The Asian Messenger. Center for Communication Studies, Chinese University of Hong Kong. 1\u20134: 2. 1975. Archived from the original on 2023-01-18. Retrieved 2020-07-18. More Russians (4.5 billion) go to the movies more times (an average of 17.7 times per person) each year than people in any other country, according to UNESCO statistics for 1973, the last year for which figures are available. Tailing the Russians are Singaporeans, 17.1 times a year, and Hong Kong people, 15.1 times a year. Italians go 10 times, Britons 2.4 times and Frenchmen 3.5 times a year. The high frequency of movie going in Russia is attributed to the low price of movie admission, the drab quality of Soviet TV and the difficulty in getting seats at a restaurant or other places of entertainment. In Russia, where a movie ticket costs about 47 US cents, there are 154,200 cinemas.\n
    66. \n
  66. ^ a b Xiao, Zhiwei; Zhang, Yingjin (2002-06-01). Encyclopedia of Chinese Film. Routledge. p. 45. ISBN 978-1-134-74554-8. Archived from the original on 2023-01-18. Retrieved 2022-04-30.\n
    67. \n\n
  67. ^ a b c d Cheuk, Pak Tong (2008-01-01). Hong Kong New Wave Cinema (1978-2000). Intellect Books. pp. 42\u20133. ISBN 978-1-84150-225-0. Archived from the original on 2023-01-18. Retrieved 2022-04-30.\n
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  68. ^ Soviet Military Review. Krasnaya Zveda Publishing House. 1982. p. 7. Archived from the original on 2023-01-18. Retrieved 2020-07-18.\n
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  69. ^ Mahurkar, Uday (15 September 1987). \"Faced with dwindling queues at the ticket counters, six Ahmedabad cinema houses close down\". India Today. Archived from the original on 2023-01-18. Retrieved 2022-05-01.\n
    70. \n
  70. ^ Grossberg, Lawrence; Radway, Janice (1992-03-12). Cultural Studies: Volume 6. Routledge. ISBN 978-1-134-89303-4. Archived from the original on 2023-01-18. Retrieved 2022-04-29.\n
    71. \n
  71. ^ a b Chu, Yiu-Wai (2013-05-13). Lost in Transition: Hong Kong Culture in the Age of China. New York: State University of New York Press (SUNY Press). p. 102. ISBN 978-1-4384-4647-9. Archived from the original on 2023-01-18. Retrieved 2022-04-30.\n
    72. \n
  72. ^ a b Dixon, Wheeler W. (2000-03-02). The Second Century of Cinema: The Past and Future of the Moving Image. State University of New York Press (SUNY Press). p. 105. ISBN 978-0-7914-4515-0. Archived from the original on 2023-01-18. Retrieved 2022-04-30.\n
    73. \n
  73. ^ \"Aankhen \u2013 Movie\". Box Office India. Archived from the original on 2022-05-01. Retrieved 2022-05-01.\n
    74. \n
  74. ^ Daily Report: China, Issues 79-87. Foreign Broadcast Information Service. 1995. p. 58. Archived from the original on 2023-01-18. Retrieved 2022-04-29. Audiences pay five ($0.59) to 10 yuan ($1.19) to see a Chinese movie.\n
    75. \n
  75. ^ \"Releases 1994\". Box Office India. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    76. \n
  76. ^ \"Releases 1995\". Box Office India. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    77. \n
  77. ^ a b Zhang, Yingjin (2004-08-02). Chinese National Cinema. Routledge. p. 262. ISBN 978-1-134-69086-2. Archived from the original on 2023-01-18. Retrieved 2022-04-30.\n
    78. \n
  78. ^ \"Releases 1996\". Box Office India. Archived from the original on 17 July 2020. Retrieved 16 July 2020.\n
    79. \n
  79. ^ Moser, James D.; Pay, William; Thompson, Patricia; Stevens, Tracy (1998). \"China\". International Motion Picture Almanac, 1998. New York: Quigley Pub. Co. p. 741. ISBN 978-0-900610-60-8. Retrieved 6 May 2022 – via Internet Archive. Average Ticket Price: varies by province: $.47-$1.20\n
    80. \n
  80. ^ \"Releases 1997\". Box Office India. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    81. \n
  81. ^ \"Releases 1998\". Box Office India. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    82. \n
  82. ^ \"Releases 1999\". Box Office India. Archived from the original on 17 July 2020. Retrieved 16 July 2020.\n
    83. \n
  83. ^ \"\u8c03\u67e5\u8868\u660e\u7edd\u5927\u591a\u6570\u7f51\u6c11\u8ba4\u4e3a\u76ee\u524d\u56fd\u5185\u7535\u5f71\u7968\u4ef7\u8fc7\u9ad8\" [The survey shows that the vast majority of netizens believe that the current domestic movie ticket prices are too high]. Sina.com (in Chinese). Sina Corporation. 14 November 2000. Archived from the original on 2006-06-23. Retrieved 2022-04-30.\n
    84. \n
  84. ^ \"Releases 2000\". Box Office India. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    85. \n
  85. ^ Brown, Jules; Gardner, Dinah (2002). Hong Kong & Macau. Rough Guides. p. 290. ISBN 978-1-85828-872-7. Archived from the original on 2023-01-18. Retrieved 2022-04-30.\n
    86. \n
  86. ^ \"Releases 2001\". Box Office India. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    87. \n
  87. ^ \"Releases 2002\". Box Office India. Archived from the original on 17 July 2020. Retrieved 16 July 2020.\n
    88. \n
  88. ^ \"Releases 2003\". Box Office India. Archived from the original on 17 July 2020. Retrieved 16 July 2020.\n
    89. \n
  89. ^ \"Releases 2004\". Box Office India. Archived from the original on 17 July 2020. Retrieved 16 July 2020.\n
    90. \n
  90. ^ \"Releases 2005\". Box Office India. Archived from the original on 17 July 2020. Retrieved 16 July 2020.\n
    91. \n
  91. ^ \"Releases 2006\". Box Office India. Archived from the original on 17 July 2020. Retrieved 16 July 2020.\n
    92. \n
  92. ^ \"Releases 2007\". Box Office India. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    93. \n
  93. ^ \"Releases 2008\". Box Office India. Archived from the original on 17 July 2020. Retrieved 16 July 2020.\n
    94. \n
  94. ^ \"Releases 2009\". Box Office India. Archived from the original on 17 July 2020. Retrieved 16 July 2020.\n
    95. \n
  95. ^ \"Releases 2010\". Box Office India. Archived from the original on 17 July 2020. Retrieved 16 July 2020.\n
    96. \n
  96. ^ \"Releases 2011\". Box Office India. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    97. \n
  97. ^ \"Releases 2012\". Box Office India. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    98. \n
  98. ^ \"Releases 2013\". Box Office India. Archived from the original on 16 July 2020. Retrieved 16 July 2020.\n
    99. \n
  99. ^ \"Cinema ticket price\". NationMaster. Archived from the original on 10 February 2019. Retrieved 20 June 2020.\n
    100. \n
  100. ^ \"Releases 2014\". Box Office India. Archived from the original on 27 July 2020. Retrieved 16 July 2020.\n
    101. \n
  101. ^ \"Releases 2015\". Box Office India. Archived from the original on 28 December 2017. Retrieved 16 July 2020.\n
    102. \n
  102. ^ \"Box Office Revenue In China: How It Works\". China Film Insider. 15 February 2017. Archived from the original on 21 February 2019. Retrieved 20 February 2019.\n
    103. \n
  103. ^ \"Releases 2016\". Box Office India. Archived from the original on 14 March 2022. Retrieved 16 July 2020.\n
    104. \n
  104. ^ \"Releases 2017\". Box Office India. Archived from the original on 8 August 2022. Retrieved 16 July 2020.\n
    105. \n
  105. ^ a b c d e \"Average cinema ticket price in China from 2015 to 2022 (in yuan)\". Statista. January 2023. Retrieved 2023-09-14.\n
    106. \n
  106. ^ a b Cones, John W. (1997). The feature film distribution deal: a critical analysis of the single most important film industry agreement. Southern Illinois University Press. p. 41. ISBN 978-0-8093-2082-0. Distributor rentals: It is also important to know and recognize the difference between the distributor's gross receipts and the gross rentals. The term \"rentals\" refers to the aggregate amount of the film distributor's share of monies paid at theatre box offices computed on the basis of negotiated agreements between the distributor and the exhibitor. Note that gross receipts refers to amounts actually received and from all markets and media, whereas gross rentals refers to amounts earned from theatrical exhibition only, regardless of whether received by the distributor. Thus, gross receipts is the much broader term and includes distributor rentals. The issue of film rentals (i.e., what percentage of a film's box office gross comes back to the distributor) is of key importance...More current numbers suggest that distributor rentals for the major studio/distributor released films average in the neighborhood of 43% of box office gross. Again, however, such an average is based on widely divergent distributor rental ratios on individual films.\n
    107. \n
  107. ^ Marich, Robert (2009) [1st. pub. Focal Press:2005]. Marketing to moviegoers: a handbook of strategies used by major studios and independents (2 ed.). Southern Illinois University Press. p. 252. ISBN 978-0-8093-2884-0. Rentals are the distributors' share of the box office gross and typically set by a complex, two-part contract.\n
    108. \n
  108. ^ a b Balio, Tino (2005). The American film industry. University of Wisconsin Press. p. 296. ISBN 978-0-299-09874-2. Film Rentals as Percent of Volume of Business (1939): 36.4\n
    109. \n
  109. ^ a b Vogel, Harold L. (2010). \"Table 3.4. Motion picture theater industry statistics, 1965-2009\". Entertainment Industry Economics: A Guide for Financial Analysis. Cambridge University Press. pp. 88\u20139. ISBN 978-1-139-49732-9. Archived from the original on 2023-01-18. Retrieved 2020-07-08.\n
    110. \n
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List of highest-grossing films

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Gone with the Wind held the record of highest-grossing film for twenty-five years and, adjusted for inflation, has earned more than any other film.
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Films generate income from several revenue streams, including theatrical exhibition, home video, television broadcast rights, and merchandising. However, theatrical box-office earnings are the primary metric for trade publications in assessing the success of a film, mostly because of the availability of the data compared to sales figures for home video and broadcast rights, but also because of historical practice. Included on the list are charts of the top box-office earners (ranked by both the nominal and real value of their revenue), a chart of high-grossing films by calendar year, a timeline showing the transition of the highest-grossing film record, and a chart of the highest-grossing film franchises and series. All charts are ranked by international theatrical box-office performance where possible, excluding income derived from home video, broadcasting rights, and merchandise.\n

Traditionally, war films, musicals, and historical dramas have been the most popular genres, but franchise films have been among the best performers of the 21st century. There is strong interest in the superhero genre, with ten films in the Marvel Cinematic Universe featuring among the nominal top-earners. The most successful superhero film, Avengers: Endgame, is also the second-highest-grossing film on the nominal earnings chart, and there are four films in total based on the Avengers comic books charting in the top twenty. Other Marvel Comics adaptations have also had success with the Spider-Man and X-Men properties, while films based on Batman and Superman from DC Comics have generally performed well. Star Wars is also represented in the nominal earnings chart with five films, while the Jurassic Park franchise features prominently. Although the nominal earnings chart is dominated by films adapted from pre-existing properties and sequels, it is headed by Avatar, which is an original work. Animated family films have performed consistently well, with Disney films enjoying lucrative re-releases prior to the home-video era. Disney also enjoyed later success with films such as Frozen and Frozen II, Zootopia, and The Lion King (with its computer-animated remake as the highest-grossing animated film), as well as its Pixar brand, of which Incredibles 2, Toy Story 3 and 4, and Finding Dory have been the best performers. Beyond Disney and Pixar animation, the Despicable Me, Shrek, and Ice Age series have met with the most success.\n

While inflation has eroded the achievements of most films from the 1950s, 1960s, and 1970s, there are franchises originating from that period that are still active. Besides the Star Wars and Superman franchises, James Bond and Godzilla films are still being released periodically; all four are among the highest-grossing franchises. Some of the older films that held the record of highest-grossing film still have respectable grosses by today's standards, but no longer compete numerically against today's top-earners in an era of much higher individual ticket prices. When those prices are adjusted for inflation, however, then Gone with the Wind\u2014which was the highest-grossing film outright for twenty-five years\u2014is still the highest-grossing film of all time. All grosses on the list are expressed in U.S. dollars at their nominal value, except where stated otherwise.\n

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Highest-grossing films

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\"A
Three of the four highest-grossing films, including Avatar at the top, were written and directed by James Cameron.
\n

With a worldwide box-office gross of over $2.9 billion, Avatar is proclaimed to be the \"highest-grossing\" film, but such claims usually refer to theatrical revenues only and do not take into account home video and television income, which can form a significant portion of a film's earnings. Once revenue from home entertainment is factored in, it is not immediately clear which film is the most successful. Titanic earned $1.2 billion from video and DVD sales and rentals,[1] in addition to the $2.2 billion it grossed in theaters. While complete sales data are not available for Avatar, it earned $345 million from the sale of sixteen million DVD and Blu-ray units in North America,[2] and ultimately sold a total of thirty million DVD and Blu-ray units worldwide.[3] After home video income is accounted for, both films have earned over $3 billion each. Television broadcast rights will also substantially add to a film's earnings, with a film often earning the equivalent of as much as 20\u201325% of its theatrical box office for two television runs, on top of pay-per-view revenues;[4] Titanic earned a further $55 million from the NBC and HBO broadcast rights,[1] equating to about 9% of its North American gross.\n

When a film is highly exploitable as a commercial property, its ancillary revenues can dwarf its income from direct film sales.[5] The Lion King (1994) earned over $2 billion in box-office and home video sales,[1] but this pales in comparison to the $8 billion earned at box offices around the world by the stage adaptation.[6] Merchandising can be extremely lucrative too: The Lion King also sold $3 billion of merchandise,[7] while Pixar's Cars\u2014which earned $462 million in theatrical revenues and was only a modest hit by comparison to other Pixar films[8]\u2014generated global merchandise sales of over $8 billion in the five years after its 2006 release.[9][10] Pixar had another huge hit with Toy Story 3, which generated almost $10 billion in merchandise retail sales in addition to the $1 billion it earned at the box office.[11]\n

On this chart, films are ranked by the revenues from theatrical exhibition at their nominal value, along with the highest positions they attained. Six films in total have grossed in excess of $2 billion worldwide, with Avatar ranked in the top position. All of the films have had a theatrical run (including re-releases) in the 21st century, and films that have not played during this period do not appear on the chart because of ticket-price inflation, population size and ticket purchasing trends not being considered.\n

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  \u2020 Background shading indicates films playing in the week commencing 15 March 2024 in theaters around the world.
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Highest-grossing films[12]\n
Rank\nPeak\nTitle\nWorldwide gross\nYear\nRef\n
1\n1\nAvatar\n$2,923,706,026\n2009\n[# 1][# 2]\n
2\n1\nAvengers: Endgame\n$2,797,501,328\n2019\n[# 3][# 4]\n
3\n3\nAvatar: The Way of Water\n$2,320,250,281\n2022\n[# 5][# 6]\n
4\n1\nTitanic\nT$2,257,844,554\n1997\n[# 7][# 8]\n
5\n3\nStar Wars: The Force Awakens\n$2,068,223,624\n2015\n[# 9][# 10]\n
6\n4\nAvengers: Infinity War\n$2,048,359,754\n2018\n[# 11][# 12]\n
7\n6\nSpider-Man: No Way Home\n$1,921,847,111\n2021\n[# 13][# 14]\n
8\n3\nJurassic World\n$1,671,537,444\n2015\n[# 15][# 16]\n
9\n7\nThe Lion King\n$1,656,943,394\n2019\n[# 17][# 4]\n
10\n3\nThe Avengers\n$1,518,815,515\n2012\n[# 18][# 19]\n
11\n4\nFurious 7\n$1,515,341,399\n2015\n[# 20][# 21]\n
12\n11\nTop Gun: Maverick\n$1,495,696,292\n2022\n[# 22][# 23]\n
13\n10\nFrozen II\n$1,450,026,933\n2019\n[# 24][# 25]\n
14\n14\nBarbie \u2020\n$1,445,638,421\n2023\n[# 26][# 27]\n
15\n5\nAvengers: Age of Ultron\n$1,402,809,540\n2015\n[# 28][# 21]\n
16\n15\nThe Super Mario Bros. Movie \u2020\n$1,361,973,409\n2023\n[# 29][# 30]\n
17\n9\nBlack Panther\n$1,347,280,838\n2018\n[# 31][# 32]\n
18\n3\nHarry Potter and the Deathly Hallows \u2013 Part 2\n$1,342,139,727\n2011\n[# 33][# 34]\n
19\n9\nStar Wars: The Last Jedi\n$1,332,539,889\n2017\n[# 35][# 36]\n
20\n12\nJurassic World: Fallen Kingdom\n$1,308,473,425\n2018\n[# 37][# 12]\n
21\n5\nFrozen\nF$1,290,000,000\n2013\n[# 38][# 39]\n
22\n10\nBeauty and the Beast\n$1,263,521,126\n2017\n[# 40][# 41]\n
23\n15\nIncredibles 2\n$1,242,805,359\n2018\n[# 42][# 12]\n
24\n11\nThe Fate of the Furious\nF8$1,238,764,765\n2017\n[# 43][# 41]\n
25\n5\nIron Man 3\n$1,214,811,252\n2013\n[# 44][# 45]\n
26\n10\nMinions\n$1,159,444,662\n2015\n[# 46][# 16]\n
27\n12\nCaptain America: Civil War\n$1,153,337,496\n2016\n[# 47][# 48]\n
28\n20\nAquaman\n$1,148,528,393\n2018\n[# 49][# 12]\n
29\n2\nThe Lord of the Rings: The Return of the King\n$1,147,997,407\n2003\n[# 50][# 51]\n
30\n24RK\nSpider-Man: Far From Home\n$1,131,927,996\n2019\n[# 52][# 4]\n
31\n23RK\nCaptain Marvel\n$1,128,274,794\n2019\n[# 53][# 54]\n
32\n5RK\nTransformers: Dark of the Moon\n$1,123,794,079\n2011\n[# 55][# 34]\n
33\n7\nSkyfall\n$1,108,569,499\n2012\n[# 56][# 57]\n
34\n10\nTransformers: Age of Extinction\n$1,104,054,072\n2014\n[# 58][# 59]\n
35\n7\nThe Dark Knight Rises\n$1,081,169,825\n2012\n[# 60][# 61]\n
36\n31\nJoker\n$1,074,458,282\n2019\n[# 62][# 25]\n
37\n32\nStar Wars: The Rise of Skywalker\n$1,074,144,248\n2019\n[# 63][# 25]\n
38\n30\nToy Story 4\n$1,073,394,593\n2019\n[# 64][# 4]\n
39\n4TS3\nToy Story 3\n$1,066,970,811\n2010\n[# 65][# 66]\n
40\n3\nPirates of the Caribbean: Dead Man's Chest\n$1,066,179,747\n2006\n[# 67][# 68]\n
41\n20\nRogue One: A Star Wars Story\n$1,057,420,387\n2016\n[# 69][# 70]\n
42\n34\nAladdin\n$1,050,693,953\n2019\n[# 71][# 4]\n
43\n6\nPirates of the Caribbean: On Stranger Tides\n$1,045,713,802\n2011\n[# 72][# 66]\n
44\n1\nJurassic Park\n$1,037,535,230\n1993\n[# 73][# 74]\n
45\n24\nDespicable Me 3\n$1,034,800,131\n2017\n[# 75][# 41]\n
46\n22\nFinding Dory\n$1,028,570,942\n2016\n[# 76][# 77]\n
47\n2\nStar Wars: Episode I \u2013 The Phantom Menace\n$1,027,082,707\n1999\n[# 78][# 8]\n
48\n5\nAlice in Wonderland\n$1,025,468,216\n2010\n[# 79][# 80]\n
49\n24\nZootopia\n$1,023,784,195\n2016\n[# 81][# 48]\n
50\n14\nThe Hobbit: An Unexpected Journey\n$1,017,030,651\n2012\n[# 82][# 83]\n
\n
\nTThe totals given for Titanic at Box Office Mojo and The Numbers are both incorrect. Prior to the 2023 re-release, the totals at both trackers were inflated above the true figure.
  • As of 2019, Box Office Mojo correctly recorded that Titanic had grossed $1.843 billion on its original release, $344 million from its 3D reissue in 2012, and a further $692,000 from a limited release in 2017 for a lifetime total of $2.187 billion.[13] Following a limited re-release in 2020, Box Office Mojo incorrectly added $7 million to the original release total.[14] By the end of 2021, Box Office Mojo had corrected the original release total, but added the $7 million figure to both the 2012 and 2017 reissue totals, incorrectly increasing the lifetime total by $14 million to $2.202 billion.[15] At the beginning of 2023, Box Office Mojo corrected the total for the 2017 reissue, bringing the lifetime gross down to $2.195 billion, but retained the error in the 2012 reissue.[16]
  • The Numbers does not log individual releases, but had the lifetime total recorded as $2.186 billion in September 2014 (roughly equating to $1.843 billion for the original release and $343.6 million for the 3D reissue).[17] A couple of weeks later, The Numbers increased the lifetime gross to $2.208 billion, without explanation.[18]
 \n

FBox Office Mojo stopped updating its main total for Frozen in August 2014, while it was still in release. The total listed here incorporates subsequent earnings in Japan, Nigeria, Spain, the United Kingdom and Germany up to the end of 2015 but omits earnings in Turkey, Iceland, Brazil, and Australia (2016), which amount to a few hundred thousand dollars. The total is rounded to $1 million to compensate for the numerical inaccuracy. It was re-released in the United Kingdom in December 2017 with Olaf's Frozen Adventure, earning an additional $2.3 million. \n

F8In the case of The Fate of the Furious the gross is from an archived version of Box Office Mojo, after irregularities were discovered in the current figure. Ongoing weekly drops in the totals for several countries\u2014Argentina being the worst affected\u2014led to a drop in the overall worldwide total.[19] In view of what appears to be an aberration in the source, a previous figure is provided. \n

RKThe Lord of the Rings: The Return of the King saw its original gross corrected in early 2020. The result of this correction is that Spider-Man: Far From Home, Captain Marvel and Transformers: Dark of the Moon all peaked one place lower than shown in the accompanying source. \n

TS3Box Office Mojo revised the grosses for Pixar films in August 2016, resulting in the gross for Toy Story 3 being corrected from $1.063 billion to $1.067 billion.[20][21] This means that it peaked at number 4 at the end of its run, ahead of Pirates of the Caribbean: Dead Man's Chest, rather than at number 5 as indicated by the source. \n

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Highest-grossing films adjusted for inflation

\n
See also: List of highest-grossing films in the United States and Canada \u00a7 Adjusted for ticket-price inflation, and List of films by box office admissions
\n
\"A
Inflation rates around the world vary, complicating inflation adjustment.
\n

Because of the long-term effects of inflation, notably the significant increase of movie theater ticket prices, the list unadjusted for inflation gives far more weight to later films.[22] The unadjusted list, while commonly found in the press, is therefore largely meaningless for comparing films widely separated in time, as many films from earlier eras will never appear on a modern unadjusted list, despite achieving higher commercial success when adjusted for price increases.[23] To compensate for the devaluation of the currency, some charts make adjustments for inflation, but not even this practice fully addresses the issue, since ticket prices and inflation do not necessarily parallel one another. For example, in 1970, tickets cost $1.55 or about $6.68 in inflation-adjusted 2004 dollars; by 1980, prices had risen to about $2.69, a drop to $5.50 in inflation-adjusted 2004 dollars.[24] Ticket prices have also risen at different rates of inflation around the world, further complicating the process of adjusting worldwide grosses.[22]\n

Another complication is release in multiple formats for which different ticket prices are charged. One notable example of this phenomenon is Avatar, which was also released in 3D and IMAX: almost two-thirds of tickets for that film were for 3D showings with an average price of $10, and about one-sixth were for IMAX showings with an average price over $14.50, compared to a 2010 average price of $7.61 for 2D films.[25] Social and economic factors such as population change[26] and the growth of international markets[27][28][29] also have an effect on the number of people purchasing theater tickets, along with audience demographics where some films sell a much higher proportion of discounted children's tickets, or perform better in big cities where tickets cost more.[23]\n

The measuring system for gauging a film's success is based on unadjusted grosses, mainly because historically this is the way it has always been done because of the practices of the film industry: the box-office receipts are compiled by theaters and relayed to the distributor, which in turn releases them to the media.[30] Converting to a more representative system that counts ticket sales rather than gross is also fraught with problems because the only data available for older films are the sale totals.[26] As the motion picture industry is highly oriented towards marketing currently released films, unadjusted figures are always used in marketing campaigns so that new blockbuster films can much more easily achieve a high sales ranking, and thus be promoted as a \"top film of all time\",[24][31] so there is little incentive to switch to a more robust analysis from a marketing or even newsworthy point of view.[30]\n

Despite the inherent difficulties in accounting for inflation, several attempts have been made. Estimates depend on the price index used to adjust the grosses,[31] and the exchange rates used to convert between currencies can also affect the calculations, both of which can have an effect on the ultimate rankings of an inflation adjusted list. Gone with the Wind\u2014first released in 1939\u2014is generally considered to be the most successful film, with Guinness World Records in 2014 estimating its adjusted global gross at $3.4 billion. Estimates for Gone with the Wind's adjusted gross have varied substantially: its owner, Turner Entertainment, estimated its adjusted earnings at $3.3 billion in 2007, a few years earlier than the Guinness estimate;[32] other estimates fall either side of this amount, with one putting its gross just under $3 billion in 2010,[33] while another provided an alternative figure of $3.8 billion in 2006.[34] Which film is Gone with the Wind's nearest rival depends on the set of figures used: Guinness had Avatar in second place with $3 billion, while other estimates saw Titanic in the runner-up spot with first-run worldwide earnings of almost $2.9 billion at 2010 prices.[33]\n

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Highest-grossing films as of 2022[update] adjusted for inflation[35][Inf]\n
Rank\nTitle\n
Worldwide gross
(2022 $)
\n		Year\n
1\nGone with the Wind\n$4,204,000,000\n1939\n
2\nAvatar\nA1$3,834,000,000\n2009\n
3\nTitanic\n$2,516,000,000T$3,495,000,000\n1997\n
4\nStar Wars\n$3,453,000,000\n1977\n
5\nAvengers: Endgame\nAE$3,174,000,000\n2019\n
6\nThe Sound of Music\n$2,892,000,000\n1965\n
7\nE.T. the Extra-Terrestrial\n$2,823,000,000\n1982\n
8\nThe Ten Commandments\n$2,673,000,000\n1956\n
9\nDoctor Zhivago\n$2,534,000,000\n1965\n
10\nStar Wars: The Force Awakens\nTFA$2,498,000,000\n2015\n
\n
\n

InfInflation adjustment is carried out using the Consumer price index for advanced economies published by the International Monetary Fund.[36] The index is uniformly applied to the grosses in the chart published by Guinness World Records in 2014, beginning with the 2014 index. The figures in the above chart take into account inflation that occurred in 2014, and in every available year since then, through 2022. \n

A1The adjusted gross for Avatar includes revenue from the original release and all four reissues. The original release and 2010 Special Edition grosses are adjusted from the Guinness base year, whilst the 2020 and 2021 grosses are adjusted from the 2021 index and the 2022 gross from 2022.[37] \n

TGuinness' adjusted total for Titanic only increased by $102,000,000 between the 2012 (published in 2011) and 2015 editions, a rise of 4.2% shared by the other adjusted totals in the chart, and omitted the gross from a 3D re-release in 2012.[35][38] This chart incorporates the gross of $343,550,770 from the reissue and adjusts it from the 2013 index.[39] Titanic grossed a further $762,994 during limited re-releases in 2017 and 2020, but this sum is not represented in the adjusted total.[40] \n

AEThe gross for Avengers: Endgame is adjusted from the 2020 index. \n

TFAThe gross for Star Wars: The Force Awakens is adjusted from the 2016 index. \n

\n
\n

High-grossing films by year

\n
\n
Glossary: Distributor rentals
\n
\n

Box-office figures are reported in either gross revenue or distributor rentals, the latter being especially true of older films. Commonly mistaken for home video revenue, distributor rentals are the distributor's share of the film's theatrical revenue (i.e. the box office gross less the exhibitor's cut).[41][42] Historically, the rental price averaged at 30\u201340% when the distributors owned the theater chains, equating to just over a third of the gross being paid to the distributor of the film.[43] In the modern marketplace, rental fees can vary greatly\u2014depending on a number of factors\u2014although the films from the major studios average out at 43%.[41]\n

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\n

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\n

Audience tastes were fairly eclectic during the 20th century, but several trends did emerge. During the silent era, films with war themes were popular with audiences, with The Birth of a Nation (American Civil War), The Four Horsemen of the Apocalypse, The Big Parade and Wings (all World War I) becoming the most successful films in their respective years of release, with the trend coming to an end with All Quiet on the Western Front in 1930. With the advent of sound in 1927, the musical\u2014the genre best placed to showcase the new technology\u2014took over as the most popular type of film with audiences, with 1928 and 1929 both being topped by musical films. The genre continued to perform strongly in the 1930s, but the outbreak of World War II saw war-themed films dominate again during this period, starting with Gone with the Wind (American Civil War) in 1939, and finishing with The Best Years of Our Lives (World War II) in 1946. Samson and Delilah (1949) saw the beginning of a trend of increasingly expensive historical dramas set during Ancient Rome/biblical times throughout the 1950s as cinema competed with television for audiences,[44] with Quo Vadis, The Robe, The Ten Commandments, Ben-Hur and Spartacus all becoming the highest-grossing film of the year during initial release, before the genre started to wane after several high-profile failures.[45] The success of White Christmas and South Pacific in the 1950s foreshadowed the comeback of the musical in the 1960s with West Side Story, Mary Poppins, My Fair Lady, The Sound of Music and Funny Girl all among the top films of the decade. The 1970s saw a shift in audience tastes to high concept films, with six such films made by either George Lucas or Steven Spielberg topping the chart during the 1980s. The 21st century has seen an increasing dependence on franchises and adaptations, with the box-office dominance of films based on pre-existing intellectual property at record levels.[46]\n

\n
\"A
Films directed by Steven Spielberg have been the highest-grossing film of the year on six occasions, and on three occasions have been the highest-grossing film of all time.
\n

Steven Spielberg is the most represented director on the chart, with six films to his credit, occupying the top spot in 1975, 1981, 1982, 1984, 1989 and 1993. Cecil B. DeMille (1932, 1947, 1949, 1952 and 1956) is in second place with five films and William Wyler (1942, 1946, 1959 and 1968) and James Cameron (1991, 1997, 2009 and 2022) are tied for third place with four films. D. W. Griffith (1915, 1916 and 1920), George Roy Hill (1966, 1969 and 1973) and the Russo brothers (2016, 2018 and 2019) all feature heavily with three films apiece. George Lucas directed two chart-toppers in 1977 and 1999, but also served in a strong creative capacity as a producer and writer in 1980, 1981, 1983, 1984 and 1989 as well. The following directors have also all directed two films on the chart: Frank Lloyd, King Vidor, Frank Capra, Michael Curtiz, Leo McCarey, Alfred Hitchcock, David Lean, Stanley Kubrick, Guy Hamilton, Mike Nichols, William Friedkin, Peter Jackson, Gore Verbinski, and Michael Bay; Mervyn LeRoy, Ken Annakin and Robert Wise are each represented by one solo credit and one shared credit, and John Ford co-directed two films. Disney films are usually co-directed and some directors have served on several winning teams: Wilfred Jackson, Hamilton Luske, Clyde Geronimi, David Hand, Ben Sharpsteen, Wolfgang Reitherman and Bill Roberts have all co-directed at least two films on the list. Only seven directors have topped the chart in consecutive years: McCarey (1944 and 1945), Nichols (1966 and 1967), Spielberg (1981 and 1982), Jackson (2002 and 2003), Verbinski (2006 and 2007) and the Russo brothers (2018 and 2019).\n

Because of release schedules\u2014especially in the case of films released towards the end of the year\u2014and different release patterns across the world, many films can do business in two or more calendar years; therefore the grosses documented here are not confined to just the year of release. Grosses are not limited to original theatrical runs either, with many older films often being re-released periodically so the figures represent all the business a film has done since its original release; a film's first-run gross is included in brackets after the total if known. Because of incomplete data it cannot be known for sure how much money some films have made and when they made it, but generally the chart chronicles the films from each year that went on to earn the most. In the cases where estimates conflict both films are recorded, and in cases where a film has moved into first place because of being re-released the previous record-holder is also retained.\n

\n
\n
  \u2020 Background shading indicates films playing in the week commencing 15 March 2024 in theaters around the world.
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High-grossing films by year of release[47][48][49]\n
Year\nTitle\nWorldwide gross\nBudget\nRef\n
1915\nThe Birth of a Nation\n$50,000,000\u2013100,000,000
$20,000,000+R ($5,200,000)R\n		$110,000\n[# 84][# 85][# 86]\n
1916\nIntolerance\n$1,750,000R IN\n$385,907\n[50][51]\n
1917\nCleopatra\n$500,000*R\n$300,000\n[# 87][# 88]\n
1918\nMickey\n$8,000,000\n$250,000\n[# 89]\n
1919\nThe Miracle Man\n$3,000,000R\n$120,000\n[# 90]\n
1920\nWay Down East\n$5,000,000R ($4,000,000)R\n$800,000\n[# 91][# 92]\n
1921\nThe Four Horsemen of the Apocalypse\n$5,000,000R ($4,000,000)R\n$600,000\u2013800,000\n[# 93]\n
1922\nDouglas Fairbanks in Robin Hood\n$2,500,000R\n$930,042.78\n[# 94][# 95]\n
1923\nThe Covered Wagon\n$5,000,000R\n$800,000\n[# 96][# 97]\n
1924\nThe Sea Hawk\n$3,000,000R\n$700,000\n[# 96]\n
1925\nThe Big Parade\n$18,000,000\u201322,000,000R
($6,131,000)R\n		$382,000\n[# 98][# 99][# 100]\n
Ben-Hur\n$10,738,000R ($9,386,000)R\n$3,967,000\n[# 101][# 102]\n
1926\nFor Heaven's Sake\n$2,600,000R FH\n$150,000\n[# 91][# 103]\n
1927\nWings\n$3,600,000R\n$2,000,000\n[# 91][# 104][# 105]\n
1928\nThe Singing Fool\n$5,900,000R\n$388,000\n[# 105][# 106]\n
1929\nThe Broadway Melody\n$4,400,000\u20134,800,000R\n$379,000\n[# 107][# 108]\n
Sunny Side Up\n$3,500,000*R SS\n$600,000\n[# 109][# 110]\n
1930\nAll Quiet on the Western Front\n$3,000,000R\n$1,250,000\n[# 91][# 111][# 112][# 113]\n
1931\nFrankenstein\n$12,000,000R ($1,400,000)R\n$250,000\n[# 114][# 115]\n
City Lights\n$5,000,000R\n$1,607,351\n[# 116]\n
1932\nThe Sign of the Cross\n$2,738,993R\n$694,065\n[# 97][# 117][# 118][# 119]\n
1933\nKing Kong\n$5,347,000R ($1,856,000)R\n$672,255.75\n[# 120]\n
I'm No Angel\n$3,250,000+R\n$200,000\n[# 121][# 122]\n
Cavalcade\n$3,000,000\u20134,000,000R\n$1,116,000\n[# 92][# 112]\n
She Done Him Wrong\n$3,000,000+R\n$274,076\n[# 123][# 124][# 125]\n
1934\nThe Merry Widow\n$2,608,000R\n$1,605,000\n[# 126][# 118]\n
It Happened One Night\n$2,500,000R ON\n$325,000\n[# 127][# 128]\n
1935\nMutiny on the Bounty\n$4,460,000R\n$1,905,000\n[# 118]\n
1936\nSan Francisco\n$6,044,000+R ($5,273,000)R\n$1,300,000\n[# 126][# 118]\n
1937\nSnow White and the Seven Dwarfs\n$418,000,000+S7 ($8,500,000)R\n$1,488,423\n[# 129][# 130]\n
1938\nYou Can't Take It with You\n$5,000,000R\n$1,200,000\n[# 131][# 132]\n
1939\nGone with the Wind\n$390,525,192\u2013402,352,579
($32,000,000)R GW\n		$3,900,000\u20134,250,000\n[# 133][# 134][# 135][# 136][# 137]\n
1940\nPinocchio\n$87,000,862* ($3,500,000)R\n$2,600,000\n[# 138][# 130][# 139]\n
Boom Town\n$4,600,000*R\n$2,100,000\n[# 140][# 141]\n
1941\nSergeant York\n$7,800,000R\n$1,600,000\n[# 142][# 143]\n
1942\nBambi\n$267,997,843 ($3,449,353)R\n$1,700,000\u20132,000,000\n[# 144][# 145][# 146]\n
Mrs. Miniver\n$8,878,000R\n$1,344,000\n[# 147][# 148]\n
1943\nFor Whom the Bell Tolls\n$11,000,000R\n$2,681,298\n[# 149][# 150][# 151]\n
This Is the Army\n$9,555,586.44*R\n$1,400,000\n[# 152][# 153][# 151]\n
1944\nGoing My Way\n$6,500,000*R\n$1,000,000\n[# 154][# 155][# 156]\n
1945\nMom and Dad\n$80,000,000MD/$22,000,000R\n$65,000\n[# 157]\n
The Bells of St. Mary's\n$11,200,000R\n$1,600,000\n[# 158]\n
1946\nSong of the South\n$65,000,000* ($3,300,000)R\n$2,125,000\n[# 159][# 160][# 161]\n
The Best Years of Our Lives\n$14,750,000R\n$2,100,000\n[# 162][# 163]\n
Duel in the Sun\n$10,000,000*R\n$5,255,000\n[# 154][# 164]\n
1947\nForever Amber\n$8,000,000R\n$6,375,000\n[# 109][# 164]\n
Unconquered\n$7,500,000R UN\n$4,200,000\n[# 165][# 166]\n
1948\nEaster Parade\n$5,918,134R\n$2,500,000\n[# 156][# 167]\n
The Red Shoes\n$5,000,000*R\n\u00a3505,581 (~$2,000,000)\n[# 154][# 168][# 169]\n
The Snake Pit\n$4,100,000*R\n$3,800,000\n[# 170][# 171]\n
1949\nSamson and Delilah\n$14,209,250R\n$3,097,563\n[# 172][# 97]\n
1950\nCinderella\n$263,591,415
($20,000,000/$7,800,000R)\n		$2,200,000\n[# 173][# 174][# 175]\n
King Solomon's Mines\n$10,050,000R\n$2,258,000\n[# 176]\n
1951\nQuo Vadis\n$21,037,000\u201326,700,000R\n$7,623,000\n[# 172][# 177][# 178]\n
1952\nThis Is Cinerama\n$50,000,000CI\n$1,000,000\n[# 179][# 180]\n
The Greatest Show on Earth\n$18,350,000R GS\n$3,873,946\n[# 181][# 182][# 97]\n
1953\nPeter Pan\n$145,000,000 ($7,000,000)*R\n$3,000,000\u20134,000,000\n[# 183][# 184]\n
The Robe\n$25,000,000\u201326,100,000R\n$4,100,000\n[# 185][# 186][# 178]\n
1954\nRear Window\n$24,500,000* ($5,300,000)*R\n$1,000,000\n[# 187][# 177]\n
White Christmas\n$26,000,050* ($12,000,000)*R\n$3,800,000\n[# 188][# 189][# 190]\n
20,000 Leagues Under the Sea\n$25,000,134*
($6,800,000\u20138,000,000)*R\n		$4,500,000\u20139,000,000\n[# 191][# 192][# 154][# 193]\n
1955\nLady and the Tramp\n$187,000,000 ($6,500,000)*R\n$4,000,000\n[# 194][# 154][# 195]\n
Cinerama Holiday\n$21,000,000CI\n$2,000,000\n[# 196][# 197]\n
Mister Roberts\n$9,900,000R\n$2,400,000\n[# 198]\n
1956\nThe Ten Commandments\n$90,066,230R
($122,700,000/$55,200,000R)\n		$13,270,000\n[# 97][# 199][# 200]\n
1957\nThe Bridge on the River Kwai\n$30,600,000R\n$2,840,000\n[# 200]\n
1958\nSouth Pacific\n$30,000,000R\n$5,610,000\n[# 201]\n
1959\nBen-Hur\n$90,000,000R
($146,900,000/$66,100,000R)\n		$15,900,000\n[# 202][# 203]\n
1960\nSwiss Family Robinson\n$30,000,000R\n$4,000,000\n[# 204]\n
Spartacus\n$60,000,000 ($22,105,225)R\n$10,284,014\n[# 205][# 206]\n
Psycho\n$50,000,000+ ($14,000,000)R\n$800,000\n[# 207]\n
1961\nOne Hundred and One Dalmatians\n$303,000,000\n$3,600,000\u20134,000,000\n[# 194][# 208][# 146]\n
West Side Story\n$105,000,000 ($31,800,000)R\n$7,000,000\n[# 209][# 210]\n
1962\nLawrence of Arabia\n$77,324,852 ($69,995,385)\n$13,800,000\n[# 211][# 212]\n
How the West Was Won\n$35,000,000R\n$14,483,000\n[# 213]\n
The Longest Day\n$33,200,000R\n$8,600,000\n[# 210][# 212]\n
1963\nCleopatra\n$40,300,000R\n$31,115,000\n[# 210][# 212]\n
From Russia with Love\n$78,900,000/$29,400,000R
($12,500,000)R\n		$2,000,000\n[# 214][# 215][# 216]\n
1964\nMy Fair Lady\n$55,000,000R\n$17,000,000\n[# 217]\n
Goldfinger\n$124,900,000 ($46,000,000)R\n$3,000,000\n[# 214][# 216]\n
Mary Poppins\n$44,000,000\u2013$50,000,000R\n$5,200,000\n[# 218][# 217]\n
1965\nThe Sound of Music\n$286,214,076 ($114,600,000)R\n$8,000,000\n[# 219][# 210]\n
1966\nThe Bible: In the Beginning\n$25,325,000R\n$18,000,000\n[# 206][# 220]\n
Hawaii\n$34,562,222* ($15,600,000)*R\n$15,000,000\n[# 221][# 154]\n
Who's Afraid of Virginia Woolf?\n$33,736,689* ($14,500,000)*R\n$7,613,000\n[# 222][# 154][# 223]\n
1967\nThe Jungle Book\n$378,000,000 ($23,800,000)R\n$3,900,000\u20134,000,000\n[# 194][# 224][# 225][# 146]\n
The Graduate\n$85,000,000R\n$3,100,000\n[# 226][# 227]\n
1968\n2001: A Space Odyssey\n$141,000,000\u2013190,000,000
($21,900,000)R\n		$10,300,000\n[# 228][# 210]\n
Funny Girl\n$80,000,000\u2013100,000,000\n$8,800,000\n[# 229][# 230]\n
1969\nButch Cassidy and the Sundance Kid\n$152,308,525 ($37,100,000)R\n$6,600,000\n[# 231][# 210][# 227]\n
1970\nLove Story\n$173,400,000 ($80,000,000)R\n$2,260,000\n[# 232][# 233][# 234]\n
1971\nThe French Connection\n$75,000,000R\n$3,300,000\n[# 109]\n
Fiddler on the Roof\n$49,400,000R
($100,000,000/$45,100,000R)\n		$9,000,000\n[# 235][# 236]\n
Diamonds Are Forever\n$116,000,000 ($45,700,000)R\n$7,200,000\n[# 214][# 215]\n
1972\nThe Godfather\n$246,120,974\u2013287,000,000
($127,600,000\u2013142,000,000)R\n		$6,000,000\u20137,200,000\n[# 237][# 236][# 238][# 239]\n
1973\nThe Exorcist\n$441,422,808 ($112,300,000)R\n$10,000,000\n[# 240][# 241][# 242][# 243]\n
The Sting\n$115,000,000R\n$5,500,000\n[# 244][# 245]\n
1974\nThe Towering Inferno\n$203,336,412 ($104,838,000)R\n$14,300,000\n[# 246][# 247][# 248][# 243][# 249]\n
1975\nJaws\n$477,220,580 ($193,700,000)R\n$9,000,000\n[# 250][# 251][# 252]\n
1976\nRocky\n$225,000,000 ($77,100,000)R\n$1,075,000\n[# 253][# 254][# 236][# 255]\n
1977\nStar Wars\n$775,398,007
($530,000,000SW/$268,500,000R)\n		$11,293,151\n[# 256][# 257][# 236][# 258]\n
1978\nGrease\n$396,271,103 ($341,000,000)\n$6,000,000\n[# 259][# 260][# 226]\n
1979\nMoonraker\n$210,308,099\n$31,000,000\n[# 261][# 214][# 262]\n
Rocky II\n$200,182,160\n$7,000,000\n[# 263][# 264][# 262]\n
1980\nThe Empire Strikes Back\n$547,969,004 ($413,562,607)SW\n$23,000,000\u201332,000,000\n[# 265][# 266]\n
1981\nRaiders of the Lost Ark\n$389,925,971
($321,866,000\u2013353,988,025)\n		$18,000,000\u201322,800,000\n[# 267]\n
1982\nE.T. the Extra-Terrestrial\n$797,307,407
($619,000,000\u2013664,000,000)\n		$10,500,000\u201312,200,000\n[# 268][# 269][# 257][# 270][# 271]\n
1983\nReturn of the Jedi\n$482,366,101 ($385,845,197)SW\n$32,500,000\u201342,700,000\n[# 272][# 266]\n
1984\nIndiana Jones and the Temple of Doom\n$333,107,271\n$27,000,000\u201328,200,000\n[# 273][# 274][# 275]\n
1985\nBack to the Future\n$389,225,789 ($381,109,762)\n$19,000,000\u201322,000,000\n[# 276][# 277]\n
1986\nTop Gun\n$357,288,178 ($345,000,000)\n$14,000,000\u201319,000,000\n[# 278][# 279][# 274]\n
1987\nFatal Attraction\n$320,145,693\n$14,000,000\n[# 280][# 274]\n
1988\nRain Man\n$354,825,435\n$30,000,000\n[# 281][# 282]\n
1989\nIndiana Jones and the Last Crusade\n$474,171,806\u2013494,000,000\n$36,000,000\u201355,400,000\n[# 283][# 274][# 284]\n
1990\nGhost\n$505,870,681 ($505,702,588)\n$22,000,000\n[# 285][# 274]\n
1991\nTerminator 2: Judgment Day\n$523,774,456 ($519,843,345)\n$94,000,000\n[# 286][# 287]\n
1992\nAladdin\n$504,050,219\n$28,000,000\n[# 288][# 146]\n
1993\nJurassic Park\n$1,037,535,230 ($912,667,947)\n$63,000,000\u201370,000,000\n[# 73]\n
1994\nThe Lion King\n$968,511,805 ($763,455,561)\n$45,000,000\u201379,300,000\n[# 289]\n
1995\nToy Story\n$373,554,033 ($364,873,776)\n$30,000,000\n[# 290][# 291]\n
Die Hard with a Vengeance\n$366,101,666\n$70,000,000\n[# 292][# 293]\n
1996\nIndependence Day\n$817,400,891\n$75,000,000\n[# 294]\n
1997\nTitanic\n$2,257,844,554 ($1,843,373,318)\n$200,000,000\n[# 7]\n
1998\nArmageddon\n$553,709,788\n$140,000,000\n[# 295][# 296]\n
1999\nStar Wars: Episode I \u2013 The Phantom Menace\n$1,027,082,707 ($924,317,558)\n$115,000,000\u2013127,500,000\n[# 78][# 266]\n
2000\nMission: Impossible 2\n$546,388,108\n$100,000,000\u2013125,000,000\n[# 297][# 274]\n
2001\nHarry Potter and the Philosopher's Stone\n$1,009,046,830HP1 ($974,755,371)\n$125,000,000\n[# 298]\n
2002\nThe Lord of the Rings: The Two Towers\n$948,945,489 ($936,689,735)\n$94,000,000\n[# 299]\n
2003\nThe Lord of the Rings: The Return of the King\n$1,147,997,407 ($1,140,682,011)\n$94,000,000\n[# 50]\n
2004\nShrek 2\n$928,961,330\n$150,000,000\n[# 300]\n
2005\nHarry Potter and the Goblet of Fire\n$896,346,413 ($895,921,036)\n$150,000,000\n[# 301]\n
2006\nPirates of the Caribbean: Dead Man's Chest\n$1,066,179,747\n$225,000,000\n[# 67]\n
2007\nPirates of the Caribbean: At World's End\n$960,996,492\n$300,000,000\n[# 302]\n
2008\nThe Dark Knight\n$1,007,336,937 ($997,039,412)\n$185,000,000\n[# 303]\n
2009\nAvatar\n$2,923,706,026 ($2,743,577,587)\n$237,000,000\n[# 1]\n
2010\nToy Story 3\n$1,066,970,811\n$200,000,000\n[# 65]\n
2011\nHarry Potter and the Deathly Hallows \u2013 Part 2\n$1,342,139,727 ($1,341,511,219)\n$250,000,000HP8\n[# 33]\n
2012\nThe Avengers\n$1,518,815,515\n$220,000,000\n[# 18]\n
2013\nFrozen\n$1,290,000,000 ($1,287,000,000)\n$150,000,000\n[# 38]\n
2014\nTransformers: Age of Extinction\n$1,104,039,076\n$210,000,000\n[# 58]\n
2015\nStar Wars: The Force Awakens\n$2,068,223,624\n$245,000,000\n[# 9]\n
2016\nCaptain America: Civil War\n$1,153,337,496 ($1,153,296,293)\n$250,000,000\n[# 47]\n
2017\nStar Wars: The Last Jedi\n$1,332,539,889\n$200,000,000\n[# 35]\n
2018\nAvengers: Infinity War\n$2,048,359,754\n$316,000,000\u2013400,000,000\n[# 11][# 304]\n
2019\nAvengers: Endgame\n$2,797,501,328\n$356,000,000\n[# 3]\n
2020\nDemon Slayer: Mugen Train\n$507,119,058\n$15,750,000\n[# 305]\n
2021\nSpider-Man: No Way Home\n$1,921,847,111 ($1,912,233,593)\n$200,000,000\n[# 13][# 306]\n
2022\nAvatar: The Way of Water\n$2,320,250,281\n$350,000,000\u2013460,000,000\n[# 5][# 307][# 308]\n
2023\nBarbie \u2020\n$1,445,638,421\n$128,000,000\u2013145,000,000\n[# 26]\n
2024\nDune: Part Two \u2020\n$506,528,001\n$190,000,000\n[# 309][# 310][# 311]\n
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(...) Since grosses are not limited to original theatrical runs, a film's first-run gross is included in brackets after the total if known.\n

*Canada and U.S. gross only. \n

RDistributor rental. \n

TBATo be ascertained. \n

INNo contemporary sources provide figures for 20,000 Leagues Under the Sea, although The Numbers provides a figure of $8,000,000 for the North American box-office gross.[52] However, it is possible this figure has been mistaken for the gross of the 1954 remake which also earned $8,000,000 in North American rentals.[53] \n

FHSome sources such as The Numbers state that Aloma of the South Seas is the highest grossing film of the year, earning $3 million.[54] However, no contemporary sources provide figures for Aloma of the South Seas, so it is unclear what the $3 million figure relates to. If it were the rental gross then that would have made it not only the highest-grossing film of the year, but one of the highest-grossing films of the silent era, and if that is the case it would be unusual for both International Motion Picture Almanac and Variety to omit it from their lists. \n

SSIt is not clear if the figure for Sunny Side Up is for North America or worldwide. Other sources put its earnings at $2 million,[55] which may suggest the higher figure is the worldwide rental, given the confusion over international figures during this period.[56] \n

ONThe figure for It Happened One Night is not truly representative of its success: it was distributed as a package deal along with more than two dozen other Columbia films, and the total earnings were averaged out; the true gross would have been much higher.[57] \n

S7Snow White's $418 million global cume omits earnings outside of North America from 1987 onwards. \n

GWIt is not absolutely clear how much Gone with the Wind earned from its initial release. Contemporary accounts often list it as earning $32 million in North American rentals and retrospective charts have often duplicated this claim; however, it is likely this was the worldwide rental figure. Trade journals would collate the data by either obtaining it from the distributors themselves, who were keen to promote a successful film, or by surveying theaters and constructing an estimate. Distributors would often report the worldwide rental since the higher figure made the film appear more successful, while estimates were limited to performance in North America; therefore it was not unusual for worldwide and North American rentals to be mixed up. Following the outbreak of World War II, many of the foreign markets were unavailable to Hollywood so it became standard practice to just report on North American box-office performance.[56] In keeping with this new approach, the North American rental for Gone with the Wind was revised to $21 million in 1947 ($11 million lower than the previous figure),[58] and as of 1953\u2014following the 1947 re-release\u2014Variety was reporting earnings of $26 million.[59] Through 1956, MGM reported cumulative North American earnings of $30,015,000 and foreign earnings of $18,964,000, from three releases.[60] Worldwide rentals of $32 million from the initial release is consistent with the revised figures and later reported worldwide figures: they indicate that the film earned $21 million in North America and $11 million overseas from the initial release, and added a further $9 million in North America and $8 million overseas from subsequent re-releases up to 1956. \n

MDMom and Dad does not generally feature in 'high-gross' lists such as those published by Variety due to its independent distribution. Essentially belonging to the exploitation genre, it was marketed as an educational sex hygiene film in an effort to circumvent censorship laws. Falling foul of the Motion Picture Production Code, Mom and Dad was prevented from obtaining mainstream distribution and restricted to independent and drive-in theaters. It was the biggest hit of its kind, and remained in continual distribution until the 1970s when hardcore pornography eventually took over. At the end of 1947 it had earned $2 million, and by 1949, $8 million; by 1956 it had earned $22 million in rentals, representing a gross of $80 million, and would have easily placed in the top ten films in the late 1940s and early 1950s. Estimates of its total earnings are as high as $100 million. \n

UNChopra-Gant stipulates that the figure given for Unconquered is for North American box-office, but as was common at the time, the chart confuses worldwide and North American grosses. Other sources state that the takings for Forever Amber ($8 million) and Life with Father ($6.5 million)[61] were in fact worldwide rental grosses, so it is possible this is also true of Unconquered. \n

CIThe Cinerama figures represent gross amounts. Since the Cinerama corporation owned the theaters there were no rental fees for the films, meaning the studio received 100% of the box-office gross, unlike the case with most other films where the distributor typically receives less than half the gross. Since Variety at the time ranked films by their U.S. and Canadian rental, they constructed a hypothetical rental figure for the Cinerama films to provide a basis for comparison to other films in their chart: in the case of This Is Cinerama, the $50 million worldwide gross was reconfigured as a $12.5 million U.S. rental gross; this is exactly 25% of the amount reported by Cinerama, so Variety's formula seemingly halved the gross to obtain an estimate for the U.S. share, and halved it again to simulate a rental fee.[62] All five Cinerama features collectively generated $120 million in worldwide box office receipts.[63] \n

GSVariety put the worldwide rental for The Greatest Show on Earth at around $18.35 million (with $12.8 million coming from the United States[53]) a year after its release; however, Birchard puts its earnings at just over $15 million up to 1962. It is likely that Birchard's figure is just the North American gross rental, and includes revenue from the 1954 and 1960 reissues. \n

SWThe \"first run\" Star Wars grosses do not include revenue from the 1997 special-edition releases; however, the figure does include revenue from the re-releases prior to the special editions. \n

HP1The Harry Potter and the Philosopher's Stone reissue totals recorded by Box Office Mojo for Brazil (2020), Italy (2021), Netherlands (2021) and South Korea (2021) have been deducted from the lifetime gross due to Box Office Mojo double-counting the original release grosses in those countries. \n

HP8Production costs were shared with Harry Potter and the Deathly Hallows \u2013 Part 1. \n

\n
\n

Timeline of highest-grossing films

\n
\"The
The Birth of a Nation pioneered many of the techniques used in filmmaking today, becoming the most successful film ever made at the time of its release.
\n

At least eleven films have held the record of 'highest-grossing film' since The Birth of a Nation assumed the top spot in 1915. Both The Birth of a Nation and Gone with the Wind spent twenty-five consecutive years apiece as the highest-grosser, with films directed by Steven Spielberg and James Cameron holding the record on three occasions each. Spielberg became the first director to break his own record when Jurassic Park overtook E.T., and Cameron emulated the feat when Avatar broke the record set by Titanic. When it took over the top spot in 2019, Avengers: Endgame became the first sequel to hold the record of highest-grossing film, and in doing so interrupted thirty-six years of Spielberg/Cameron dominance before Avatar reclaimed the top spot two years later in 2021 upon a re-release.\n

Some sources claim that The Big Parade superseded The Birth of a Nation as highest-grossing film, eventually being replaced by Snow White and the Seven Dwarfs, which in turn was quickly usurped by Gone with the Wind.[64] Exact figures are not known for The Birth of a Nation, but contemporary records put its worldwide earnings at $5.2 million as of 1919.[65] Its international release was delayed by World War I, and it was not released in many foreign territories until the 1920s; coupled with further re-releases in the United States, its $10 million earnings as reported by Variety in 1932 are consistent with the earlier figure.[66] At this time, Variety still had The Birth of a Nation ahead of The Big Parade ($6,400,000) on distributor rentals and\u2014if its estimate is correct\u2014Snow White and the Seven Dwarfs ($8,500,000)[67] would not have earned enough on its first theatrical run to take the record;[68] although it would have been the highest-grossing 'talkie',[69] displacing The Singing Fool ($5,900,000).[70] Although received wisdom holds that it is unlikely The Birth of a Nation was ever overtaken by a silent-era film,[71] the record would fall to 1925's Ben-Hur ($9,386,000) if The Birth of a Nation earned significantly less than its estimated gross.[72] In addition to its gross rental earnings through public exhibition, The Birth of a Nation played at a large number of private, club and organizational engagements which figures are unavailable for.[73] It was hugely popular with the Ku Klux Klan who used it to drive recruitment,[74] and at one point Variety estimated its total earnings to stand at around $50 million.[75] Despite later retracting the claim, the sum has been widely reported even though it has never been substantiated.[65] While it is generally accepted that Gone with the Wind took over the record of highest-grossing film on its initial release\u2014which is true in terms of public exhibition\u2014it is likely it did not overtake The Birth of a Nation in total revenue until a much later date, with it still being reported as the highest earner up until the 1960s.[73] Gone with the Wind itself may have been briefly overtaken by The Ten Commandments (1956), which closed at the end of 1960 with worldwide rentals of $58\u201360 million[76][77] compared to Gone with the Wind's $59 million;[78] if it did claim the top spot its tenure there was short-lived, since Gone with the Wind was re-released the following year and increased its earnings to $67 million. Depending on how accurate the estimates are, the 1959 remake of Ben-Hur may also have captured the record from Gone with the Wind: as of the end of 1961 it had earned $47 million worldwide,[79] and by 1963 it was trailing Gone with the Wind by just $2 million with international takings of $65 million,[80] ultimately earning $66 million from its initial release.[81]\n

\n
The 1972 pornographic film Deep Throat reportedly earned as much as $600 million, a figure that may have been inflated by gangsters in money-laundering schemes.
\n

Another film purported to have been the highest-grosser is the 1972 pornographic film Deep Throat. In 1984, Linda Lovelace testified to a United States Senate Judiciary Subcommittee on juvenile justice that the film had earned $600 million;[82] this figure has been the subject of much speculation, since if it is accurate then the film would have made more money than Star Wars, and finished the 1970s as the highest-grossing film. The main argument against this figure is that it simply did not have a wide enough release to sustain the sort of sums that would be required for it to ultimately gross this amount.[83] Exact figures are not known, but testimony in a federal trial in 1976\u2014about four years into the film's release\u2014showed the film had grossed over $25 million.[84] Roger Ebert has reasoned it possibly did earn as much as $600 million on paper, since mobsters owned most of the adult movie theaters during this period and would launder income from drugs and prostitution through them, so probably inflated the box-office receipts for the film.[85]\n

\n

The Birth of a Nation, Gone with the Wind, The Godfather, Jaws, Star Wars, E.T., and Avatar all increased their record grosses with re-releases. The grosses from their original theatrical runs are included here along with totals from re-releases up to the point that they lost the record; therefore the total for The Birth of a Nation includes income from its reissues up to 1940; the total for Star Wars includes revenue from the late 1970s and early 1980s reissues but not from the 1997 Special Edition; the total for E.T. incorporates its gross from the 1985 reissue but not from 2002. The total for Avatar's first appearance on the chart includes revenue from the 2010 Special Edition, which represents all of its earnings up to the point it relinquished the record, whereas its second appearance also incorporates revenue from a 2020 re-release in the Asia-Pacific region as well as the 2021 re-release in China which helped it to reclaim the record. Gone with the Wind is likewise represented twice on the chart: the 1940 entry includes earnings from its staggered 1939\u20131942 release (roadshow/​general release/​second-run)[86] along with all of its revenue up to the 1961 reissue prior to losing the record to The Sound of Music in 1966; its 1971 entry\u2014after it took back the record\u2014includes income from the 1967 and 1971 reissues but omitting later releases. The Godfather was re-released in 1973 after its success at the 45th Academy Awards, and Jaws was released again in 1976, and their grosses here most likely include earnings from those releases. The Sound of Music, The Godfather, Jaws, Jurassic Park, and Titanic have all increased their earnings with further releases, but they are not included in the totals here because they had already conceded the record prior to being re-released.

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Timeline of the highest-grossing film record\n\n
Established\nTitle\nRecord-setting gross\nRef\n
1915[64]\nThe Birth of a Nation\n$5,200,000R\n[# 85]\n
1940\n$15,000,000R \u2021\n[# 312]\n
1940[32]\nGone with the Wind\n$32,000,000R\n[# 135]\n
1963\n$67,000,000R \u2021\n[# 313]\n
1966[64]\nThe Sound of Music\n$114,600,000R\n[# 210]\n
1971[64]\nGone with the Wind\n$116,000,000R \u2021\n[# 314]\n
1972[64]\nThe Godfather\n$127,600,000\u2013142,000,000R\n[# 236][# 315]\n
1976[87][88]\nJaws\n$193,700,000R\n[# 251]\n
1978[89][90]\nStar Wars\n$410,000,000/$268,500,000R\n[# 316][# 236]\n
1982\n$530,000,000 \u2021\n[# 257]\n
1983[91]\nE.T. the Extra-Terrestrial\n$619,000,000\u2013664,000,000\n[# 257][# 270]\n
1993\n$701,000,000 \u2021\n[# 317]\n
1993[64]\nJurassic Park\n$912,667,947\n[# 73]\n
1998[92]\nTitanic\n$1,843,373,318\n[# 7]\n
2010[93][94]\nAvatar\n$2,743,577,587\n[# 1]\n
$2,788,416,135 \u2021\n
2019[95][96]\nAvengers: Endgame\n$2,797,501,328\n[# 3]\n
2021[97]\nAvatar\n$2,847,397,339 \u2021\n[# 1]\n
2022\n$2,923,706,026 \u2021\n
\n
\n

RDistributor rental. \n

\u2021Includes revenue from re-releases. If a film increased its gross through re-releases while holding the record, the year in which it recorded its highest gross is also noted in italics. \n

\n
\n

Highest-grossing franchises and film series

\n
See also: List of highest-grossing media franchises
\n

Prior to 2000, only seven film series had grossed over $1 billion at the box office: James Bond,[98] Star Wars,[99] Indiana Jones,[100] Rocky,[101][102][103] Batman,[104] Jurassic Park,[105] and Star Trek.[106] Since the turn of the century, that number has increased to over ninety.[107] This is partly due to inflation and market growth, but it is also due to Hollywood's adoption of the franchise model: films that have built-in brand recognition such as being based on a well-known literary source or an established character. The methodology is based on the concept that films associated with things audiences are already familiar with can be more effectively marketed to them, and as such are known as \"pre-sold\" films within the industry.[108]\n

A franchise is typically defined to be at least two works derived from a common intellectual property. Traditionally, the work has a tautological relationship with the property, but this is not a prerequisite. An enduring staple of the franchise model is the concept of the crossover, which can be defined as \"a story in which characters or concepts from two or more discrete texts or series of texts meet\".[109] A consequence of a crossover is that an intellectual property may be utilized by more than one franchise. For example, Batman v Superman: Dawn of Justice belongs to not only the Batman and Superman franchises, but also to the DC Extended Universe, which is a shared universe. A shared universe is a particular type of crossover where a number of characters from a wide range of fictional works wind up sharing a fictional world.[110] The most successful shared universe in the medium of film is the Marvel Cinematic Universe, a crossover between multiple superhero properties owned by Marvel Comics. The Marvel Cinematic Universe is also the highest-grossing franchise, amassing over $29 billion at the box office.\n

The Spider-Man films are the highest-grossing series based on a single property, earning over $10.5 billion at the box office (although the Eon James Bond films have earned over $19 billion in total when adjusted to current prices).[a] If ancillary income from merchandise is included, then Star Wars is the most lucrative property;[112] it holds the Guinness world record for the \"most successful film merchandising franchise\" and was valued at \u00a319.51 billion (about $31 billion) in 2012.[113][114] The Marvel Cinematic Universe has had the most films gross over $1 billion, with ten. The four Avengers films, the two Frozen films, and the two Avatar films are the only franchises where each installment has grossed over $1 billion, although the Jurassic Park and Black Panther series have averaged over $1 billion per film.\n

\n
\u2020 Background shading indicates that at least one film in the series is playing in the week commencing 15 March 2024 in theaters around the world.
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Highest-grossing franchises and film series[\u00a7]\n(The films in each franchise can be viewed by selecting \"show\".)\n
\n\n\n\n\n\n\n\n\n
Rank\nSeries\nTotal worldwide gross\nNo. of films\nAverage of films\nHighest-grossing film\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
1\nMarvel Cinematic UniverseS\n$29,827,317,082\n33\n$903,858,093\nAvengers: Endgame ($2,797,501,328)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
\nThe Infinity Saga\n$22,587,759,303\n23\n$982,076,491\nAvengers: Endgame ($2,797,501,328)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nPhase Three\n$13,505,059,275\n11\n$1,227,732,661\nAvengers: Endgame ($2,797,501,328)\n
1\nAvengers: Endgame (2019)\n$2,797,501,328
\n
2\nAvengers: Infinity War (2018)\n$2,048,359,754
\n
3\nBlack Panther (2018)\n$1,347,280,838
\n
4\nCaptain America: Civil War (2016)\n$1,153,337,496
\n
5\nSpider-Man: Far From Home (2019)\n$1,131,927,996
\n
6\nCaptain Marvel (2019)\n$1,128,274,794
\n
7\nSpider-Man: Homecoming (2017)\n$880,166,924
\n
8\nGuardians of the Galaxy Vol. 2 (2017)\n$863,756,051
\n
9\nThor: Ragnarok (2017)\n$853,983,879
\n
10\nDoctor Strange (2016)\n$677,796,076
\n
11\nAnt-Man and the Wasp (2018)\n$622,674,139\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nPhase Two\n$5,269,487,547\n6\n$878,247,925\nAvengers: Age of Ultron ($1,402,809,540)\n
1\nAvengers: Age of Ultron (2015)\n$1,402,809,540
\n
2\nIron Man 3 (2013)\n$1,214,811,252
\n
3\nGuardians of the Galaxy (2014)\n$773,350,147
\n
4\nCaptain America: The Winter Soldier (2014)\n$714,421,503
\n
5\nThor: The Dark World (2013)\n$644,783,140
\n
6\nAnt-Man (2015)\n$519,311,965\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nPhase One\n$3,813,212,481\n6\n$635,535,414\nThe Avengers ($1,518,815,515)\n
1\nThe Avengers (2012)\n$1,518,815,515
\n
2\nIron Man 2 (2010)\n$623,933,331
\n
3\nIron Man (2008)\n$585,796,247
\n
4\nThor (2011)\n$449,326,618
\n
5\nCaptain America: The First Avenger (2011)\n$370,569,774
\n
6\nThe Incredible Hulk (2008)\n$264,770,996\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
\nThe Multiverse Saga\n$7,239,557,779\n10\n$723,955,778\nSpider-Man: No Way Home ($1,921,847,111)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nPhase Four\n$5,711,819,678\n7\n$815,974,240\nSpider-Man: No Way Home ($1,921,847,111)\n
1\nSpider-Man: No Way Home (2021)\n$1,921,847,111
\n
2\nDoctor Strange in the Multiverse of Madness (2022)\n$955,775,804
\n
3\nBlack Panther: Wakanda Forever (2022)\n$859,208,836
\n
4\nThor: Love and Thunder (2022)\n$760,928,081
\n
5\nShang-Chi and the Legend of the Ten Rings (2021)\n$432,243,292
\n
6\nEternals (2021)\n$402,064,899
\n
7\nBlack Widow (2021)\n$379,751,655\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nPhase Five\n$1,527,738,101\n3\n$509,246,034\nGuardians of the Galaxy Vol. 3 ($845,555,777)\n
1\nGuardians of the Galaxy Vol. 3 (2023)\n$845,555,777
\n
2\nAnt-Man and the Wasp: Quantumania (2023)\n$476,071,180
\n
3\nThe Marvels (2023)\n$206,111,144\n
\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
2\nSpider-Man \u2020\n$10,607,532,803\n14\n$757,680,915\nNo Way Home ($1,921,847,111)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nMarvel Cinematic Universe\n$3,933,942,031\n3\n$1,311,314,010\nNo Way Home ($1,921,847,111)\n
1\nNo Way Home (2021)\n$1,921,847,111
\n
2\nFar From Home (2019)\n$1,131,927,996
\n
3\nHomecoming (2017)\n$880,166,924\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nRaimi series\n$2,512,301,347\n3\n$837,433,782\nSpider-Man 3 ($894,983,373)\n
1\nSpider-Man 3 (2007)\n$894,983,373
\n
2\nSpider-Man (2002)\n$821,708,551
\n
3\nSpider-Man 2 (2004)\n$788,976,453
\n
4\nSpider-Man/Men in Black II (combo)\n$6,632,970\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nSony's Spider-Man Universe \u2020\n$1,627,937,698\n4\n$406,984,425\nVenom ($856,085,151)\n
1\nVenom (2018)\n$856,085,151
\n
2\nVenom: Let There Be Carnage (2021)\n$506,863,592
\n
3\nMorbius (2022)\n$167,460,961
\n
4\nMadame Web (2024) \u2020\n$97,527,994\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nThe Amazing Spider-Man series\n$1,466,912,986\n2\n$733,456,493\nThe Amazing Spider-Man ($757,930,663)\n
1\nThe Amazing Spider-Man (2012)\n$757,930,663
\n
2\nThe Amazing Spider-Man 2 (2014)\n$708,982,323\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nSpider-Verse\n$1,066,438,741\n2\n$533,219,371\nAcross the Spider-Verse ($690,897,910)\n
1\nAcross the Spider-Verse (2023)\n$690,897,910
\n
2\nInto the Spider-Verse (2018)\n$375,540,831\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
3\nStar Wars\n$10,324,504,714\n12\n$860,375,393\nThe Force Awakens ($2,068,223,624)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
\nSkywalker Saga\n$8,805,876,676\n9\n$978,430,742\nThe Force Awakens ($2,068,223,624)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nSequel trilogy\n$4,474,907,761\n3\n$1,491,635,920\nThe Force Awakens ($2,068,223,624)\n
1\nVII \u2013 The Force Awakens (2015)\n$2,068,223,624
\n
2\nVIII \u2013 The Last Jedi (2017)\n$1,332,539,889
\n
3\nIX \u2013 The Rise of Skywalker (2019)\n$1,074,144,248\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nPrequel trilogy\n$2,525,235,803\n3\n$841,745,268\nThe Phantom Menace ($1,027,082,707)\n
1\nI \u2013 The Phantom Menace (1999)\n$1,027,082,707
\n
2\nIII \u2013 Revenge of the Sith (2005)\n$848,754,768
\n
3\nII \u2013 Attack of the Clones (2002)\n$649,398,328\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nOriginal trilogy\n$1,805,733,112\n3\n$601,911,037\nA New Hope ($775,398,007)\n
1\nIV \u2013 A New Hope (1977)\n$775,398,007
\n
2\nV \u2013 The Empire Strikes Back (1980)\n$547,969,004
\n
3\nVI \u2013 Return of the Jedi (1983)\n$482,366,101\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nStandalone films\n$1,450,345,194\n2\n$725,172,597\nRogue One ($1,057,420,387)\n
1\nRogue One (2016)\n$1,057,420,387
\n
2\nSolo (2018)\n$392,924,807\n
\n
\n\n\n\n\n\n\n
\nThe Clone Wars (2008)\n$68,282,844\n\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
4\nWizarding World\n$9,656,055,269\n11\n$877,823,206\nHarry Potter and the Deathly Hallows \u2013 Part 2 ($1,342,139,727)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nHarry Potter series\n$7,780,010,016\n8\n$972,501,252\nDeathly Hallows \u2013 Part 2 ($1,342,139,727)\n
1\nDeathly Hallows \u2013 Part 2 (2011)\n$1,342,139,727
\n
2\nPhilosopher's Stone (2001)\n$1,009,046,830
\n
3\nDeathly Hallows \u2013 Part 1 (2010)\n$977,070,383
\n
4\nOrder of the Phoenix (2007)\n$942,201,710
\n
5\nHalf-Blood Prince (2009)\n$934,483,039
\n
6\nGoblet of Fire (2005)\n$896,815,106
\n
7\nChamber of Secrets (2002)\n$880,684,614
\n
8\nPrisoner of Azkaban (2004)\n$797,568,607\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nFantastic Beasts series\n$1,876,045,253\n3\n$625,348,418\nFantastic Beasts and Where to Find Them ($814,038,508)\n
1\nFantastic Beasts and Where to Find Them (2016)\n$814,038,508
\n
2\nThe Crimes of Grindelwald (2018)\n$654,855,901
\n
3\nThe Secrets of Dumbledore (2022)\n$407,150,844\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
5\nJames Bond\n$7,836,485,924\n27\n$290,240,219\nSkyfall ($1,108,569,499)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
\nEon series\n$7,634,741,206\n25\n$305,389,648\nSkyfall ($1,108,569,499)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nDaniel Craig series\n$3,969,513,462\n5\n$793,902,692\nSkyfall ($1,108,569,499)\n
1\nSkyfall (2012)\n$1,108,569,499
\n
2\nSpectre (2015)\n$880,705,312
\n
3\nNo Time to Die (2021)\n$774,153,007
\n
4\nCasino Royale (2006)\n$616,505,162
\n
5\nQuantum of Solace (2008)\n$589,580,482\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nPierce Brosnan series\n$1,479,008,618\n4\n$369,752,155\nDie Another Day ($431,971,116)\n
1\nDie Another Day (2002)\n$431,971,116
\n
2\nThe World Is Not Enough (1999)\n$361,832,400
\n
3\nGoldenEye (1995)\n$352,194,034
\n
4\nTomorrow Never Dies (1997)\n$333,011,068\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nRoger Moore series\n$1,151,600,000\n7\n$164,514,286\nMoonraker ($210,300,000)\n
1\nMoonraker (1979)\n$210,300,000
\n
2\nFor Your Eyes Only (1981)\n$194,900,000
\n
3\nThe Spy Who Loved Me (1977)\n$185,400,000
\n
4\nOctopussy (1983)\n$183,700,000
\n
5\nA View to a Kill (1985)\n$152,400,000
\n
6\nLive and Let Die (1973)\n$126,400,000
\n
7\nThe Man with the Golden Gun (1974)\n$98,500,000\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nSean Connery series\n$621,500,000\n6\n$103,583,333\nThunderball ($141,200,000)\n
1\nThunderball (1965)\n$141,200,000
\n
2\nGoldfinger (1964)\n$124,900,000
\n
3\nDiamonds Are Forever (1971)\n$116,000,000
\n
4\nYou Only Live Twice (1967)\n$101,000,000
\n
5\nFrom Russia with Love (1963)\n$78,900,000
\n
6\nDr. No (1962)\n$59,500,000\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nTimothy Dalton series\n$347,400,000\n2\n$173,700,000\nThe Living Daylights ($191,200,000)\n
1\nThe Living Daylights (1987)\n$191,200,000
\n
2\nLicence to Kill (1989)\n$156,200,000\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n
\nGeorge Lazenby series\n$64,600,000\n1\n$64,600,000\nOn Her Majesty's Secret Service ($64,600,000)\n
1\nOn Her Majesty's Secret Service (1969)\n$64,600,000\n
\n
\n
\n\n\n\n\n\n\n
\nNever Say Never Again (1983)\n$160,000,000\n\n
\n
\n\n\n\n\n\n\n
\nCasino Royale (1967)\n$41,744,718\n\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
6\nAvengers\n$7,767,486,137\n4\n$1,941,871,534\nEndgame ($2,797,501,328)\n
1\nEndgame (2019)\n$2,797,501,328
\n
2\nInfinity War (2018)\n$2,048,359,754
\n
3\nThe Avengers (2012)\n$1,518,815,515
\n
4\nAge of Ultron (2015)\n$1,402,809,540\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
7\nFast & Furious\n$7,333,669,259\n11\n$666,697,205\nFurious 7 ($1,515,341,399)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nThe Fast Saga\n$6,572,936,333\n10\n$657,293,633\nFurious 7 ($1,515,341,399)\n
1\nFurious 7 (2015)\n$1,515,341,399
\n
2\nThe Fate of the Furious (2017)F8\n$1,238,764,765
\n
3\nFast & Furious 6 (2013)\n$788,680,968
\n
4\nF9 (2021)\n$726,229,501
\n
5\nFast X (2023)\n$714,582,375
\n
6\nFast Five (2011)\n$626,137,675
\n
7\nFast & Furious (2009)\n$360,366,870
\n
8\n2 Fast 2 Furious (2003)\n$236,350,661
\n
9\nThe Fast and the Furious (2001)\n$207,517,509
\n
10\nTokyo Drift (2006)\n$158,964,610\n
\n
\n\n\n\n\n\n\n
\nHobbs & Shaw (2019)\n$760,732,926\n\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
8\nDC Extended UniverseS \u2020\n$7,191,495,242\n15\n$479,433,016\nAquaman ($1,148,528,393)\n
1\nAquaman (2018)\n$1,148,528,393
\n
2\nBatman v Superman: Dawn of Justice (2016)\n$873,637,528
\n
3\nWonder Woman (2017)\n$822,854,286
\n
4\nSuicide Squad (2016)\n$746,846,894
\n
5\nMan of Steel (2013)\n$668,045,518
\n
6\nJustice League (2017)\n$657,926,987
\n
7\nAquaman and the Lost Kingdom (2023) \u2020\n$434,381,226
\n
8\nBlack Adam (2022)\n$393,452,111
\n
9\nShazam! (2019)\n$365,971,656
\n
10\nThe Flash (2023)\n$271,333,313
\n
11\nBirds of Prey (2020)\n$205,372,791
\n
12\nWonder Woman 1984 (2020)\n$169,601,036
\n
13\nThe Suicide Squad (2021)\n$168,717,425
\n
14\nShazam! Fury of the Gods (2023)\n$134,038,006
\n
15\nBlue Beetle (2023)\n$130,788,072\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
9\nBatman\n$6,843,842,452\n17\n$402,578,968\nThe Dark Knight Rises ($1,081,169,825)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nThe Dark Knight trilogy\n$2,462,179,755\n3\n$820,726,585\nThe Dark Knight Rises ($1,081,169,825)\n
1\nThe Dark Knight Rises (2012)\n$1,081,169,825
\n
2\nThe Dark Knight (2008)\n$1,007,336,937
\n
3\nBatman Begins (2005)\n$373,672,993\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nBurton/Schumacher series\n$1,253,192,682\n4\n$313,298,171\nBatman ($411,556,825)\n
1\nBatman (1989)\n$411,556,825
\n
2\nBatman Forever (1995)\n$336,567,531
\n
3\nBatman Returns (1992)\n$266,832,411
\n
4\nBatman & Robin (1997)\n$238,235,915\n
\n
\n\n\n\n\n\n\n
\nJoker (2019)\n$1,074,458,282\n\n
\n
\n\n\n\n\n\n\n
\nBatman v Superman: Dawn of Justice (2016)\n$873,637,528\n\n
\n
\n\n\n\n\n\n\n
\nThe Batman (2022)\n$772,245,583\n\n
\n
\n\n\n\n\n\n\n
\nThe Lego Batman Movie (2017)\n$311,950,384\n\n
\n
\n\n\n\n\n\n\n
\nCatwoman (2004)\n$82,102,379\n\n
\n
\n\n\n\n\n\n\n
\nMask of the Phantasm (1993)\n$5,617,391\n\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nDC Universe Animated Original Movies\n$4,501,125\n2\n$2,250,563\nThe Killing Joke ($4,462,034)\n
1\nThe Killing Joke (2016)\n$4,462,034
\n
2\nBatman and Harley Quinn (2017)\n$39,091\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n1960s TV series\n$3,957,343\n2\n$1,978,672\nBatman: The Movie ($3,900,000)\n
1\nBatman: The Movie (1966)*R\n$3,900,000
\n
2\nReturn of the Caped Crusaders (2016)\n$57,343\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
10\nX-Men\n$6,084,116,741\n13\n$468,008,980\nDeadpool 2 ($785,896,609)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nMain series\n$3,059,525,837\n7\n$437,075,120\nDays of Future Past ($746,045,700)\n
1\nDays of Future Past (2014)\n$746,045,700
\n
2\nApocalypse (2016)\n$543,934,105
\n
3\nThe Last Stand (2006)\n$460,435,291
\n
4\nX2 (2003)\n$407,711,549
\n
5\nFirst Class (2011)\n$352,616,690
\n
6\nX-Men (2000)\n$296,339,528
\n
7\nDark Phoenix (2019)\n$252,442,974\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nDeadpool series\n$1,568,508,764\n2\n$784,254,382\nDeadpool 2 ($785,896,609)\n
1\nDeadpool 2 (2018)\n$785,896,609
\n
2\nDeadpool (2016)\n$782,612,155\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nWolverine series\n$1,406,912,546\n3\n$468,970,849\nLogan ($619,021,436)\n
1\nLogan (2017)\n$619,021,436
\n
2\nThe Wolverine (2013)\n$414,828,246
\n
3\nOrigins: Wolverine (2009)\n$373,062,864\n
\n
\n\n\n\n\n\n\n
\nThe New Mutants (2020)\n$49,169,594\n\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
11\nJurassic Park\n$6,006,943,987\n6\n$1,001,157,331\nJurassic World ($1,671,537,444)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nJurassic World trilogy\n$3,981,988,949\n3\n$1,327,329,650\nJurassic World ($1,671,537,444)\n
1\nJurassic World (2015)\n$1,671,537,444
\n
2\nFallen Kingdom (2018)\n$1,308,473,425
\n
3\nDominion (2022)\n$1,001,978,080\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nJurassic Park trilogy\n$2,024,955,038\n3\n$674,985,013\nJurassic Park ($1,037,535,230)\n
1\nJurassic Park (1993)\n$1,037,535,230
\n
2\nThe Lost World (1997)\n$618,638,999
\n
3\nJurassic Park III (2001)\n$368,780,809\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
12\nMiddle-earth\n$5,958,241,503\n7\n$851,177,358\nThe Lord of the Rings: The Return of the King ($1,147,997,407)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
\nJackson series\n$5,927,770,083\n6\n$987,961,681\nThe Lord of the Rings: The Return of the King ($1,147,997,407)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nThe Lord of the Rings\n$2,995,691,652\n3\n$998,563,884\nThe Return of the King ($1,147,997,407)\n
1\nThe Return of the King (2003)\n$1,147,997,407
\n
2\nThe Two Towers (2002)\n$948,945,489
\n
3\nThe Fellowship of the Ring (2001)\n$898,748,756\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nThe Hobbit\n$2,932,078,431\n3\n$977,359,477\nAn Unexpected Journey ($1,017,030,651)\n
1\nAn Unexpected Journey (2012)\n$1,017,030,651
\n
2\nThe Desolation of Smaug (2013)\n$959,027,992
\n
3\nThe Battle of the Five Armies (2014)\n$956,019,788\n
\n
\n
\n\n\n\n\n\n\n
\nThe Lord of the Rings (1978)\n$30,471,420\n\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
13\nTransformers\n$5,292,103,419\n8\n$661,512,927\nDark of the Moon ($1,123,794,079)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nMain series\n$5,286,242,818\n7\n$755,177,545\nDark of the Moon ($1,123,794,079)\n
1\nDark of the Moon (2011)\n$1,123,794,079
\n
2\nAge of Extinction (2014)\n$1,104,054,072
\n
3\nRevenge of the Fallen (2009)\n$836,303,693
\n
4\nTransformers (2007)\n$709,709,780
\n
5\nThe Last Knight (2017)\n$605,425,157
\n
6\nBumblebee (2018)\n$467,989,645
\n
7\nRise of the Beasts (2023)\n$438,966,392\n
\n
\n\n\n\n\n\n\n
\nThe Transformers: The Movie (1986)\n$5,860,601\n\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
14\nAvatar\n$5,243,956,307\n2\n$2,621,978,154\nAvatar ($2,923,706,026)\n
1\nAvatar (2009)\n$2,923,706,026
\n
2\nThe Way of Water (2022)\n$2,320,250,281\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
15\nDespicable Me\n$4,648,498,378\n5\n$929,699,676\nMinions ($1,159,444,662)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nMain series\n$2,548,849,951\n3\n$849,616,650\nDespicable Me 3 ($1,034,800,131)\n
1\nDespicable Me 3 (2017)\n$1,034,800,131
\n
2\nDespicable Me 2 (2013)\n$970,766,005
\n
3\nDespicable Me (2010)\n$543,283,815\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nMinions series\n$2,099,648,427\n2\n$1,049,824,214\nMinions ($1,159,444,662)\n
1\nMinions (2015)\n$1,159,444,662
\n
2\nThe Rise of Gru (2022)\n$940,203,765\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
16\nPirates of the Caribbean\n$4,522,015,850\n5\n$904,403,170\nDead Man's Chest ($1,066,179,747)\n
1\nDead Man's Chest (2006)\n$1,066,179,747
\n
2\nOn Stranger Tides (2011)\n$1,045,713,802
\n
3\nAt World's End (2007)\n$960,996,492
\n
4\nDead Men Tell No Tales (2017)\n$794,861,794
\n
5\nThe Curse of the Black Pearl (2003)\n$654,264,015\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
17\nMission: Impossible\n$4,139,186,793\n7\n$591,312,399\nFallout ($791,657,398)\n
1\nFallout (2018)\n$791,657,398
\n
2\nGhost Protocol (2011)\n$694,713,380
\n
3\nRogue Nation (2015)\n$682,716,636
\n
4\nDead Reckoning Part One (2023)\n$567,535,383
\n
5\nMission: Impossible 2 (2000)\n$546,388,108
\n
6\nMission: Impossible (1996)\n$457,696,391
\n
7\nMission: Impossible III (2006)\n$398,479,497\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
18\nShrek\n$4,019,586,938\n6\n$669,931,156\nShrek 2 ($928,961,330)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nMain series\n$2,979,338,795\n4\n$744,834,699\nShrek 2 ($928,961,330)\n
1\nShrek 2 (2004)\n$928,961,330
\n
2\nShrek the Third (2007)\n$813,367,380
\n
3\nShrek Forever After (2010)\n$752,600,867
\n
4\nShrek (2001)\n$484,409,218\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nPuss in Boots series\n$1,040,248,143\n2\n$520,124,072\nPuss in Boots ($554,987,477)\n
1\nPuss in Boots (2011)\n$554,987,477
\n
2\nThe Last Wish (2022)\n$485,260,666\n
\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
19\nThe Twilight Saga\n$3,359,862,915\n5\n$671,972,583\nBreaking Dawn \u2013 Part 2 ($829,746,820)\n
1\nBreaking Dawn \u2013 Part 2 (2012)\n$829,746,820
\n
2\nBreaking Dawn \u2013 Part 1 (2011)\n$712,205,856
\n
3\nNew Moon (2009)\n$709,827,462
\n
4\nEclipse (2010)\n$698,509,825
\n
5\nTwilight (2008)\n$407,187,715
\n
6\nTwilight / New Moon Combo (2010)\n$2,385,237\n
\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n
20\nThe Hunger Games \u2020\n$3,305,563,751\n5\n$661,112,750\nCatching Fire ($865,011,746)\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\nMain series\n$2,968,191,834\n4\n$742,047,959\nCatching Fire ($865,011,746)\n
1\nCatching Fire (2013)\n$865,011,746
\n
2\nMockingjay \u2013 Part 1 (2014)\n$755,357,103
\n
3\nThe Hunger Games (2012)\n$694,394,724
\n
4\nMockingjay \u2013 Part 2 (2015)\n$653,428,261\n
\n
\n\n\n\n\n\n\n
\nThe Ballad of Songbirds & Snakes (2023) \u2020\n$337,371,917\n\n
\n
\n
\n
\n

SShared universes for which some properties also have their own entries. \n

*Canada and U.S. gross only. \n

RDistributor rental. \n

\n
\n

See also

\n\n\n

Notes

\n
\n
    \n
  1. ^ Prior to the release of Spectre in 2015, the James Bond series had grossed approximately $17.7 billion at 2015 prices;[111] after factoring in earnings of over $1.6 billion from Spectre and No Time to Die, the series has earned at least $19.3 billion adjusted for inflation.\n
    2. \n
\n

References

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  4. ^ Vogel, Harold L. (2010). Entertainment Industry Economics: A Guide for Financial Analysis. Cambridge University Press. p. 224. ISBN 978-1-107-00309-5. Most pictures would likely receive 20% to 25% of theatrical box office gross for two prime-time network runs.\n
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  5. ^ Clark, Emma (November 12, 2001). \"How films make money\". BBC News. Archived from the original on September 8, 2017. Retrieved April 12, 2012.\n
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  28. ^ Hoad, Phil (August 11, 2011). \"The rise of the international box office\". The Guardian. Archived from the original on June 29, 2023. Retrieved January 4, 2012.\n
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  29. ^ Frankel, Daniel (May 1, 2011). \"Why the Foreign Box Office Leads: 'Fast Five,' 'Thor' Open Overseas First\". The Wrap. Archived from the original on January 9, 2019. Retrieved April 6, 2022.\n
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  30. ^ a b Bialik, Carl (December 17, 2007). \"Box-Office Records Are the Stuff of 'Legend'\". The Wall Street Journal. Archived from the original on October 29, 2013. Retrieved August 10, 2011.\n
    31. \n
  31. ^ a b Leonhardt, David (March 1, 2010). \"Why 'Avatar' Is Not the Top-Grossing Film\". The New York Times. Archived from the original on October 16, 2021. Retrieved April 7, 2013.\n
    32. \n
  32. ^ a b Miller, Frank; Stafford, Jeff (January 5, 2007). \"Gone With the Wind (1939) \u2013 Articles\". Turner Classic Movies. Archived from the original on September 26, 2013.\n
    33. \n
  33. ^ a b Shone, Tom (February 3, 2010). \"Oscars 2010: How James Cameron took on the world\". The Daily Telegraph. Archived from the original on January 10, 2022. Retrieved March 22, 2012.\n
    34. \n
  34. ^ Hill, George F. (June 25, 2006). \"Gone With The Wind, Indeed\". The Washington Post. Archived from the original on December 27, 2018.\n
    35. \n
  35. ^ a b Guinness World Records. Vol. 60 (2015 ed.). Guinness World Records. 2014. pp. 160\u2013161. ISBN 978-1-908843-70-8.\n
    36. \n
  36. ^ \"World Economic Outlook: Inflation rate, end of period consumer prices\". International Monetary Fund. Archived from the original on May 10, 2019. Retrieved December 31, 2023.\n
    37. \n
  37. ^ \"Avatar (2009)\". Box Office Mojo. Archived from the original on May 3, 2021. Retrieved September 10, 2022. 2020 Re-release: $1,281,204; 2021 Re-release: $57,995,770; 2022 Re-release: $76,012,917\n
    38. \n
  38. ^ Glenday, Craig, ed. (2011). \u0413\u0438\u043d\u043d\u0435\u0441\u0441. \u041c\u0438\u0440\u043e\u0432\u044b\u0435 \u0440\u0435\u043a\u043e\u0440\u0434\u044b [Guinness World Records] (in Russian). Translated by Andrianov, P.I.; Palova, I.V. (2012 ed.). Moscow: Astrel. p. 211. ISBN 978-5-271-36423-5.\n
    39. \n
  39. ^ \"Titanic 3D (2012) \u2013 International Box Office results\". Box Office Mojo. Archived from the original on October 27, 2019. Retrieved November 25, 2012. $343,550,770\n
    40. \n
  40. ^ \"Titanic (1997)\". Box Office Mojo. Archived from the original on February 5, 2023. Retrieved November 25, 2012. 2017 Re-release: $691,642; 2020 Re-release: $71,352\n
    41. \n
  41. ^ a b Cones, John W. (1997). The feature film distribution deal: a critical analysis of the single most important film industry agreement. Southern Illinois University Press. p. 41. ISBN 978-0-8093-2082-0. Distributor rentals: It is also important to know and recognize the difference between the distributor's gross receipts and the gross rentals. The term \"rentals\" refers to the aggregate amount of the film distributor's share of monies paid at theatre box offices computed on the basis of negotiated agreements between the distributor and the exhibitor. Note that gross receipts refers to amounts actually received and from all markets and media, whereas gross rentals refers to amounts earned from theatrical exhibition only, regardless of whether received by the distributor. Thus, gross receipts is the much broader term and includes distributor rentals. The issue of film rentals (i.e., what percentage of a film's box office gross comes back to the distributor) is of key importance...More current numbers suggest that distributor rentals for the major studio/distributor released films average in the neighborhood of 43% of box office gross. Again, however, such an average is based on widely divergent distributor rental ratios on individual films.\n
    42. \n
  42. ^ Marich, Robert (2009) [1st. pub. Focal Press:2005]. Marketing to moviegoers: a handbook of strategies used by major studios and independents (2 ed.). Southern Illinois University Press. p. 252. ISBN 978-0-8093-2884-0. Rentals are the distributors' share of the box office gross and typically set by a complex, two-part contract.\n
    43. \n
  43. ^ Balio, Tino (2005). The American film industry. University of Wisconsin Press. p. 296. ISBN 978-0-299-09874-2. Film Rentals as Percent of Volume of Business (1939): 36.4\n
    44. \n
  44. ^ Balio, Tino (1987). United Artists: the Company that Changed the Film Industry. University of Wisconsin Press. p. 124\u2013125. ISBN 978-0-299-11440-4. To rekindle interest in the movies, Hollywood not only had to compete with television but also with other leisure-time activities...Movies made a comeback by 1955, but audiences had changed. Moviegoing became a special event for most people, creating the phenomenon of the big picture.\n
    45. \n
  45. ^ Hall & Neale 2010, p. 179. \"Later epics proved far more disastrous for the backers. Samuel Bronston's The Fall of the Roman Empire, filmed in Spain, cost $17,816,876 and grossed only $1.9 million in America. George Stevens's long-gestating life of Christ, The Greatest Story Ever Told (1965), which had been in planning since 1954 and in production since 1962, earned domestic rentals of $6,962,715 on a $21,481,745 negative cost, the largest amount yet spent on a production made entirely within the United States. The Bible: In the Beginning... (1966) was financed by the Italian producer Dino De Laurentiis from private investors and Swiss banks. He then sold distribution rights outside Italy jointly to Fox and Seven Arts for $15 million (70 percent of which came from Fox), thereby recouping the bulk of his $18 million investment. Although The Bible returned a respectable world rental of $25.3 million, Fox was still left with a net loss of just over $1.5 million. It was the last biblical epic to be released by any major Hollywood studio for nearly twenty years.\"\n
    46. \n
  46. ^ Williams, Trey (September 25, 2015). \"Ridley Scott's latest 'Alien' announcement drives Hollywood's sequel problem\". MarketWatch. Archived from the original on June 8, 2016. Retrieved May 12, 2016.\n
    47. \n
  47. ^ \"Yearly Box Office\". Box Office Mojo. Archived from the original on July 29, 2015. Retrieved January 6, 2012.\n
    48. \n
  48. ^ \"Movie Index By Year\". The Numbers. Nash Information Services. LLC. Archived from the original on December 21, 2011. Retrieved January 6, 2012.\n
    49. \n
  49. ^ Dirks, Tim. \"All-Time Box-Office Hits By Decade and Year\". Filmsite.org. American Movie Classics. Retrieved January 5, 2012.\n
    50. \n
  50. ^ \"Griffith's 20 Year Record\". Variety. September 5, 1928. p. 12. Retrieved March 21, 2023.\n
    51. \n
  51. ^ Schickel, Richard (1996). D. W. Griffith: An American Life. Limelight Series. Hal Leonard Corporation. p. 326. ISBN 978-0-87910-080-3. ...there exists a very precise production accountant's statement, drawn up some time after the picture was finished, previews had been held and release prints struck. This document shows that the negative cost of the picture was precisely $385,906.77...\n
    52. \n
  52. ^ \"20,000 Leagues Under the Sea\". The Numbers. Nash Information Services. Retrieved January 5, 2012.\n
    53. \n
  53. ^ a b Finler 2003, p. 358\n
    54. \n
  54. ^ Milwaukee Magazine. Vol. 32. 2007. The year's top\u2013grossing movie, Aloma made $3 million in the first three months and brought Gray back to Milwaukee for its opening at the Wisconsin Theatre.\n
    55. \n
  55. ^ Parkinson, David (2007). The Rough Guide to Film Musicals. Dorling Kindersley. p. 28. ISBN 978-1-84353-650-5. But they had previously succeeded in showing how musicals could centre on ordinary people with Sunny Side Up (1929), which had grossed $2 million at the box office and demonstrated a new maturity and ingenuity in the staging of story and dance.\n
    56. \n
  56. ^ a b Hall & Neale 2010, pp. 6\u20137. \"For similar reasons of accountability, Variety has typically used figures for domestic (U.S. and Canadian) rather than worldwide revenue. This became its standard policy in 1940, when the advent of war in Europe persuaded the American film industry (temporarily, as it turned out) that it should be wholly reliant on the home market for profitability. Where specific rentals data are reported in Variety before this (which tended to be only sporadically) they were often for worldwide rather domestic performance. This was also the case with other trade sources, such as Quigley's annual Motion Picture Almanac, which published its own all-time hits lists from the early 1930s onward. The subsequent confusion of domestic and worldwide figures, and of rental and box-office figures, has plagued many published accounts of Hollywood history (sometimes including those in Variety itself), and we have attempted to be diligant in clarifying the differences between them.\"\n
    57. \n
  57. ^ McBride, Joseph (2011). Frank Capra: The Catastrophe of Success. University Press of Mississippi. p. 309. ISBN 978-1-60473-838-4. According to the studio's books It Happened One Night brought in $1 million in film rentals during its initial release, but as Joe Walker pointed out, the figure would have been much larger if the film had not been sold to theaters on a block-booking basis in a package with more than two dozen lesser Columbia films, and the total rentals of the package spread among them all, as was customary in that era, since it minimized the risk and allowed the major studios to dominate the marketplace.\n
    58. \n
  58. ^ Shearer, Lloyd (October 26, 1947). \"GWTW: Supercolossal Saga of an Epic\". The New York Times. Retrieved July 14, 2012.\n
    59. \n
  59. ^ \"Cinema: The Big Grossers\". Time. February 2, 1953. Archived from the original on December 22, 2008. Retrieved September 15, 2012.\n
    60. \n
  60. ^ Block & Wilson 2010, p. 129. \"Domestic Rentals: $30,015,000 (61%); Foreign Rentals: $18,964,000 (39%)...Gone with the Wind includes initial release plus four rereleases (1941,1942,1947 and 1954) since foreign rental revenues were available only cumulative through 1956.\"\n
    61. \n
  61. ^ McDermott, Christine (2010), Life with Father, p. 307, No matter what the billing, the movie became a worldwide hit with $6.5 million in worldwide rentals, from Pappa och vi in Sweden to Vita col padre in Italy, although it booked a net loss of $350,000. In: Block & Wilson 2010.\n
    62. \n
  62. ^ Mulligan, Hugh A. (September 23, 1956). \"Cinerama Pushing Ahead As Biggest Money-Maker\". The Register-Guard. Eugene, Oregon. p. 7B.\n
    63. \n
  63. ^ Hall & Neale 2010, p. 145. \"The commercial success of the five Cinerama travelogues, which earned an aggregate worldwide box-office gross of $120 million by 1962 (including $82 million in the United States and Canada), nevertheless demonstrated to the mainstream industry the market value of special screen formats.\"\n
    64. \n
  64. ^ a b c d e f Dirks, Tim. \"Top Films of All-Time: Part 1 \u2013 Box-Office Blockbusters\". Filmsite.org. Retrieved August 11, 2010.\n
    65. \n
  65. ^ a b Wasko, Janet (1986). \"D.W. Griffiths and the banks: a case study in film financing\". In Kerr, Paul (ed.). The Hollywood Film Industry: A Reader. Routledge. p. 34. ISBN 978-0-7100-9730-9. Various accounts have cited $15 to $18 million profits during the first few years of release, while in a letter to a potential investor in the proposed sound version, Aitken noted that a $15 to $18 million box-office gross was a 'conservative estimate'. For years Variety has listed The Birth of a Nation's total rental at $50 million. (This reflects the total amount paid to the distributor, not box-office gross.) This 'trade legend' has finally been acknowledged by Variety as a 'whopper myth', and the amount has been revised to $5 million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915\u20131919 at slightly more than $5.2 million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2 million.\n
    66. \n
  66. ^ \"Biggest Money Pictures\". Variety. June 21, 1932. p. 1 – via Archive.org. Cited in \"Biggest Money Pictures\". Cinemaweb. Archived from the original on November 5, 2011. Retrieved June 25, 2015.\n
    67. \n
  67. ^ \"'Peter Pan' flies again\". Daily Record. Ellensburg, Washington. United Press International. July 21, 1989. p. 16.\n
    68. \n
  68. ^ Block & Wilson 2010, p. 237. \"By the end of 1938, it had grossed more than $8 million in worldwide rentals and was ranked at the time as the second-highest-grossing film after the 1925 epic Ben-Hur\".\n
    69. \n
  69. ^ Finler 2003, p. 47. \"Walt Disney took a big risk when he decided to invest $1.5 million in his first feature-length animated film, Snow White and the Seven Dwarfs. It became the biggest hit of the sound era and the largest-grossing movie since The Birth of a Nation \u2013 until the release of independent producer David O. Selznick's Gone with the Wind just two years later.\"\n
    70. \n
  70. ^ Barrios, Richard (1995). A Song in the Dark: The Birth of the Musical Film. Oxford University Press. p. 49. ISBN 978-0-19-508811-3. Since it's rarely seen today, The Singing Fool is frequently confused with The Jazz Singer; although besides Jolson and a pervasively maudlin air the two have little in common. In the earlier film Jolson was inordinately attached to his mother and sang \"Mammy\"; here the fixation was on his young son, and \"Sonny Boy\" became an enormous hit. So did the film, which amassed a stunning world-wide gross of $5.9 million...Some sources give it as the highest gross of any film in its initial release prior to Gone with the Wind. This is probably overstating it\u2014MGM's records show that Ben-Hur and The Big Parade grossed more, and no one knows just how much The Birth of a Nation brought in. Still, by the standards of the time it's an amazing amount.\n
    71. \n
  71. ^ Everson, William K. (1998) [First published 1978]. American silent film. Da Capo Press. p. 374. ISBN 978-0-306-80876-0. Putting The Birth of a Nation in fifth place is open to question, since it is generally conceded to be the top-grossing film of all time. However, it has always been difficult to obtain reliable box-office figures for this film, and it may have been even more difficult in the mid-1930s. After listing it until the mid-1970s as the top-grosser, though finding it impossible to quote exact figures, Variety, the trade journal, suddenly repudiated the claim but without giving specific details or reasons. On the basis of the number of paid admissions, and continuous exhibition, its number one position seems justified.\n
    72. \n
  72. ^ Hall & Neale 2010, p. 163. \"MGM's silent Ben-Hur, which opened at the end of 1925, had out-grossed all the other pictures released by the company in 1926 combined. With worldwide rentals of $9,386,000 on first release it was, with the sole possible exception of The Birth of a Nation, the highest-earning film of the entire silent era.\"\n
    73. \n
  73. ^ a b du Brow, Rick (September 22, 1965). \"Documentary On The Klan Made Quite An Impact On Du Brow\". The Columbus Dispatch. p. 12.\n
    74. \n
  74. ^ Hodgkinson, Will (April 12, 2004). \"Culture quake: The Birth of a Nation\". The Daily Telegraph. Archived from the original on January 10, 2022. Retrieved January 31, 2012.\n
    75. \n
  75. ^ Thomas, Bob (January 18, 1963). \"'West Side Story' Earned $19 Million Last Year\". Reading Eagle. Associated Press. p. 20.\n
    76. \n
  76. ^ Klopsch, Louis; Sandison, George Henry; Talmage, Thomas De Witt (1965). Christian Herald. Vol. 88. p. 68. Yet \"The Ten Commandments\" has earned 58 million dollars in film rentals and is expected to bring in 10 to 15 million each year it is reissued.\n
    77. \n
  77. ^ Hall & Neale 2010, pp. 160\u2013161. \"General release began at normal prices in 1959 and continued until the end of the following year, when the film was temporarily withdrawn (the first of several reissues came in 1966). The worldwide rental by this time was around $60 million. In the domestic market it dislodged Gone with the Wind from the number one position on Variety's list of All-Time Rentals Champs. GWTW had hitherto maintained its lead through several reissues (and was soon to regain it through another in 1961).\"\n
    78. \n
  78. ^ Oviatt, Ray (April 16, 1961). \"The Memory Isn't Gone With The Wind\". Toledo Blade. p. 67\u201368.\n
    79. \n
  79. ^ \"Ben-Hur (1959) \u2013 Notes\". Turner Classic Movies. Retrieved November 17, 2012.\n
    80. \n
  80. ^ Thomas, Bob (August 1, 1963). \"Movie Finances Are No Longer Hidden From Scrutiny\". The Robesonian. Associated Press. p. 10.\n
    81. \n
  81. ^ Block & Wilson 2010, p. 324. \"Worldwide rentals: $66.1 million (initial release)\"\n
    82. \n
  82. ^ Washington (AP) (September 13, 1984). \"'Deep Throat' star against pornography\". The Free Lance\u2013Star. p. 12.\n
    83. \n
  83. ^ Hiltzik, Michael (February 24, 2005). \"'Deep Throat' Numbers Just Don't Add Up\". Los Angeles Times. Retrieved February 2, 2012.\n
    84. \n
  84. ^ Memphis (UPI) (May 1, 1976). \"'Deep Throat' Defendant Found Guilty of Conspiring\". The Palm Beach Post. p. A2.\n
    85. \n
  85. ^ Ebert, Roger (February 11, 2005). \"Inside Deep Throat\". rogerebert.com. Chicago Sun-Times. Archived from the original on June 6, 2011. Retrieved February 2, 2012.\n
    86. \n
  86. ^ Bartel, Pauline (1989). The Complete Gone with the Wind Trivia Book: The Movie and More. Taylor Trade Publishing. p. 127. ISBN 978-0-87833-619-7. At the end of the 1941 general release, MGM decided to withdraw GWTW again. The prints were battered, but the studio believed one final fling for GWTW was possible. The film returned to movie theaters for the third time in the spring of 1942 and stayed in release until late 1943 ... When MGM finally pulled the film from exhibition, all worn-out prints were destroyed, and GWTW was at last declared out of circulation. MGM, which by then had sole ownership of the film, announced that GWTW had grossed over $32 million.\n
    87. \n
  87. ^ Dick, Bernard F. (1997). City of Dreams: The Making and Remaking of Universal Pictures. University Press of Kentucky. p. 168. ISBN 978-0-8131-2016-4. Jaws (1975) saved the day, grossing $104 million domestically and $132 million worldwide by January 1976.\n
    88. \n
  88. ^ Kilday, Gregg (July 5, 1977). \"Director of 'Jaws II' Abandons His 'Ship'\". The Victoria Advocate. p. 6B.\n
    89. \n
  89. ^ New York (AP) (May 26, 1978). \"Scariness of Jaws 2 unknown quantity\". The StarPhoenix. p. 21.\n
    90. \n
  90. ^ Fenner, Pat C. (January 16, 1978). \"Independent Action\". Evening Independent. p. 11-A.\n
    91. \n
  91. ^ Cook, David A. (2002). Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970\u20131979. Vol. 9 of History of the American Cinema, Charles Harpole. University of California Press. p. 50. ISBN 978-0-520-23265-5. The industry was stunned when Star Wars earned nearly $3 million in its first week and by the end of August had grossed $100 million; it played continuously throughout 1977\u20131978, and was officially re-released in 1978 and 1979, by the end of which it had earned $262 million in rentals worldwide to become the top-grossing film of all time \u2013 a position it would maintain until surpassed by Universal's E.T.: The Extra-Terrestrial in January 1983.\n
    92. \n
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\n

Box office sources

\n
\n
    \n
  1. ^ a b c d \"Avatar (2009)\". Box Office Mojo. Retrieved March 21, 2023. Worldwide: $2,923,706,026; Original Release: $2,743,577,587; 2010 Special Edition: $44,838,548; 2020 Re-release: $1,281,204; 2021 Re-release: $57,995,770; 2022 Re-release: $76,012,917\n
    2. \n
  2. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on November 3, 2010.\n
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  3. ^ a b c \"Avengers: Endgame (2019)\". Box Office Mojo. Archived from the original on January 7, 2023. Retrieved March 13, 2021.\n
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  4. ^ a b c d e \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on October 23, 2019.\n
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  5. ^ a b \"Avatar: The Way of Water (2022)\". Box Office Mojo. Archived from the original on December 19, 2022. Retrieved May 26, 2023.\n
    6. \n
  6. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on June 7, 2023.\n
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  7. ^ a b c Titanic\n\n
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  8. ^ a b \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on July 16, 2001.\n
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  9. ^ a b \"Star Wars: The Force Awakens (2015)\". Box Office Mojo. Archived from the original on November 8, 2019. Retrieved August 15, 2016.\n
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  10. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on April 5, 2016.\n
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  12. ^ a b c d \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on April 1, 2019.\n
    13. \n
  13. ^ a b \"Spider-Man: No Way Home (2021)\". Box Office Mojo. Archived from the original on July 29, 2022. Retrieved January 18, 2023. All Releases: $1,921,847,111; Original Release: $1,912,233,593\n
    14. \n
  14. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on July 29, 2022.\n
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  15. ^ \"Jurassic World (2015)\". Box Office Mojo. Archived from the original on March 8, 2021. Retrieved March 7, 2022.\n
    16. \n
  16. ^ a b \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on November 26, 2015.\n
    17. \n
  17. ^ \"The Lion King\". Box Office Mojo. Archived from the original on November 25, 2020. Retrieved January 8, 2020.\n
    18. \n
  18. ^ a b \"The Avengers (2012)\". Box Office Mojo. Archived from the original on January 6, 2023. Retrieved January 18, 2023.\n
    19. \n
  19. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on October 1, 2012.\n
    20. \n
  20. ^ \"Furious 7 (2015)\". Box Office Mojo. Archived from the original on November 2, 2019. Retrieved January 9, 2023.\n
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  21. ^ a b \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on June 26, 2015.\n
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  22. ^ \"Top Gun: Maverick (2022)\". Box Office Mojo. Archived from the original on June 17, 2022. Retrieved June 8, 2023.\n
    23. \n
  23. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on December 29, 2022.\n
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  24. ^ \"Frozen II\". Box Office Mojo. Archived from the original on August 12, 2019. Retrieved March 26, 2020.\n
    25. \n
  25. ^ a b c \"Top Lifetime Grosses \u2013 Worldwide\". Box Office Mojo. Archived from the original on August 1, 2020.\n
    26. \n
  26. ^ a b \"Barbie (2023)\". Box Office Mojo. Archived from the original on August 9, 2023. Retrieved March 15, 2024.\n
    27. \n
  27. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on January 17, 2024.\n
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  28. ^ \"Avengers: Age of Ultron (2015)\". Box Office Mojo. Archived from the original on December 18, 2022. Retrieved January 8, 2022.\n
    29. \n
  29. ^ \"The Super Mario Bros. Movie (2023)\". Box Office Mojo. Archived from the original on April 5, 2023. Retrieved March 15, 2024.\n
    30. \n
  30. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on August 29, 2023.\n
    31. \n
  31. ^ \"Black Panther (2018)\". Box Office Mojo. Archived from the original on August 30, 2020. Retrieved October 29, 2018.\n
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  32. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on July 1, 2018.\n
    33. \n
  33. ^ a b Harry Potter and the Deathly Hallows \u2013 Part 2\n\n
    34. \n
  34. ^ a b \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on October 31, 2011.\n
    35. \n
  35. ^ a b \"Star Wars: The Last Jedi\". Box Office Mojo. Archived from the original on December 1, 2019. Retrieved May 21, 2018.\n
    36. \n
  36. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on April 27, 2018.\n
    37. \n
  37. ^ \"Jurassic World: Fallen Kingdom (2018)\". Box Office Mojo. Archived from the original on August 21, 2020. Retrieved January 12, 2019.\n
    38. \n
  38. ^ a b Frozen\n\n
    Total as of August 3, 2014: $247,650,477
    \n
    Total as of August 31, 2014: $249,036,646
    \n\n
    Total as of August 17, 2014: $167,333
    \n\n
    Total as of July 27, 2014: $21,668,593
    \n
    Total as of November 2, 2014: $22,492,845
    \n\n
    Total as of June 8, 2014: \u00a339,090,985
    \n
    Total as of November 30, 2014: \u00a340,960,083 ($1 = \u00a30.63866)
    \n
    Total as of December 7, 2014: \u00a341,087,765 ($1 = \u00a30.64136)
    \n
    Total as of December 14, 2014: \u00a341,170,608 ($1 = \u00a30.636)
    \n
    Total as of November 26, 2017: \u00a342,840,559 ($1 = \u00a30.7497)
    \n
    Total as of December 3, 2017: \u00a342,976,318 ($1 = \u00a30.742)
    \n\n
    Total as of March 30, 2014: \u20ac35,098,170
    \n
    Total as of October 18, 2015: \u20ac42,526,744\n
    nb. the exact euro to dollar conversion rate is unknown for earnings since April 2014, but the euro never fell below parity with the dollar during 2014 and 2015 (as can be verified by comparing the exchange rate on the individual date entries at the provided reference) so an approximate conversion rate of \u20ac1: $1 is used here to give a lower-bound.
    \n
    39. \n
  39. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on July 2, 2014.\n
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  49. ^ \"Aquaman (2018)\". Box Office Mojo. Archived from the original on June 17, 2023. Retrieved January 18, 2023.\n
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  55. ^ \"Transformers: Dark of the Moon (2011)\". Box Office Mojo. Archived from the original on November 2, 2019. Retrieved January 18, 2014.\n
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  71. ^ \"Aladdin (2019)\". Box Office Mojo. Archived from the original on June 17, 2019. Retrieved November 2, 2019.\n
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    73. \n
  73. ^ a b c Jurassic Park\n\n
    74. \n
  74. ^ Kr\u00e4mer, Peter (1999). \"Women First: Titanic, Action-Adventure Films, and Hollywood's Female Audience\". In Sandler, Kevin S.; Studlar, Gaylyn (eds.). Titanic: Anatomy of a Blockbuster. Rutgers University Press. pp. 108\u2013130. ISBN 978-0-8135-2669-0. On page 130, the list has Jurassic Park at number one with $913 million, followed by The Lion King...\n
    75. \n
  75. ^ \"Despicable Me 3 (2017)\". Box Office Mojo. Archived from the original on January 17, 2021. Retrieved January 18, 2023.\n
    76. \n
  76. ^ \"Finding Dory (2016)\". Box Office Mojo. Archived from the original on September 29, 2022. Retrieved January 18, 2023.\n
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  77. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on December 25, 2016.\n
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  78. ^ a b Star Wars Episode I: The Phantom Menace\n\n
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  79. ^ \"Alice in Wonderland (2010)\". Box Office Mojo. Archived from the original on November 2, 2019. Retrieved January 18, 2023.\n
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  81. ^ \"Zootopia (2016)\". Box Office Mojo. Archived from the original on December 11, 2020. Retrieved January 7, 2017.\n
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  82. ^ \"The Hobbit: An Unexpected Journey (2012)\". Box Office Mojo. Archived from the original on November 2, 2019. Retrieved December 7, 2022.\n
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  83. ^ \"All Time Worldwide Box Office\". Box Office Mojo. Archived from the original on April 2, 2013.\n
    84. \n
  84. ^ Monaco, James (2009). How to Read a Film:Movies, Media, and Beyond. Oxford University Press. p. 262. ISBN 978-0-19-975579-0. The Birth of a Nation, costing an unprecedented and, many believed, thoroughly foolhardy $110,000, eventually returned $20 million and more. The actual figure is hard to calculate because the film was distributed on a \"states' rights\" basis in which licenses to show the film were sold outright. The actual cash generated by The Birth of a Nation may have been as much as $50 million to $100 million, an almost inconceivable amount for such an early film.\n
    85. \n
  85. ^ a b Wasko, Janet (1986). \"D.W. Griffiths and the banks: a case study in film financing\". In Kerr, Paul (ed.). The Hollywood Film Industry: A Reader. Routledge. p. 34. ISBN 978-0-7100-9730-9. Various accounts have cited $15 to $18 million profits during the first few years of release, while in a letter to a potential investor in the proposed sound version, Aitken noted that a $15 to $18 million box-office gross was a 'conservative estimate'. For years Variety has listed The Birth of a Nation's total rental at $50 million. (This reflects the total amount paid to the distributor, not box-office gross.) This 'trade legend' has finally been acknowledged by Variety as a 'whopper myth', and the amount has been revised to $5 million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915\u20131919 at slightly more than $5.2 million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2 million.\n
    86. \n
  86. ^ Lang, Robert, ed. (1994). The Birth of a nation: D.W. Griffith, director. Rutgers University Press. p. 30. ISBN 978-0-8135-2027-8. The film eventually cost $110,000 and was twelve reels long.\n
    87. \n
  87. ^ Block & Wilson 2010, p. 26.\n
    • Cleopatra: \"Domestic Rentals: $0.5; Production Cost: $0.3 (Unadjusted $s in Millions of $s).\"
    \n
    88. \n
  88. ^ Birchard, Robert S. (2010), Intolerance, p. 45, Intolerance was the most expensive American film made up until that point, costing a total of $489,653, and its performance at the box ... but it did recoup its cost and end with respectable overall numbers. In: Block & Wilson 2010.\n
    89. \n
  89. ^ Coons, Robin (June 30, 1939). \"Hollywood Chatter\". The Daytona Beach News-Journal. p. 6.\n
    90. \n
  90. ^ Shipman, David (1970). The great movie stars: the golden years. Crown Publishing Group. p. 98. It was a low budgeter\u2014$120,000\u2014but it grossed world-wide over $3 million and made stars of Chaney and his fellow-players, Betty Compson and Thomas Meighan.\n
    91. \n
  91. ^ a b c d \"Biggest Money Pictures\". Variety. June 21, 1932. p. 1 – via Archive.org. Cited in \"Biggest Money Pictures\". Cinemaweb. Archived from the original on July 8, 2011. Retrieved July 14, 2011.\n
    92. \n
  92. ^ a b Solomon, Aubrey (2011). The Fox Film Corporation, 1915\u20131935: A History and Filmography. McFarland & Company. ISBN 978-0-7864-6286-5.\n
    • Way Down East: p. 52 Archived April 4, 2023, at the Wayback Machine. \"D.W. Griffith's Way Down East (1920) was projected to return rentals of $4,000,000 on an $800,000 negative. This figure was based on the amounts earned from its roadshow run, coupled with its playoff in the rest of the country's theaters. Griffith had originally placed the potential film rental at $3,000,000 but, because of the success of the various roadshows that were running the $4,000,000 total was expected. The film showed a profit of $615,736 after just 23 weeks of release on a gross of $2,179,613.\"
      • \n
    • What Price Glory?: p. 112 Archived April 4, 2023, at the Wayback Machine. \"What Price Glory hit the jackpot with massive world rentals of $2,429,000, the highest figure in the history of the company. Since it was also the most expensive production of the year at $817,000 the profit was still a healthy $796,000...\"
      • \n
    • Cavalcade: p. 170 Archived April 4, 2023, at the Wayback Machine. \"The actual cost of Cavalcade was $1,116,000 and it was most definitely not guaranteed a success. In fact, if its foreign grosses followed the usual 40 percent of domestic returns, the film would have lost money. In a turnaround, the foreign gross was almost double the $1,000,000 domestic take to reach total world rentals of $3,000,000 and Fox's largest profit of the year at $664,000.\"
      • \n
    • State Fair: p. 170 Archived April 4, 2023, at the Wayback Machine. \"State Fair did turn out to be a substantial hit with the help of Janet Gaynor boosting Will Rogers back to the level of money-making star. Its prestige engagements helped raked in a total $1,208,000 in domestic rentals. Surprisingly, in foreign countries unfamiliar with state fairs, it still earned a respectable $429,000. With its total rentals, the film ended up showing a $398,000 profit.\"
    \n
    93. \n
  93. ^ Hall & Neale 2010, p. 53. \"The Four Forsemen of the Apocalypse was to become Metro's most expensive production and one of the decade's biggest box-office hits. Its production costs have been estimated at \"something between $600,000 and $800,000.\" Variety estimated its worldwide gross at $4 million in 1925 and at $5 million in 1944; in 1991, it estimated its cumulative domestic rentals at $3,800,000.\"\n
    94. \n
  94. ^ Brownlow, Kevin (1968). The parade's gone by . University of California Press. p. 255. ISBN 978-0-520-03068-8. The negative cost was about $986,000, which did not include Fairbanks' own salary. Once the exploitation and release prints were taken into account, Robin Hood cost about $1,400,000\u2014exceeding both Intolerance ($700,000) and the celebrated \"million dollar movie\" Foolish Wives. But it earned $2,500,000.\n
    95. \n
  95. ^ Vance, Jeffrey (2008). Douglas Fairbanks. University of California Press. p. 146. ISBN 978-0-520-25667-5. The film had a production cost of $930,042.78\u2014more than the cost of D.W. Griffith's Intolerance and nearly as much as Erich von Stroheim's Foolish Wives (1922).\n
    96. \n
  96. ^ a b \"Business: Film Exports\". Time. July 6, 1925. Archived from the original on November 5, 2010. Retrieved July 12, 2011.\n
    97. \n
  97. ^ a b c d e Birchard, Robert S. (2009). Cecil B. DeMille's Hollywood. University Press of Kentucky. ISBN 978-0-8131-3829-9.\n\n
    98. \n
  98. ^ May, Richard P. (Fall 2005), \"Restoring The Big Parade\", The Moving Image, 5 (2): 140\u2013146, doi:10.1353/mov.2005.0033, ISSN 1532-3978, S2CID 192076406, ...earning somewhere between $18 and $22 million, depending on the figures consulted\n
    99. \n
  99. ^ Robertson, Patrick (1991). Guinness Book of Movie Facts and Feats (4 ed.). Abbeville Publishing Group. p. 30. ISBN 978-1-55859-236-0. The top grossing silent film was King Vidor's The Big Parade (US 25), with worldwide rentals of $22 million.\n
    100. \n
  100. ^ Hall & Neale 2010, pp. 58\u201359. \"Even then, at a time when the budget for a feature averaged at around $300,000, no more than $382,000 was spent on production...According to the Eddie Mannix Ledger at MGM, it grossed $4,990,000 domestically and $1,141,000 abroad.\"\n
    101. \n
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    102. \n
  102. ^ Hall & Neale 2010, p. 163. \"MGM's silent Ben-Hur, which opened at the end of 1925, had out-grossed all the other pictures released by the company in 1926 combined. With worldwide rentals of $9,386,000 on first release it was, with the sole possible exception of The Birth of a Nation, the highest-earning film of the entire silent era. (At a negative cost of $3,967,000, it was also the most expensive.)\"\n
    103. \n
  103. ^ Miller, Frank. \"For Heaven's Sake (1926) \u2013 Articles\". Turner Classic Movies. Archived from the original on July 24, 2019. Retrieved January 15, 2012.\n
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  104. ^ Finler 2003, p. 188. \"At a cost of $2 million Wings was the studio's most expensive movie of the decade, and though it did well it was not good enough to earn a profit.\"\n
    105. \n
  105. ^ a b The Jazz Singer and The Singing Fool\n
    • Block, Hayley Taylor (2010), The Jazz Singer, p. 113, The film brought in $2.6 million in worldwide rentals and made a net profit of $1,196,750. Jolson's follow-up Warner Bros. film, The Singing Fool (1928), brought in over two times as much, with $5.9 in worldwide rentals and a profit of $3,649,000, making them two of the most profitable films in the 1920s. In: Block & Wilson 2010.
    \n
    106. \n
  106. ^ Crafton, Donald (1999). The Talkies: American Cinema's Transition to Sound, 1926\u20131931. University of California Press. pp. 549\u2013552. ISBN 978-0-520-22128-4. The Singing Fool: Negative Cost ($1000s): 388\n
    107. \n
  107. ^ Birchard, Robert S. (2010), The Broadway Melody, p. 121, It earned $4.4 million in worldwide rentals and was the first movie to spawn sequels (there were several until 1940). In: Block & Wilson 2010.\n
    108. \n
  108. ^ Bradley, Edwin M. (2004) [1st. pub. 1996]. The First Hollywood Musicals: A Critical Filmography of 171 Features, 1927 Through 1932. McFarland & Company. ISBN 978-0-7864-2029-2.\n
    • The Singing Fool: p. 12 Archived April 4, 2023, at the Wayback Machine. \"Ego aside, Jolson was at the top of his powers in The Singing Fool. The $150,000 Warner Bros. paid him to make it, and the $388,000 it took to produce the film, were drops in the hat next to the film's world gross of $5.9 million. Its $3.8-million gross in this country set a box-office record that would not be surpassed until Walt Disney's Snow White and the Seven Dwarfs (1937).\"
      • \n
    • The Broadway Melody: p. 24 Archived April 4, 2023, at the Wayback Machine. \"The Broadway Melody with a negative cost of $379,000, grossed $2.8 million in the United States, $4.8 million worldwide, and made a recorded profit of $1.6 million for MGM.\"
      • \n
    • Gold Diggers of Broadway: p. 58 Archived April 4, 2023, at the Wayback Machine. \"It grossed an impressive $2.5 million domestically and nearly $4 million worldwide.\"
    \n
    109. \n
  109. ^ a b c Solomon, Aubrey (2002) [First published 1988]. Twentieth Century-Fox: a corporate and financial history. Filmmakers series. Vol. 20. Rowman & Littlefield. ISBN 978-0-8108-4244-1.\n\n
    • Sunny Side Up: p. 10 Archived February 10, 2024, at the Wayback Machine. \"Sunny Side Up, a musical starring Janet Gaynor and Charles Farrell, showed domestic rentals of $3.5 million, a record for the company.\"
      • \n
    • Forever Amber: p. 66 Archived November 7, 2023, at the Wayback Machine. \"On the surface, with world rentals of $8 million, Forever Amber was considered a hit at distribution level.\"
      • \n
    • The French Connection
    \n\n
    p. 167 Archived November 7, 2023, at the Wayback Machine. \"The Planet of the Apes motion pictures were all moneymakers and Zanuck's record would have immediately improved had he stayed through the release of The French Connection, which took in rentals of approximately $75 million worldwide.\"
    \n
    p. 256 Archived November 7, 2023, at the Wayback Machine. \"$3,300,00\".
    \n
    110. \n
  110. ^ Block & Wilson 2010, p. 46. \"Production Cost: $0.6 (Unadjusted $s in Millions of $s).\"\n
    111. \n
  111. ^ Cormack, Mike (1993). Ideology and Cinematography in Hollywood, 1930\u20131939. Palgrave Macmillan. p. 28. ISBN 978-0-312-10067-4. Although costing $1250000\u2014a huge sum for any studio in 1929\u2014the film was a financial success. Karl Thiede gives the domestic box-office at $1500000, and the same figure for the foreign gross.\n
    112. \n
  112. ^ a b Balio, Tino (1996). Grand Design: Hollywood as a Modern Business Enterprise, 1930\u20131939. Vol. 5 of History of the American Cinema. University of California Press. ISBN 978-0-520-20334-1.\n
    • Cavalcade: p. 182 Archived April 4, 2023, at the Wayback Machine. \"Produced by Winfield Sheehan at a cost of $1.25 million, Cavalcade won Academy Awards for best picture, director, art direction and grossed close to $4 million during its first release, much of which came from Great Britain and the Empire.\"
      • \n
    • Whoopee: p. 212 Archived April 4, 2023, at the Wayback Machine. \"Produced by Sam Goldwyn at a cost of $1 million, the picture was an adaptation of a smash musical comedy built around Eddie Cantor...A personality-centered musical, Whoopee! made little attempt to integrate the comedy routines, songs, and story. Nonetheless, Cantor's feature-film debut grossed over $2.6 million worldwide and started a popular series that included Palmy Days (1931), The Kid from Spain (1932), and Roman Scandals (1933).\"
    \n
    113. \n
  113. ^ Hell's Angels\n
    • Balio, Tino (1976). United Artists: The Company Built by the Stars. University of Wisconsin Press. p. 110. Hughes did not have the \"Midas touch\" the trade press so often attributed to him. Variety, for example, reported that Hell's Angels cost $3.2 million to make, and by July, 1931, eight months after its release, the production cost had nearly been paid off. Keats claimed the picture cost $4 million to make and that it earned twice that much within twenty years. The production cost estimate is probably correct. Hughes worked on the picture for over two years, shooting it first as a silent and then as a talkie. Lewis Milestone said that in between Hughes experimented with shooting it in color as well. But Variety's earnings report must be the fabrication of a delirious publicity agent, and Keats' the working of a myth maker. During the seven years it was in United Artists distribution, Hell's Angels grossed $1.6 million in the domestic market, of which Hughes' share was $1.2 million. Whatever the foreign gross was, it seems unlikely that it was great enough to earn a profit for the picture.
    \n
    114. \n
  114. ^ Feaster, Felicia. \"Frankenstein (1931)\". Turner Classic Movies. Archived from the original on December 21, 2014. Retrieved July 4, 2011.\n
    115. \n
  115. ^ Block & Wilson 2010, p. 163. \"It drew $1.4 million in worldwide rentals in its first run versus $1.2 million for Dracula, which had opened in February 1931.\"\n
    116. \n
  116. ^ Vance, Jeffrey (2003). Chaplin: genius of the cinema. Abrams Books. p. 208. Chaplin's negative cost for City Lights was $1,607,351. The film eventually earned him a worldwide profit of $5 million ($2 million domestically and $3 million in foreign distribution), an enormous sum of money for the time.\n
    117. \n
  117. ^ Ramsaye, Terry, ed. (1937). \"The All-Time Best Sellers \u2013 Motion Pictures\". International Motion Picture Almanac 1937\u201338: 942\u2013943. Kid from Spain: $2,621,000 (data supplied by Eddie Cantor)\n
    118. \n
  118. ^ a b c d Sedgwick, John (2000). Popular Filmgoing In 1930s Britain: A Choice of Pleasures. University of Exeter Press. pp. 146\u2013148. ISBN 978-0-85989-660-3. Sources: Eddie Mannix Ledger, made available to the author by Mark Glancy...\n
    • Grand Hotel: Production Cost $000s: 700; Distribution Cost $000s: 947; U.S. box-office $000s: 1,235; Foreign box-office $000s: 1,359; Total box-office $000s: 2,594; Profit $000s: 947.
      • \n
    • The Merry Widow: Production Cost $000s: 1,605; Distribution Cost $000s: 1,116; U.S. box-office $000s: 861; Foreign box-office $000s: 1,747; Total box-office $000s: 2,608; Profit $000s: -113.
      • \n
    • Viva Villa: Production Cost $000s: 1,022; Distribution Cost $000s: 766; U.S. box-office $000s: 941; Foreign box-office $000s: 934; Total box-office $000s: 1,875; Profit $000s: 87.
      • \n
    • Mutiny on the Bounty: Production Cost $000s: 1,905; Distribution Cost $000s: 1,646; U.S. box-office $000s: 2,250; Foreign box-office $000s: 2,210; Total box-office $000s: 4,460; Profit $000s: 909.
      • \n
    • San Francisco: Production Cost $000s: 1,300; Distribution Cost $000s: 1,736; U.S. box-office $000s: 2,868; Foreign box-office $000s: 2,405; Total box-office $000s: 5,273; Profit $000s: 2,237.
    \n
    119. \n
  119. ^ Shanghai Express\n
    • Block & Wilson 2010, p. 165. \"Shanghai Express was Dietrich's biggest hit in America, bringing in $1.5 million in worldwide rentals.\"
    \n
    120. \n
  120. ^ King Kong\n
    • Jewel, Richard (1994). \"RKO Film Grosses: 1931\u20131951\". Historical Journal of Film, Radio and Television. 14 (1): 39. 1933 release: $1,856,000; 1938 release: $306,000; 1944 release: $685,000
      • \n
    • \"King Kong (1933) \u2013 Notes\". Turner Classic Movies. Archived from the original on November 17, 2015. Retrieved January 7, 2012. 1952 release: $2,500,000; budget: $672,254.75
    \n
    121. \n
  121. ^ \"I'm No Angel (1933) \u2013 Notes\". Turner Classic Movies. Archived from the original on December 17, 2019. Retrieved January 7, 2012. According to a modern source, it had a gross earning of $2,250,000 on the North American continent, with over a million more earned internationally.\n
    122. \n
  122. ^ Finler 2003, p. 188. \"The studio released its most profitable pictures of the decade in 1933, She Done Him Wrong and I'm No Angel, written by and starring Mae West. Produced at a rock-bottom cost of $200,000 each, they undoubtedly helped Paramount through the worst patch in its history...\"\n
    123. \n
  123. ^ Block, Alex Ben (2010), She Done Him Wrong, p. 173, The worldwide rentals of over $3 million keep the lights on at Paramount, which did not shy away from selling the movie's sex appeal. In: Block & Wilson 2010.\n
    124. \n
  124. ^ Phillips, Kendall R. (2008). Controversial Cinema: The Films That Outraged America. ABC-CLIO. p. 26. ISBN 978-1-56720-724-8. The reaction to West's first major film, however, was not exclusively negative. Made for a mere $200,000, the film would rake in a healthy $2 million in the United States and an additional million in overseas markets.\n
    125. \n
  125. ^ Block & Wilson 2010, p. 135. \"Total production cost: $274,076 (Unadjusted $s).\"\n
    126. \n
  126. ^ a b Turk, Edward Baron (2000) [1st. pub. 1998]. Hollywood Diva: A Biography of Jeanette MacDonald. University of California Press. ISBN 978-0-520-22253-3.\n
    • The Merry Widow: p. 361 Cost: $1,605,000. Earnings: domestic $861,000; foreign $1,747,000; total $2,608,000. Loss: $113,000.
      • \n
    • San Francisco: p. 364 Cost: $1,300,000. Earnings: domestic $2,868,000; foreign $2,405,000; total $5,273,000. Profit: $2,237,000. [Reissues in 1938\u201339 and 1948\u201349 brought profits of $124,000 and $647,000 respectively.]
    \n
    127. \n
  127. ^ \"Wall St. Researchers' Cheery Tone\". Variety. November 7, 1962. p. 7.\n
    128. \n
  128. ^ Dick, Bernard F. (2008). Claudette Colbert: She Walked in Beauty. University Press of Mississippi. p. 79. ISBN 978-1-60473-087-6. Although Columbia's president, Harry Cohn, had strong reservations about It Happened One Night, he also knew that it would not bankrupt the studio; the rights were only $5,000, and the budget was set at $325,000, including the performers' salaries.\n
    129. \n
  129. ^ Snow White and the Seven Dwarfs\n\n
    130. \n
  130. ^ a b Snow White and the Seven Dwarfs and Pinocchio\n\n
    p. 207 Archived April 4, 2023, at the Wayback Machine. \"When the budget rose from $250,000 to $1,488,423 he even mortgaged his own home and automobile. Disney had bet more than his company on the success of Snow White.\"
    \n
    p. 237 Archived April 4, 2023, at the Wayback Machine. \"By the end of 1938, it had grossed more than $8 million in worldwide rentals and was ranked at the time as the second-highest-grossing film after the 1925 epic Ben-Hur\".
    \n
    p. 255 Archived April 3, 2023, at the Wayback Machine. \"On its initial release Pinocchio brought in only $1.6 million in domestic rentals (compared with Snow White's $4.2 million) and $1.9 million in foreign rentals (compared with Snow White's $4.3 million).\"
    \n
    131. \n
  131. ^ 1938\n
    • You Can't Take It with You:\"You Can't Take It With You Premieres\". Focus Features. Archived from the original on September 13, 2012. You Can't Take It With You received excellent reviews, won Best Picture and Best Director at the 1938 Academy Awards, and earned over $5 million worldwide.
      • \n
    • Boys Town: Block, Alex Ben (2010), Boys Town, p. 215, The film quickly became a smash nationwide, making a profit of over $2 million on worldwide rentals of $4 million. In: Block & Wilson 2010.
      • \n
    • The Adventures of Robin Hood: Glancy, H. Mark (1995). \"Warner Bros Film Grosses, 1921\u201351: the William Schaefer ledger\". Historical Journal of Film, Radio and Television. 1 (15): 55\u201360. doi:10.1080/01439689500260031. $3.981 million.
      • \n
    • Alexander's Ragtime Band: Block, Hayley Taylor (2010), Alexander's Ragtime Band, p. 213, Once the confusion cleared, however, the film blossomed into a commercial success, with a profit of $978,000 on worldwide rentals of $3.6 million. In: Block & Wilson 2010.
    \n
    132. \n
  132. ^ Chartier, Roy (September 6, 1938). \"You Can't Take It With You\". Variety. Archived from the original on September 13, 2012. Retrieved September 13, 2011.\n
    133. \n
  133. ^ \"Gone with the Wind\". The Numbers. Nash Information Services. LLC. Archived from the original on February 1, 2013. Retrieved February 8, 2013.\n
    134. \n
  134. ^ \"Gone with the Wind\". Boxoffice. Archived from the original on December 25, 2018. Retrieved May 29, 2016.\n
    135. \n
  135. ^ a b Miller, Frank; Stafford, Jeff (January 5, 2007). \"Gone With the Wind (1939) \u2013 Articles\". Turner Classic Movies. Archived from the original on July 28, 2013.\n
    136. \n
  136. ^ Gone with the Wind at Box Office Mojo\n
    137. \n
  137. ^ Hall & Neale 2010, p. 283 .\"The final negative cost of Gone with the Wind (GWTW) has been variously reported between $3.9 million and $4.25 million.\"\n
    138. \n
  138. ^ \"Pinocchio (1940)\". Boxoffice. Archived from the original on May 30, 2016. Retrieved May 29, 2016.\n
    139. \n
  139. ^ Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. New York: Oxford University Press. p. 266. ISBN 978-0-19-983922-3. The film's negative cost was $2.6 million, more than $1 million higher than Snow White's.\n
    140. \n
  140. ^ Schatz, Thomas (1999) [1st. pub. 1997]. Boom and Bust: American Cinema in the 1940s. Vol. 6 of History of the American Cinema. University of California Press. p. 466. ISBN 978-0-520-22130-7. Boom Town ($4.6 million).\n
    141. \n
  141. ^ Block & Wilson 2010, pp. 258\u2013259. \"Production Cost: $2.1 (Unadjusted $s in Millions of $s) ... Boom Town was the biggest moneymaker of 1940 and one of the top films of the decade.\"\n
    142. \n
  142. ^ Block & Wilson 2010, p. 267. \"With worldwide rentals of $7.8 million in its initial release, the movie made a net profit of over $3 million.\"\n
    143. \n
  143. ^ Finler 2003, p. 301. \"The studio did particularly well with its war-related pictures, such as Sergeant York (1941), which cost $1.6 million but was the studio's biggest hit of the decade aside from This is the Army (1943), the Irving Berlin musical for which the profits were donated to the Army Emergency Relief fund.\"\n
    144. \n
  144. ^ \"Bambi\". Boxoffice. Archived from the original on May 30, 2016. Retrieved May 29, 2016.\n
    145. \n
  145. ^ Block & Wilson 2010, p. 281. \"Worldwide rentals of $3,449,353 barely recouped the film's nearly $2 million production cost.\"\n
    146. \n
  146. ^ a b c d Block & Wilson 2010, pp. 712\u2013713.\n
    • Bambi: \"Worldwide Box Office: $266.8; Production Cost: $1.7 (Millions of $s)\"
      • \n
    • 101 Dalmatians: \"Worldwide Box Office: $215.0; Production Cost: $3.6 (Millions of $s)\"
      • \n
    • The Jungle Book: \"Worldwide Box Office: $170.8\"; Production Cost: $3.9 (Millions of $s)\"
      • \n
    • Aladdin: \"Worldwide Box Office: $505.1\"; Production Cost: $28.0 (Millions of $s)\"
    \n
    147. \n
  147. ^ Glancy, Mark (1999). When Hollywood Loved Britain: The Hollywood 'British' Film 1939\u20131945. Manchester University Press. pp. 94\u201395. ISBN 978-0-7190-4853-1. Mrs Miniver was a phenomenon. It was the most popular film of the year (from any studio) in both North America and Britain, and its foreign earnings were three times higher than those of any other MGM film released in the 1941\u201342 season. The production cost ($1,344,000) was one of the highest of the season, indicating the studio never thought of the film as a potential loss-maker. When the film earned a worldwide gross of $8,878,000, MGM had the highest profit ($4,831,000) in its history. Random Harvest nearly matched the success of Mrs Miniver with worldwide earnings of $8,147,000 yielding the second-highest profit in MGM's history ($4,384,000). Random Harvest was also the most popular film of the year in Britain, where it proved to be even more popular than Britain's most acclaimed war film, In Which We Serve.\n
    148. \n
  148. ^ Block & Wilson 2010\n
    • Mrs. Miniver: Burns, Douglas (2010), Mrs. Miniver, p. 279, Mrs. Miniver's galvanizing effect on Americans spawned a record-breaking ten-week run at Radio City Music Hall and garnered a $5.4 million take in domestic rentals (making Mrs. Miniver 1942's top grosser), with a $4.8 million profit on worldwide rentals of $8.9 million.
      • \n
    • Yankee Doodle Dandy: p. 275 Archived April 4, 2023, at the Wayback Machine. \"It became the second biggest box-office hit of 1942 (after Mrs. Miniver) and was praised by critics, making a profit of $3.4 million on worldwide rentals of $6.5 million.\"
    \n
    149. \n
  149. ^ McAdams, Frank (2010), For Whom the Bell Tolls, p. 287, Despite the early furor over the novel being \"pro-red and immoral,\" the film opened to strong and favorable reviews and brought in $11 million in worldwide rentals in its initial release. In: Block & Wilson 2010.\n
    150. \n
  150. ^ \"For Whom the Bell Tolls (1943) \u2013 Notes\". Turner Classic Movies. Archived from the original on July 24, 2019. Retrieved June 24, 2012.\n
    151. \n
  151. ^ a b \"A Guy Named Joe (1944) \u2013 Notes\". Turner Classic Movies. Archived from the original on December 17, 2019. Retrieved August 29, 2012. According to M-G-M studio records at the AMPAS Library, the film had a negative cost of $2,627,000 and took in $5,363,000 at the box office. When the picture was re-issued for the 1955\u201356 season, it took in an additional $150,000.\n
    152. \n
  152. ^ Bergreen, Laurence (Summer 1996). \"Irving Berlin: This Is the Army\". Prologue. 28 (2). Part 3. Archived from the original on August 11, 2019. Retrieved August 22, 2012.\n
    153. \n
  153. ^ \"This Is the Army (1943) \u2013 Notes\". Turner Classic Movies. Archived from the original on July 15, 2015. Retrieved July 9, 2011.\n
    154. \n
  154. ^ a b c d e f g Finler 2003, pp. 356\u2013363\n
    155. \n
  155. ^ Block & Wilson 2010, p. 420. \"(Unadjusted $s) in Millions of $s \u2013 Production Cost: $1.0\"\n
    156. \n
  156. ^ a b Block & Wilson 2010, p. 232.\n
    • Mrs. Miniver: \"Domestic Rentals: $5,358,000; Foreign Rentals: $3,520,000 (Unadjusted $s)\"
      • \n
    • Meet Me in St. Louis: \"Domestic Rentals: $5,016,000; Foreign Rentals: $1,623,630 (Unadjusted $s)\"
      • \n
    • Easter Parade: \"Domestic Rentals: $4,144,000; Foreign Rentals: $1,774,134 (Unadjusted $s)\"
    \n
    157. \n
  157. ^ Schaefer, Eric (1999). \"Bold! Daring! Shocking! True!\": A History of Exploitation Films, 1919\u20131959. Duke University Press. pp. 197\u2013199. ISBN 978-0-8223-2374-7. Leading the pack of postwar sex hygiene films was Mom and Dad (1944), which would become not only the most successful sex hygiene film in history but the biggest pre-1960 exploitation film of any kind. At the end of 1947, the Los Angeles Times reported that Mom and Dad had grossed $2 million. By 1949 Time had estimated that Mom and Dad had taken in $8 million from twenty million moviegoers. And publicity issuing from Mom and Dad's production company indicated that by the end of 1956 it had grossed over $80 million worldwide. Net rentals of around $22 million by 1956 would easily place it in the top ten films of the late 1940s and early 1950s had it appeared on conventional lists. Some estimates have placed its total gross over the years at up to $100 million, and it was still playing drive-in dates into 1975...The film was made for around $65,000 with a crew of Hollywood veterans including director William \"One Shot\" Beaudine, cinematographer Marcel LePicard, and a cast that sported old stalwarts Hardie Albright, Francis Ford, and John Hamilton.\n
    158. \n
  158. ^ Block & Wilson 2010\n
    • p. 296 Archived April 4, 2023, at the Wayback Machine. \"Production Cost: $1.6 (Unadjusted $s in Millions of $s)\"
      • \n
    • Wasson, Sam (2010), The Bells of St. Mary's, p. 297, This was that rare sequel that did even better at the box office than the original, bringing in a $3.7 million profit on $11.2 million in worldwide rentals.
    \n
    159. \n
  159. ^ \"Song of the South\". The Numbers. Nash Information Services. LLC. Archived from the original on September 3, 2011. Retrieved July 10, 2011.\n
    160. \n
  160. ^ Gabler, Neal (2007). Walt Disney: the biography. Aurum Press. pp. 438. Still, the film wound up grossing $3.3 million...\n
    161. \n
  161. ^ \"Song of the South (1946) \u2013 Notes\". Turner Classic Movies. Archived from the original on July 24, 2019. Retrieved July 25, 2012.\n
    162. \n
  162. ^ Hall & Neale 2010\n
    • p. 132 Archived April 3, 2023, at the Wayback Machine.\"Best Years was considerably cheaper, costing only $2.1 million, and therefore vastly more profitable.\"
      • \n
    • p. 286 Archived April 3, 2023, at the Wayback Machine (note 6.70). \"Worldwide rentals for The Best Years of Our Lives amounted to $14,750,000.\"
    \n
    163. \n
  163. ^ Burns, Douglas (2010), The Best years of Our Lives, p. 301, The film made a $5 million profit on worldwide rentals of $14.8 million. In: Block & Wilson 2010.\n
    164. \n
  164. ^ a b Hall & Neale 2010, p. 285 (note 6.56). \"The cost of Duel in the Sun has been reported as both $5,255,000 (Haver, David O'Selznick's Hollywood, 361) and $6,480,000 (Thomson, Showman: The Life of David O'Selznick, 472); the latter figure may include distribution expenses. Forever Amber cost $6,375,000 (Solomon, Twentieth Century-Fox: A Corporate and Financial History, 243).\"\n
    165. \n
  165. ^ Chopra-Gant, Mike (2006). Hollywood Genres and Post-war America: Masculinity, Family and Nation in Popular Movies and Film Noir. I.B. Tauris. p. 18. ISBN 978-1-85043-815-1. Forever Amber: $8 million; Unconquered: $7.5 million; Life with Father: $6.25 million\n
    166. \n
  166. ^ \"Unconquered (1947) \u2013 Notes\". Turner Classic Movies. Archived from the original on July 15, 2015. Retrieved January 10, 2012.\n
    167. \n
  167. ^ Miller, Frank. \"Easter Parade (1948) \u2013 Articles\". Turner Classic Movies. Archived from the original on July 24, 2019. Retrieved July 19, 2012.\n
    168. \n
  168. ^ Street, Sarah (2002). Transatlantic Crossings: British Feature Films in the United States. Continuum International Publishing Group. p. 110. ISBN 978-0-8264-1395-6. Although both films had higher than average budgets (The Red Shoes cost \u00a3505,581 and Hamlet cost \u00a3572,530, while the average cost of the other thirty films for which Rank supplied information was \u00a3233,000), they resulted in high takings at home and abroad.\n
    169. \n
  169. ^ Officer, Lawrence H. (2011). \"Dollar-Pound Exchange Rate From 1791\". MeasuringWorth. Archived from the original on November 18, 2012. Retrieved November 18, 2012. 1947\u20131948: $4.03 (per British pound)\n
    170. \n
  170. ^ \"The Snake Pit\". The Numbers. Nash Information Services. LLC. Archived from the original on December 28, 2011.\n
    171. \n
  171. ^ \"'Snake Pit' Seen No Problem After All\". Variety. January 19, 1949. p. 7.\n
    172. \n
  172. ^ a b Hall & Neale 2010, p. 136\u2013139\n
    • Samson and Delilah: \"...the film became the highest grosser in the studio's history to date, with domestic rentals of $7,976,730 by 1955 and a further $6,232,520 overseas...For all their spectacle, Samson and David were quite economically produced, costing $3,097,563 and $2,170,000 respectively.\"
      • \n
    • Quo Vadis: \"Production costs totaled a record $7,623,000...Worldwide rentals totaled $21,037,000, almost half of which came from the foreign market.\"
    \n
    173. \n
  173. ^ \"Cinderella (1950)\". The Numbers. Nash Information Services. Archived from the original on June 5, 2019. Retrieved January 2, 2017.\n
    174. \n
  174. ^ Eisner, Michael D.; Schwartz, Tony (2009). Work in Progress. Pennsylvania State University. p. 178. ISBN 978-0-7868-8507-7. Cinderella revived its fortunes. Re-released in February 1950, it cost nearly $3 million to make but earned more than $20 million worldwide.\n
    175. \n
  175. ^ Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. Oxford University Press. p. 401. ISBN 978-0-19-516729-0. It cost around $2.2 million, little more than each of the two package features, Melody Time and The Adventures of Ichabod and Mr. Toad (as Tluo Fabulous Characters had ultimately been named), that just preceded it, but its gross rentals\u2014an amount shared by Disney and RKO\u2014were $7.8 million, almost twice as much as the two package features combined.\n
    176. \n
  176. ^ The E. J. Mannix ledger. Margaret Herrick Library, Academy of Motion Picture Arts and Sciences: Howard Strickling Collection. 1962.\n
    177. \n
  177. ^ a b Lev, Peter (2006). Transforming the Screen, 1950\u20131959. Vol. 7 of History of the American Cinema. University of California Press. ISBN 978-0-520-24966-0.\n
    • Quo Vadis: p. 15 Archived April 4, 2023, at the Wayback Machine. \"MGM's most expensive film of the period, Quo Vadis (1951) also did extremely well. The cost was $7,623,000, earnings were an estimated $21.2 million (with foreign earnings almost 50 percent of this total), and profit was estimated at $5,562,000.\"
      • \n
    • Rear Window: pp. 203 Archived April 4, 2023, at the Wayback Machine\u2013204 Archived April 4, 2023, at the Wayback Machine. \"Rear Window (1954) was an excellent commercial success, with a cost of $1 million and North American rentals of $5.3 million.\"
    \n
    178. \n
  178. ^ a b Block & Wilson 2010, p. 335.\n
    • The Robe: \"Domestic Rentals: $16.7; Foreign Rentals: $9.4; Production Cost: $4.1 (Unadjusted $s in Millions of $s).\"
      • \n
    • Quo Vadis: \"Domestic Rentals: $11.1; Foreign Rentals: $15.6; Production Cost: $7.5 (Unadjusted $s in Millions of $s).\"
    \n
    179. \n
  179. ^ Mulligan, Hugh A. (September 23, 1956). \"Cinerama Pushing Ahead As Biggest Money-Maker\". The Register-Guard. Eugene, Oregon. p. 7B.\n
    180. \n
  180. ^ Zone, Ray (2012). 3-D Revolution: The History of Modern Stereoscopic Cinema. University Press of Kentucky. p. 71. ISBN 978-0-8131-3611-0. Produced at a cost of $1 million, This is Cinerama ran 122 weeks, earning $4.7 million in its initial New York run alone and eventually grossed over $32 million. It was obvious to Hollywood that the public was ready for a new form of motion picture entertainment. The first five Cinerama feature-length travelogues, though they only played in twenty-two theaters, pulled in a combined gross of $82 million.\n
    181. \n
  181. ^ Burns, Douglas (2010), The Greatest Show on Earth, pp. 354\u2013355, By May 1953, Variety was reporting that the Best Picture winner had amassed $18.35 million in worldwide rentals. In: Block & Wilson 2010.\n
    182. \n
  182. ^ \"The Greatest Show on Earth (1952) \u2013 Notes\". Turner Classic Movies. Archived from the original on July 14, 2015. Retrieved January 8, 2012.\n
    183. \n
  183. ^ \"Peter Pan (1953) \u2013 Notes\". Turner Classic Movies. Archived from the original on September 3, 2015. Retrieved July 24, 2011.\n
    184. \n
  184. ^ \"Top Grossers of 1953\". Variety. January 13, 1954. p. 10. Retrieved September 12, 2019.\n
    185. \n
  185. ^ Hall & Neale 2010, p. 147\u2013148. \"To take full advantage of CinemaScope's panoramic possibilities, shooting was delayed for the sets to be redesigned and rebuilt, adding $500,000 to the eventual $4.1 million budget...It ultimately returned domestic rentals of $17.5 million and $25 million worldwide, placing it second only to Gone with the Wind in Variety's annually updated chart.\"\n
    186. \n
  186. ^ Block & Wilson 2010, p. 367. \"It brought in $16.7 million in domestic rentals, $9.4 million in foreign rentals, and made a net profit of $8.1 million.\"\n
    187. \n
  187. ^ \"Rear Window\". Boxoffice. Archived from the original on May 30, 2016. Retrieved May 29, 2016.\n
    188. \n
  188. ^ \"White Christmas\". Boxoffice. Archived from the original on May 30, 2016. Retrieved May 29, 2016.\n
    189. \n
  189. ^ Block & Wilson 2010, p. 420. \"Domestic Box Office: $19.6 million; Production Cost: $3.8 million.\"\n
    190. \n
  190. ^ Hall & Neale 2010, p. 149. \"VistaVision was first used for the musical White Christmas (1954), which Variety named the top grosser of its year with anticipated domestic rentals of $12 million.\"\n
    191. \n
  191. ^ \"20000 Leagues Under The Sea\". Boxoffice. Archived from the original on December 25, 2018. Retrieved May 29, 2016.\n
    192. \n
  192. ^ Miller, John M. \"20,000 Leagues Under the Sea (1954) \u2013 Articles\". Turner Classic Movies. Archived from the original on December 21, 2014. Retrieved January 9, 2012.\n
    193. \n
  193. ^ Finler 2003, p. 320. \"It was up and running in time to handle Disney's most elaborate expensive feature, 20,000 Leagues Under the Sea, based on the book by Jules Verne, starring James Mason and Kirk Douglas and directed by Richard Fleischer at a cost of $4.5 million.\"\n
    194. \n
  194. ^ a b c D'Alessandro, Anthony (October 27, 2003). \"Disney Animated Features at the Worldwide Box Office\". Variety. Archived from the original on November 4, 2020. Retrieved July 4, 2022 – via The Free Library. The Jungle Book $378 million; One Hundred and One Dalmatians $303 million; Lady and the Tramp $187 million\n
    195. \n
  195. ^ \"Lady and the Tramp (1955) \u2013 Notes\". Turner Classic Movies. Archived from the original on September 28, 2015. Retrieved July 27, 2011.\n
    196. \n
  196. ^ Minego, Pete (May 21, 1956). \"Pete's Pungent Patter\". Portsmouth Daily Times. Portsmouth, Ohio. p. 19.\n
    197. \n
  197. ^ \"Cinerama Holiday (1955) \u2013 Notes\". Turner Classic Movies. Archived from the original on July 24, 2019. Retrieved July 7, 2012.\n
    198. \n
  198. ^ Block & Wilson 2010\n
    • p. 382 Archived April 3, 2023, at the Wayback Machine. \"Production Cost: $2.4 (Unadjusted $s in Millions of $s)\"
      • \n
    • Burns, Douglas (2010), Mister Roberts, p. 383, Mister Roberts sailed onto movie screens buoyed by enthusiastic reviews and receptive audiences. For pr, Fonda, Cagney, and lemmon reenacted several scenes on ed sullivan's popular Toast of the Town television variety show. It returned a net profit of $4.5 million on worldwide rentals of $9.9 million, putting it in the top 5 domestic films of 1955.
    \n
    199. \n
  199. ^ Block & Wilson 2010, p. 327. \"Production cost: $13.3 million; Domestic Film Rental: $31.3; Foreign Film Rental: $23.9; Worldwide Box office (estimated): $122.7 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"\n
    200. \n
  200. ^ a b Hall & Neale 2010, pp. 159\u2013161\n
    • The Ten Commandments: \"No film did more to entrench roadshow policy than The Ten Commandments. While the success of This Is Cinerama, The Robe, and even Eighty Days could be attributed, at least in part, to their respective photographic and projection formats, that of DeMille's film (which cost a record $13,266,491) could not...General release began at normal prices in 1959 and continued until the end of the following year, when the film was temporarily withdrawn (the first of several reissues came in 1966). The worldwide rental by this time was around $60 million. In the domestic market it dislodged Gone with the Wind from the number one position on Variety's list of All-Time Rentals Champs. GWTW had hitherto maintained its lead through several reissues (and was soon to regain it through another in 1961).\"
      • \n
    • The Bridge on the River Kwai: Columbia's Anglo-American war film The Bridge on the River Kwai (1957) opened on a roadshow basis in selected U.S. cities (including New York, Chicago, Boston, and Los Angeles) and in London. Costing only $2,840,000 to produce, it grossed $30.6 million worldwide on first release.\"
    \n
    201. \n
  201. ^ Hall & Neale 2010, p. 153. \"South Pacific also became for a time the most successful film ever released in the United Kingdom, where it earned a box-office gross three times its negative cost of $5,610,000. Anticipated global rentals after three years were $30 million.\"\n
    202. \n
  202. ^ Ross, Steven J. (2011). Hollywood Left and Right: How Movie Stars Shaped American Politics. Oxford University Press. pp. 278\u2013279. ISBN 978-0-19-991143-1. Costing $15 million to produce, the film earned $47 million by the end of 1961 and $90 million worldwide by January 1989.\n
    203. \n
  203. ^ Block & Wilson 2010, p. 324. \"Worldwide box office: $146.9 million; Worldwide rentals: $66.1 million; Production cost: $15.9 million. (Initial Release \u2013 Unadjusted $s in Millions of $s)\"\n
    204. \n
  204. ^ Reid, John Howard (2006). America's Best, Britain's Finest: A Survey of Mixed Movies. Vol. 14 of Hollywood classics. Lulu. p. 243\u2013245. ISBN 978-1-4116-7877-4. Negative cost: around $4 million; Worldwide film rentals gross (including 1968 American reissue) to 1970: $30 million.\n
    205. \n
  205. ^ Webster, Patrick (2010). Love and Death in Kubrick: A Critical Study of the Films from Lolita Through Eyes Wide Shut. McFarland & Company. pp. 298 (note 2.23). ISBN 978-0-7864-5916-2. Spartacus cost $12 million and grossed some $60 million at the box office, figures Kubrick rarely again matched.\n
    206. \n
  206. ^ a b Hall & Neale 2010, p. 179.\n
    • Spartacus: \"In the case of Spartacus, overseas earnings to 1969 amounted to $12,462,044, while U.S. and Canadian rentals (even including a million-dollar TV sale) were only $10,643,181. But the film failed to show a profit on production costs of $10,284,014 because of the distribution charges and expenses amounting to an additional $15,308,083.\"
      • \n
    • The Bible: \"The Bible\u2014In the Beginning... (1966) was financed by the Italian producer Dino De Laurentiis from private investors and Swiss banks. He then sold distribution rights outside Italy jointly to Fox and Seven Arts for $15 million (70 percent of which came from Fox), thereby recouping the bulk of his $18 million investment. Although The Bible returned a respectable world rental of $25.3 million, Fox was still left with a net loss of just over $1.5 million. It was the last biblical epic to be released by any major Hollywood studio for nearly twenty years.\"
    \n
    207. \n
  207. ^ Nixon, Rob. \"Psycho (1960) \u2013 Articles\". Turner Classic Movies. Archived from the original on September 12, 2015. Retrieved January 9, 2012.\n
    208. \n
  208. ^ Tube. (January 18, 1961). \"One Hundred and One Dalmatians\". Daily Variety. Archived from the original on November 9, 2012. Retrieved August 23, 2011.\n
    209. \n
  209. ^ Block, Hayley Taylor (2010), West Side Story, p. 449, With its three rereleases, it took in over $105 million in worldwide box office ($720 million in 2005 dollars). In: Block & Wilson 2010.\n
    210. \n
  210. ^ a b c d e f g Block & Wilson 2010, p. 434.\n
    • The Sound of Music: \"Domestic Rentals: $68.4; Foreign Rentals: $46.2; Production Cost: $8.0 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
      • \n
    • The Dirty Dozen: \"Domestic Rentals: $20.1; Foreign Rentals: $11.2; Production Cost: $5.4 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
      • \n
    • 2001: A Space Odyssey: \"Domestic Rentals: $16.4; Foreign Rentals: $5.5; Production Cost: $10.3 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
      • \n
    • Cleopatra: \"Domestic Rentals: $22.1; Foreign Rentals: $18.2; Production Cost: $44.0 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
      • \n
    • West Side Story: \"Domestic Rentals: $16.2; Foreign Rentals: $15.6; Production Cost: $7.0 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
      • \n
    • The Longest Day: \"Domestic Rentals: $13.9; Foreign Rentals: $19.3; Production Cost: $8.6 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
      • \n
    • Butch Cassidy and the Sundance Kid: \"Domestic Rentals: $29.2; Foreign Rentals: $7.9; Production Cost: $6.6 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
    \n
    211. \n
  211. ^ Lawrence of Arabia\n
    • 1962 release: \"Lawrence of Arabia\". The Numbers. Nash Information Services. LLC. Archived from the original on March 16, 2012. Retrieved August 15, 2011. Worldwide Box Office: $69,995,385; International Box Office: $32,500,000
      • \n
    • U.S. total (including reissues): \"Lawrence of Arabia\". Boxoffice. Archived from the original on August 10, 2014. Retrieved May 29, 2016. $44,824,852
    \n
    212. \n
  212. ^ a b c Hall & Neale 2010, p. 165\u2013166\n
    • Lawrence of Arabia: Columbia released the $13.8 million Lawrence of Arabia (1962), filmed in Super Panavision 70, exclusively on a hard-ticket basis, but opened Barabbas (1962), The Cardinal (1963), and the $12 million Joseph Conrad adaptation Lord Jim (1965) as 70 mm roadshows in selected territories only.\"
      • \n
    • The Longest Day: \"Darryl's most ambitious independent production was The Longest Day (1962), a three-hour reconstruction of D-Day filmed in black-and-white CinemaScope at a cost of $8 million. It grossed over $30 million worldwide as a roadshow followed by general release, thereby helping the studio regain stability during its period of reorganization.\"
      • \n
    • Cleopatra: \"With top tickets set at an all-time high of $5.50,Cleopatra had amassed as much as $20 million in such guarantees from exhibitors even before its premiere. Fox claimed the film had cost in total $44 million, of which $31,115,000 represented the direct negative cost and the rest distribution, print and advertising expenses. (These figures excluded the more than $5 million spent on the production's abortive British shoot in 1960\u201361, prior to its relocation to Italy.) By 1966 worldwide rentals had reached $38,042,000 including $23.5 million from the United States.\"
    \n
    213. \n
  213. ^ Hall & Neale 2010, p. 164. \"West cost $14,483,000; although it earned $35 million worldwide in just under three years, with ultimate domestic rentals totaling $20,932,883, high distribution costs severely limited its profitability.\"\n
    214. \n
  214. ^ a b c d Block & Wilson 2010, pp. 428\u2013429\n
    • From Russia With Love: \"Worldwide Box Office: 78.9; Production Cost: 2.0 (in millions of $s)\"
      • \n
    • Goldfinger: \"Worldwide Box Office: 124.9; Production Cost: 3.0 (in millions of $s)\"
      • \n
    • Diamonds Are Forever: \"Worldwide Box Office: 116; Production Cost: 7.2 (in millions of $s)\"
      • \n
    • Moonraker: \"Worldwide Box Office: 210.3; Production Cost: 34.0 (in millions of $s)\"
    \n
    215. \n
  215. ^ a b Chapman, James (2007). Licence to thrill: a cultural history of the James Bond films. I.B. Tauris. ISBN 978-1-84511-515-9.\n
    • From Russia With Love: \"The American release of From Russia With Love again followed on some six months after it had been shown in Britain. North American rentals of $9.9 million were an improvement on its predecessor, helped by a slightly wider release, though they were still only half the $19.5 million of foreign rentals... (Online copy Archived April 4, 2023, at the Wayback Machine at Google Books)\"
      • \n
    • Diamonds Are Forever: \"Diamonds Are Forever marked a return to the box-office heights of the Bond films of the mid-1960s. Its worldwide rentals were $45.7 million...\"[page needed]
      • \n
    • Moonraker: \"These figures were surpassed by Moonraker, which earned total worldwide rentals of $87.7 million, of which $33 million came from North America. (Online copy Archived April 4, 2023, at the Wayback Machine at Google Books)\"
    \n
    216. \n
  216. ^ a b Balio, Tino (2009). United Artists, Volume 2, 1951\u20131978: the Company that Changed the Film Industry. University of Wisconsin Press. p. 261. ISBN 978-0-299-23014-2.\n\n
    217. \n
  217. ^ a b Hall & Neale 2010, p. 184\n
    • My Fair Lady: \"My Fair Lady (1964) cost Warners $17 million to make, including a record $5.5 million just for the film rights to the Alan Jay Lerner and Frederick Loewe stage show and a million-dollar fee for star Audrey Hepburn. By 1967 it was reported to have grossed $55 million from roadshowing worldwide.\"
      • \n
    • Mary Poppins: \"Mary Poppins (1964), which cost $5.2 million, was neither a stage adaptation nor a roadshow. But by the end of its first release, it had grossed nearly $50 million worldwide.\"
    \n
    218. \n
  218. ^ Burns, Douglas (2010), Mary Poppins, p. 469, In its initial run, Poppins garnered an astounding $44 million in worldwide rentals and became the company's first Best Picture Oscar contender. In: Block & Wilson 2010.\n
    219. \n
  219. ^ \"The Sound of Music\". Boxoffice. Archived from the original on December 25, 2018. Retrieved May 29, 2016.\n
    220. \n
  220. ^ Silverman, Stephen M (1988). The Fox that got Away: The Last Days of the Zanuck Dynasty at Twentieth Century-Fox. Secaucus, N.J.: L. Stuart. p. 325. ISBN 978-0-8184-0485-6.\n
    221. \n
  221. ^ \"Hawaii\". The Numbers. Nash Information Services. LLC. Archived from the original on March 16, 2012. Retrieved August 18, 2011.\n
    222. \n
  222. ^ \"Who's Afraid of Virginia Wolf? (1966)\". The Numbers. Nash Information Services. LLC. Archived from the original on November 12, 2019. Retrieved February 3, 2020.\n
    223. \n
  223. ^ Hall & Neale 2010, p. 188. \"The negative cost of Warners' adaptation of Edward Albee's play Who's Afraid of Virginia Woolf? (1966)\u2014filmed in widescreen and black-and-white, largely set in domestic interiors and with a cast of only four principal actors\u2014amounted to $7,613,000, in part because stars Elizabeth Taylor and Richard Burton received up-front fees of $1 million and $750,000 respectively, against 10 percent of the gross apiece. (Their participation was presumably added to the budget).\"\n
    224. \n
  224. ^ \"Animals Portray Parts in Disney's \"Robin Hood\"\". Toledo Blade. October 18, 1970. Sec. G, p. 7. \"The Jungle Book,\" in it's [sic] initial world-wide release, has grossed $23.8 million to date...\n
    225. \n
  225. ^ Murphy, A.D. (October 4, 1967). \"The Jungle Book\". Variety. p. 6. Archived from the original on March 15, 2018. Retrieved March 14, 2018. It was filmed at a declared cost of $4 million over a 42-month period.\n
    226. \n
  226. ^ a b Denisoff, R. Serge; Romanowski, William D. (1991). Risky Business: Rock in Film. Transaction Publishers. ISBN 978-0-88738-843-9.\n
    • The Graduate: p. 167 Archived June 5, 2019, at the Wayback Machine. \"World net rental was estimated at more than $85 million by January 1971.\"
      • \n
    • Grease: p. 236 Archived April 4, 2023, at the Wayback Machine. \"The film was produced for $6 million and Paramount reportedly spent another $3 million on promotion.\"
    \n
    227. \n
  227. ^ a b Hall & Neale 2010, p. 191\u2013192\n
    • The Graduate: \"The Graduate eventually earned U.S. rentals of $44,090,729 on a production cost of $3.1 million to become the most lucrative non-roadshow picture (and independent release) to date.\"
      • \n
    • Butch Cassidy and the Sundance Kid: \"None of these films was roadshown in the United States; most were set in contemporary America or had a contemporary \"take\" on the past (the casting of genuine teenagers to play Romeo and Juliet, the urbane sophistication of the dialogue in Butch Cassidy, the antiauthoritarianism of Bonnie and Clyde and MASH); most were produced on modest or medium-sized budgets (as low as $450,000 for Easy Rider and no higher than $6,825,000 for Butch Cassidy); and all grossed upward of $10 million domestically.\"
    \n
    228. \n
  228. ^ 2001: A Space Odyssey\n\n
    229. \n
  229. ^ Haber, Joyces (March 27, 1969). \"'Funny Girl' a Box Office Winner\". Los Angeles Times. Archived from the original on July 24, 2012. Retrieved March 29, 2012. ...\"Funny Girl\" will gross an estimated $80 to $100 million worldwide.\n
    230. \n
  230. ^ Welles, Chris (September 7, 1970). \"Behind the Silence at Columbia Pictures\u2014No Moguls, No Minions, Just Profits\". New York. Vol. 3, no. 36. pp. 42\u201347. While Columbia, battling Ray Stark over every dollar, did Funny Girl for around $8.8 million, a million or so over budget, Fox spent nearly $24 million on Hello, Dolly!, more than twice the initial budget, and the film will thus have to gross three times as much to break even.\n
    231. \n
  231. ^ Butch Cassidy and the Sundance Kid\n
    • United States and Canada: \"Butch Cassidy and the Sundance Kid\". Boxoffice. Archived from the original on January 8, 2019. Retrieved May 29, 2016. $102,308,525
      • \n
    • Outside North America: Vanity Fair. 2008. p. 388. Butch Cassidy went on to be a huge hit\u2014by the spring of 1970 it had taken in $46 million in North America and grossed another $50 million abroad.
    \n
    232. \n
  232. ^ D'Alessandro, Anthony (July 15, 2002). \"Top 50 worldwide grossers\". Variety. p. 52, Paramount at 90 supplement.\n
    233. \n
  233. ^ \"'Love Story' II: Ryan Redux?\". New York. Vol. 9. 1976. p. 389. Bring those handkerchiefs out of retirement. ... After all, the first movie made around $80 million worldwide.\n
    234. \n
  234. ^ Block, Hayley Taylor (2010), Love Story, p. 545, The final cost came in at $2,260,000. In: Block & Wilson 2010.\n
    235. \n
  235. ^ Block & Wilson 2010, p. 549. \"Fiddler had the highest domestic box office of 1971 (it was second in worldwide box office after Diamonds Are Forever), with more than $100 million in unadjusted worldwide box office on its initial release. The soundtrack album was also a huge seller. The 1979 rerelease was not as successful, with the $3.8 million print and ad costs almost as high as the $4.3 million in worldwide rentals.\"\n
    236. \n
  236. ^ a b c d e f Block & Wilson 2010, p. 527.\n
    • Star Wars: \"Domestic Rentals: $127.0; Foreign Rentals: $141.5; Production Cost: $13.0 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
      • \n
    • The Godfather: \"Domestic Rentals: $85.6; Foreign Rentals: $42.0; Production Cost: $7.2 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
      • \n
    • Fiddler on the Roof: \"Domestic Rentals: $34.0; Foreign Rentals: $11.1; Production Cost: $9.0 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
      • \n
    • Rocky: \"Domestic Rentals: $56.0; Foreign Rentals: $21.1; Production Cost: $1.6 (Initial Release \u2013 Unadjusted $s in Millions of $s).\"
    \n
    237. \n
  237. ^ The Godfather\n
    • 1974: Newsweek. Vol. 84. 1974. p. 74. The original Godfather has grossed a mind-boggling $285 million...
      • \n
    • 1991: Von Gunden, Kenneth (1991). Postmodern auteurs: Coppola, Lucas, De Palma, Spielberg, and Scorsese. McFarland & Company. p. 36. ISBN 978-0-89950-618-0. Since The Godfather had earned over $85 million in U.S.-Canada rentals (the worldwide box-office gross was $285 million), a sequel, according to the usual formula, could be expected to earn approximately two-thirds of the original's box-office take (ultimately Godfather II had rentals of $30 million).
      • \n
    • Releases: \"The Godfather (1972)\". Box Office Mojo. Archived from the original on February 6, 2020. Retrieved January 22, 2020. Original release: $243,862,778; 1997 re-release: $1,267,490; 2009 re-release: $121,323; 2011 re-release: $818,333; 2014 re-release: $29,349; 2018 re-release: $21,701; Budget: $6,000,000
    \n
    238. \n
  238. ^ Jacobs, Diane (1980). Hollywood Renaissance. Dell Publishing. p. 115. ISBN 978-0-440-53382-5. The Godfather catapulted Coppola to overnight celebrity, earning three Academy Awards and a then record-breaking $142 million in worldwide sales.\n
    239. \n
  239. ^ \"The Godfather (1972) \u2013 Notes\". Turner Classic Movies. Archived from the original on June 15, 2020. Retrieved January 23, 2020.\n
    240. \n
  240. ^ \"The Exorcist (1973)\". Box Office Mojo. Archived from the original on November 1, 2023. Retrieved November 2, 2023.\n
    241. \n
  241. ^ Stanley, Robert Henry; Steinberg, Charles Side (1976). The media environment: mass communications in American society. Hastings House. p. 76. ISBN 978-0-8038-4681-4. ...further reflected by the phenomenal successes of The Sting, Chinatown and The Exorcist. The latter film, which cost about $10 million to produce, has grossed over $110 million worldwide.\n
    242. \n
  242. ^ \"Big Rental Films of 1974\". Variety. January 8, 1975. p. 24. Retrieved July 4, 2022 – via Archive.org. U.S-Canada market only $66,300,000\n
    243. \n
  243. ^ a b Pollock, Dale (May 9, 1979). \"WB Adds To Its Record Collection\". Daily Variety. p. 1. \"Towering Inferno\" did $56,000,000 overseas in billings while \"The Exorcist\" totted up $46,000,000\n
    244. \n
  244. ^ New York, vol. 8, 1975, ...Jaws should outstrip another MCA hit, The Sting, which had world-wide revenues of $115 million. (Online copy Archived April 4, 2023, at the Wayback Machine at Google Books)\n
    245. \n
  245. ^ Block & Wilson 2010, p. 560. \"Production Cost: $5.5 (Unadjusted $s in Millions of $s).\"\n
    246. \n
  246. ^ \"It Towers $203,336,412 (advertisement)\". Variety. June 2, 1976. pp. 8\u20139. Archived from the original on January 8, 2023. Retrieved October 31, 2020.\n
    247. \n
  247. ^ Hall & Neale 2010, pp. 206\u2013208. \"The most successful entry in the disaster cycle was the $15 million The Towering Inferno which earned over $48,650,000 in domestic rentals and about $40 million foreign.\"\n
    248. \n
  248. ^ Klady, Leonard (1998). \"All-Time Top Film Rentals\". Variety. Archived from the original on October 7, 1999. Domestic rentals: $48,838,000\n
    249. \n
  249. ^ Block & Wilson 2010, p. 568. \"Production Cost: $14.3 (Unadjusted $s in Millions of $s).\"\n
    250. \n
  250. ^ \"Jaws (1975)\". Box Office Mojo. Archived from the original on April 2, 2020. Retrieved January 4, 2024.\n
    251. \n
  251. ^ a b Kilday, Gregg (July 5, 1977). \"Director of 'Jaws II' Abandons His 'Ship'\". The Victoria Advocate. p. 6B.\n
    252. \n
  252. ^ Prigg\u00e9, Steven (2004). Movie Moguls Speak: Interviews With Top Film Producers. McFarland & Company. p. 8. ISBN 978-0-7864-1929-6. The budget for the first Jaws was $4 million and the picture wound up costing $9 million.\n
    253. \n
  253. ^ \"Rocky (1976)\". The Numbers. Nash Information Services, LLC. Retrieved October 2, 2023. \n
    254. \n
  254. ^ Hall & Neale 2010, p. 214. \"Rocky was the \"sleeper of the decade\". Produced by UA and costing just under $1 million, it went on to earn a box-office gross of $117,235,247 in the United States and $225 million worldwide.\"\n
    255. \n
  255. ^ Block, Alex Ben (2010), Rocky, p. 583, The budget was $1,075,000 plus producer's fees of $100,000. In: Block & Wilson 2010.\n
    256. \n
  256. ^ \"Star Wars (1977)\". Box Office Mojo. Archived from the original on March 5, 2023. Retrieved October 1, 2023.\n
    257. \n
  257. ^ a b c d Wuntch, Philip (July 19, 1985). \"Return of E.T.\". The Dallas Morning News. Archived from the original on May 17, 2013. Retrieved March 6, 2012. Its worldwide box-office gross was $619 million, toppling the record of $530 million set by Star Wars.\n
    258. \n
  258. ^ Hall & Neale 2010, p. 218. \"Eventually costing $11,293,151, Star Wars was previewed at the Northpoint Theatre in San Francisco on May 1, 1977.\"\n
    259. \n
  259. ^ \"Grease (1978)\". Box Office Mojo. Archived from the original on May 22, 2023. Retrieved May 14, 2023.\n
    260. \n
  260. ^ Hofler, Robert (2010). Party Animals: A Hollywood Tale of Sex, Drugs, and Rock 'N' Roll Starring the Fabulous Allan Carr. ReadHowYouWant.com. p. 145. ISBN 978-1-4596-0007-2. Despite the fact that Grease was well on its way to becoming the highest-grossing movie musical in the world, and eventually grossed over $341 million...\n
    261. \n
  261. ^ \"Moonraker (1979)\". Box Office Mojo. Archived from the original on January 31, 2023. Retrieved October 2, 2023.\n
    262. \n
  262. ^ a b Kramer vs. Kramer\n
    • United & Babson Investment Report. Vol. 72. Babson-United, Inc. 1980. p. 262. Columbia Pictures Industries is continuing to rake in the box office dollars from its Oscar-winning Kramer vs. Kramer, which has topped $100 million in domestic grosses and $70 million overseas. Kramer, which cost less than $8 million to make, is now the second...
      • \n
    • Prince, Stephen (2002). A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980\u20131989. University of California Press. p. 7. ISBN 978-0-520-23266-2. Much of this was attributable to the performance of its hit film, Kramer vs. Kramer ($94 million worldwide and the number two film in the domestic market).
    \n
    263. \n
  263. ^ \"Rocky 2 (1979)\". The Numbers. Nash Information Services, LLC. Retrieved October 2, 2023. \n
    264. \n
  264. ^ Kilday, Greg (May 22, 1992). \"Rules of the Game\". Entertainment Weekly. No. 119. Archived from the original on December 25, 2018. Retrieved July 4, 2012.\n
    265. \n
  265. ^ The Empire Strikes Back\n\n
    266. \n
  266. ^ a b c Block & Wilson 2010, p. 519.\n
    • The Empire Strikes Back: \"Production Cost: $32.0 (Unadjusted $s in Millions of $s).\"
      • \n
    • Return of the Jedi: \"Production Cost: $42.7 (Unadjusted $s in Millions of $s).\"
      • \n
    • The Phantom Menace: \"Production Cost: $127.5 (Unadjusted $s in Millions of $s).\"
    \n
    267. \n
  267. ^ Raiders of the Lost Ark\n\n
    268. \n
  268. ^ \"E.T.: The Extra-Terrestrial (1982)\". Box Office Mojo. Retrieved January 4, 2024.\n
    269. \n
  269. ^ \"E.T. the Extra-Terrestrial (1982)\". The Numbers. Nash Information Services, LLC. Retrieved January 4, 2024. \n
    270. \n
  270. ^ a b Block & Wilson 2010, p. 609. \"Steven Spielberg, by far the most successful director of the decade, had the highest-grossing movie with 1982's E.T.: The Extra-Terrestrial, which grossed over $664 million in worldwide box office on initial release.\"\n
    271. \n
  271. ^ Block & Wilson 2010, p. 652. \"Production Cost: $12.2 (Unadjusted $s in Millions of $s).\"\n
    272. \n
  272. ^ Return of the Jedi\n\n
    273. \n
  273. ^ \"Indiana Jones and the Temple of Doom (1984)\". Box Office Mojo. Retrieved September 17, 2023.\n
    274. \n
  274. ^ a b c d e f Finler 2003, pp. 190\u2013191.\n
    275. \n
  275. ^ Block & Wilson 2010, p. 664. \"Production Cost: $28.2 (Unadjusted $s in Millions of $s).\"\n
    276. \n
  276. ^ Back to the Future\n\n
    277. \n
  277. ^ Finler 2003, p. 268. \"The studio had a record operating income of $212 million in 1982, the year of Spielberg's E.T. The Extra-Terrestrial (which had cost only slightly over $10 million) and $150 million in 1985, mainly due to another Spielberg production, the $22 million Back to the Future, which became the top box office hit of the year.\"\n
    278. \n
  278. ^ \"Top Gun (1986)\". Box Office Mojo. Retrieved September 17, 2023.\n
    279. \n
  279. ^ McAdams, Frank (2010), Top Gun, pp. 678\u2013679, Production Cost: $19.0 (Millions of $s) ... Despite mixed reviews, it played in the top 10 for an extended period and was a huge hit, grossing almost $345 million in worldwide box office. In: Block & Wilson 2010.\n
    280. \n
  280. ^ Fatal Attraction\n
    • \"Fatal Attraction (1987)\". Box Office Mojo. Retrieved September 17, 2023.
      • \n
    • Scott, Vernon (June 15, 1990). \"'Three Men and Baby' Sequel Adds Cazenove to Original Cast\". The Daily Gazette. New York. Hollywood (UPI). p. 9 (TV Plus \u2013 The Daily Gazette Supplement). That legacy is the $167,780,960 domestic box-office and $75 million foreign gross achieved by the original...
    \n
    281. \n
  281. ^ \"Rain Man (1988)\". Box Office Mojo. Retrieved September 17, 2023.\n
    282. \n
  282. ^ Finler 2003, p. 244. \"Rain Man: 30.0 (cost in million $s)\"\n
    283. \n
  283. ^ \"Indiana Jones and the Last Crusade (1989)\". Box Office Mojo. Retrieved September 17, 2023.\n
    284. \n
  284. ^ Block & Wilson 2010, pp. 694\u2013695. \"Production Cost: $55.4 (Unadjusted $s in Millions of $s) ... The film went on to haul in over $494 million worldwide.\"\n
    285. \n
  285. ^ \"Ghost (1990)\". Box Office Mojo. Retrieved July 12, 2020.\n
    286. \n
  286. ^ Terminator 2\n\n
    287. \n
  287. ^ Ansen, David (July 8, 1991). \"Conan The Humanitarian\". Newsweek. Retrieved September 19, 2013.\n
    288. \n
  288. ^ \"Aladdin (1992)\". Box Office Mojo. Retrieved September 17, 2023.\n
    289. \n
  289. ^ The Lion King\n\n
    290. \n
  290. ^ Toy Story\n\n
    291. \n
  291. ^ Block & Wilson 2010, pp. 776. \"Production Cost: $30.0 (Unadjusted $s in Millions of $s)\"\n
    292. \n
  292. ^ \"Die Hard with a Vengeance (1995)\". Box Office Mojo. Retrieved September 17, 2023.\n
    293. \n
  293. ^ Finler 2003, p. 123.\n
    294. \n
  294. ^ \"Independence Day (1996)\". Box Office Mojo. Retrieved September 13, 2009.\n
    295. \n
  295. ^ \"Armageddon (1998)\". Box Office Mojo. Retrieved January 18, 2023.\n
    296. \n
  296. ^ Block & Wilson 2010, p. 509. \"Production Cost: $140.0 (Unadjusted $s in Millions of $s).\"\n
    297. \n
  297. ^ \"Mission: Impossible II\". Box Office Mojo. Retrieved September 17, 2023.\n
    298. \n
  298. ^ Harry Potter and the Philosopher's Stone\n\n
    299. \n
  299. ^ \"The Lord of the Rings: The Two Towers\". Box Office Mojo. Retrieved December 20, 2023. Worldwide: $948,945,489; Original Release: $936,689,735\n
    300. \n
  300. ^ \"Shrek 2 (2002)\". Box Office Mojo. Retrieved January 4, 2024.\n
    301. \n
  301. ^ Harry Potter and the Goblet of Fire\n\n
    302. \n
  302. ^ \"Pirates of the Caribbean: At World's End (2007)\". Box Office Mojo. Retrieved January 18, 2023.\n
    303. \n
  303. ^ The Dark Knight\n
    • Total: \"The Dark Knight (2008)\". Box Office Mojo. Archived from the original on November 14, 2023. Retrieved November 29, 2023.
      • \n
    • Original release (excluding 2009 IMAX reissue): \"The Dark Knight\". The Numbers. Nash Information Services. LLC. Archived from the original on February 8, 2009. Retrieved October 28, 2012. North America: $531,039,412 (as of January 22, 2009); Overseas: $466,000,000; IMAX re-release: January 23, 2009
      • \n
    • 2009 IMAX re-release: \"Warner Bros. Entertainment Wraps Record-Breaking Year\". Warner Bros. January 8, 2009. Retrieved April 22, 2016. With worldwide receipts of $997 million, \"The Dark Knight\" is currently fourth on the all-time box office gross list, and the film is being re-released theatrically on January 23.
      • \n
    • First-run gross and IMAX reissue: Gray, Brandon (February 20, 2009). \"Billion Dollar Batman\". Box Office Mojo. Retrieved June 7, 2014. The Dark Knight had been hovering just shy of $1 billion for several months and reportedly sat at $997 million when Warner Bros. modestly relaunched it on Jan. 23, timed to take advantage of the announcement of the Academy Awards nominations on Jan. 22.
    \n
    304. \n
  304. ^ Rubin, Rebecca (April 30, 2018). \"'Avengers: Infinity War' Officially Lands Biggest Box Office Opening of All Time\". Variety. Archived from the original on May 2, 2018. Retrieved May 14, 2018.\n
    305. \n
  305. ^ \"Kimetsu no Yaiba: Mugen Ressha-Hen (2020)\". The Numbers. Nash Information Services, LLC. Retrieved November 13, 2023. \n
    306. \n
  306. ^ Rubin, Rebecca (December 14, 2021). \"Box Office Preview: Spider-Man: No Way Home Eyes Mighty, Massive, Marvelous $150 Million-Plus Debut\". Variety. Archived from the original on December 14, 2021. Retrieved December 14, 2021.\n
    307. \n
  307. ^ McClintock, Pamela (November 22, 2022). \"Box Office: 'Avatar: The Way of Water' Lands Coveted China Release\". The Hollywood Reporter. Retrieved January 10, 2023.\n
    308. \n
  308. ^ Anthony D'Alessandro (December 18, 2022). \"'Avatar: The Way Of Water' Opens To $134M; Why Pic's Box Office Fate Will Be Determined Through The Holidays \u2013 Sunday AM Update\". Deadline. Retrieved January 10, 2023.\n
    309. \n
  309. ^ \"Dune: Part Two (2024)\". Box Office Mojo. Retrieved March 17, 2024.\n
    310. \n
  310. ^ \"Dune: Part Two (2024)\". The Numbers. Nash Information Services, LLC. Retrieved March 17, 2024. \n
    311. \n
  311. ^ Rubin, Rebecca (February 20, 2024). \"'Dune 2' Aims for Blockbuster Glory: How a Strike Delay, Imax and 'Oppenheimer' Success Can Boost Denis Villeneuve's Sequel\". Variety. Archived from the original on February 20, 2024. Retrieved March 17, 2024.\n
    312. \n
  312. ^ \"Show Business: Record Wind\". Time. February 19, 1940. Archived from the original on February 2, 2010. Retrieved January 19, 2013.\n
    313. \n
  313. ^ Thomas, Bob (August 1, 1963). \"Movie Finances Are No Longer Hidden From Scrutiny\". The Robesonian. Associated Press. p. 10.\n
    314. \n
  314. ^ The Atlantic Monthly. Vol. 231. 1973. p. 2. As of the end of 1971, GWTW stood as the all-time money-drawing movie, with a take of $116 million, and, with this year's reissues, it should continue to run ahead of the second place contender and all-time kaffee-mit-schlag spectacle.\n
    315. \n
  315. ^ New Times. Vol. 2. 1974. Coppola is King Midas, the most individually powerful U.S. filmmaker .\" His credits include directing the first Godfather (worldwide earnings: $142 million, ahead of Gone with the Wind, The Sound of Music and The Exorcist)... (Online copy at Google Books)\n
    316. \n
  316. ^ Harmetz, Aljean (May 18, 1980). \"The Saga Beyond 'Star Wars'\". The New York Times. Archived from the original on May 20, 2013. Retrieved January 30, 2012. \"Star Wars\" has brought 20th Century-Fox approximately $250 million in film rentals ... \"Star Wars\" grossed $410 million, and his share was enough to allow him to finance its sequel, \"The Empire Strikes Back,\" himself.\n
    317. \n
  317. ^ \"Jurassic Park (1993) \u2013 Miscellaneous notes\". Turner Classic Movies. Retrieved July 9, 2011.\n
    318. \n
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Bibliography

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External links

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