France Box Office for Ad Astra (2019)

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Ad Astra
Theatrical Performance (US$)
France Box Office $8,680,945Details
Worldwide Box Office $135,406,280Details
Home Market Performance
North America DVD Sales $3,211,874 Details
North America Blu-ray Sales $6,514,763 Details
Total North America Video Sales $9,726,637
Further financial details...

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

Synopsis

Astronaut Roy McBride travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet. His journey will uncover secrets that challenge the nature of human existence and our place in the cosmos.

Metrics

Movie Details

Production Budget:$80,000,000
France Releases: September 20th, 2019 (Wide)
Video Release: December 3rd, 2019 by Fox Home Entertainment
MPAA Rating: PG-13 for some violence and bloody images, and for brief strong language.
(Rating bulletin 2589 (Cert #52303), 7/31/2019)
Running Time: 124 minutes
Keywords: IMAX: DMR, Space Program, Missing Person, Rescue, Scientific Experiment Gone Awry, Dysfunctional Family, Mutiny, Mental Illness, Search for Extraterrestrial Life, Psychological Thriller
Source:Original Screenplay
Genre:Thriller/Suspense
Production Method:Live Action
Creative Type:Science Fiction
Production/Financing Companies: Regency Enterprises, Bona Film Group, Plan B Entertainment, 20th Century Fox, New Regency, RT Features, Keep Your Head, MadRiver Pictures, TSG Entertainment
Production Countries: Brazil, United States
Languages: English

2020 Awards Season: Oscar Nominations

January 13th, 2020

1917

The Oscar nominations were announced on Monday, and the results were... well, there were some puzzling results. Joker led the way with eleven nominations. ... A film with 69% positive reviews earned the most nominations. It’s not the worst-reviewed movie to earn a Best Picture Nomination—after all, Bohemian Rhapsody was nominated just last year. However, this film is arguably the worst-reviewed movie to ever earn the most nominations in a single year. More...

Home Market Releases for December 17th, 2019

December 18th, 2019

Abominable

There’s almost exactly a week till Christmas, which explains the slim number of new releases. That said, nearly every film on the main list is worth picking up with a few contenders for Pick of the Week. It was a close three-way race, but in the end, Abominable earned Pick of the Week. More...

Home Market Releases for December 3rd, 2019

December 4th, 2019

Big Trouble in Little China

Tuesday is the day after Cyber Monday, also know as, “One of the worst days of the year to release something on the home market.” There’s not a lot to talk about, while the biggest release of the week is also one of the biggest disappointments of the year, but the less said about that, the better. As for Pick of the Week contenders, we have Big Trouble in Little China: Collector’s Edition and that’s it. There are a few other releases that are close to that level, but none that reach it. More...

2019 - Holiday Gift Guide - Part I - First-Run Releases and Franchise Box Sets

November 27th, 2019

Avengers: Endgame

It's Thanksgiving weekend, which means Black Friday, Cyber Monday, and of course the first installment of our Holiday Gift Guide. This year, Thanksgiving is as late as it could have been, which means there’s no way to squeeze in four weeks of regular installments of the gift guide, as well as the December monthly preview, etc. So we are going to have a condensed list this year. That said, there weren’t a ton of first-run releases that would have made this list regardless. More...

International Box Office: Ad Astra Shines on Top of the Chart

October 3rd, 2019

Ad Astra

Ad Astra spent a second weekend on top of the international box office earning $18.0 million in 50 markets for totals of $53.5 million internationally and $88.9 million worldwide. The film had an elite opening in Russia with $3.16 million on 1,337 screens, earning first place in the process. On the other hand, it failed to crack $1 million during its debuts in both Brazil ($900,000) and Italy ($898,000). More...

Weekend Wrap-Up: Abominable Leads Small Box Office

October 1st, 2019

Abominable

Abominable led the way at the box office this weekend, but there wasn’t a lot to celebrate. That film merely did okay for this time of year, while there were no other new releases to boost the box office. This led to a 25% drop-off from last weekend, down to a mere $92 million. Worse still, this is 13% lower than the same weekend last year when Night School and Smallfoot were a strong one-two box office punch. We’ve had a couple of winning weeks in a row, so this loss doesn’t hurt 2019’s chances too much and the deficit is practically the same as it was last week at 5.6% or $490 million at $8.28 billion to $8.77 billion. More...

Weekend Estimates: Abominable Earning Average-Sized Opening

September 29th, 2019

Abominable

It is a mixed bag at the box office this weekend. None of the films are bombing, there are also no wild success stories either. Abominable is leading the way with an estimated $20.85 million opening. This is a little below expectations, but still a fine opening for this time of year. Additionally, its prospects have improved over the weekend, so it is clear its reviews and its A rating from CinemaScore have helped its word-of-mouth and that should help its legs going forward. The film also earned an estimated $8.8 million internationally in 30 markets for an early international total of $10.2 million It is still too early to judge how the film will do overseas. More...

Friday Estimates: Abominable Grows on its Opening Day

September 28th, 2019

Abominable

Abominable bounced back a bit during Friday to earn $5.69 million. This is still behind Smallfoot’s opening Friday, but it is better than its previews. This is strong evidence that the film’s reviews and its A rating from CinemaScore is already having a positive effect. $20 million is now much more likely than it was yesterday at this time, while with a little luck, it will match our $22 million prediction. More...

Weekend Predictions: Will Abominable Live Up to Its Name or will it be ... Bominable?

September 26th, 2019

Abominable

The last weekend of September has been a great week to release a second-tier animated film and there have been several $100 million hits released this week in the past. This year, Abominable is hoping to succeed in this role. It does have a lot going for it, including no competition, direct or otherwise, and reviews that are, while not spectacular, certainly a selling point. On the other hand, the buzz hasn’t grown the way it should. This weekend last year, Night School led the way with Smallfoot having a strong second place opening. Unfortunately, it looks like 2019’s small winning streak will come to an end, because it is unlikely Abominable will match last year’s number one film. It might not even match last year’s second place film. More...

International Box Office: Ad Astra is the Real Star of the International Chart

September 26th, 2019

Ad Astra

Last week, the international box office was dominated by international releases with six of the top seven films coming from overseas. This week, there is only four films that earned more than $10 million and only one of them wasn’t a Hollywood release. Ad Astra led the way earning $26 million in 44 markets during its first weekend of release. The film’s biggest market was the U.K., where it opened in second place with $2.83 million in 616 theaters. It did as well in South Korea with $2.32 million on 853 screens over the weekend for a total opening of $2.68 million. The film also cracked $2 million in France ($2.7 million) and Japan ($2.2 million). The film has yet to open in several major markets, so it is far from done. That said, it was an expensive movie to make and while it is doing better internationally, it isn’t doing well enough to break even any time soon. More...

Weekend Wrap-Up: Downton Opens High with New Focus Features Record

September 23rd, 2019

Downton Abbey

It was a strong weekend with almost every film in the top five topping predictions. Downton Abbey dominated the chart with $31.03 million, breaking the record for an opening weekend by a Focus Features film in the process. Both Ad Astra and Rambo: Last Blood also beat expectations, albeit by much, much smaller margins. This helped the overall box office grow 12% from last weekend to $123 million. More importantly, this is 34% higher than the same weekend last year. I was expecting substantial growth, but not this much growth. Granted, 2019 is still behind 2018, but the lead has been cut to 5.5% or $470 million at $8.14 billion to $8.61 billion. Furthermore, if we have a few more good weeks, then optimism will actually return to the box office analysis. More...

Weekend Estimates: Downton goes Downtown with $31 million

September 22nd, 2019

Downton Abbey

Downton Abbey is not only going to earn first place on the weekend box office chart, but it is going to set the record for Focus Features with an opening weekend of $31.0 million. This is substantially more than predicted and substantially more than Focus Features’ previous best opening weekend of $22.69 million earned by Insidious Chapter 3. Additionally, thanks to its reviews, its A-rating from CinemaScore, and its more mature target demographic, it has a real chance at $100 million domestically. Or it could have a serious Fanboy Effect, because it is a TV adaptation. We will know more next weekend. More...

Friday Estimates: Downton Abbey has Class

September 21st, 2019

Downton Abbey

Downton Abbey stunned analysts with an opening day of $13.38 million on Friday. However, this does include two days of previews, so keep that in mind going forward. The film’s reviews are in the 80% range, while it managed an A from CinemaScore. Both of these results suggest longer than average legs, but not enough to deal with the two days of previews. It should open with more than $30 million, which is not only much better than anticipated, it will be the best opening weekend for Focus Features. More...

Thursday Night Previews: New Releases Are Not Exactly Reaching the Stars

September 20th, 2019

Downton Abbey

Downton Abbey is going to top expectations this weekend, unless something really strange happens. The film earned $2.1 million during last night’s previews, making it easily the best of this weekend’s crop. (It also made $2.2 million in previous paid previews, so it is off to a $4.3 million start.) Additionally, its reviews are solid, even if its average score is below 7 out of 10. Finally, its target audience isn’t the type to rush out to see a movie opening night, so this start is even more impressive. I am a little concerned that the Fanboy Effect is in play here, despite the target audience, so keep that in mind. More...

Weekend Predictions: Will the New Releases Shoot for the Stars?

September 20th, 2019

Ad Astra

A better than expected opening by Hustlers and a stronger than expected hold by It: Chapter Two helped 2019 earn its second win in the year-over-year comparison last weekend. Meanwhile, we have three new releases hoping to extend the winning streak this weekend. Unfortanately, all three films have something holding them back. For example, Ad Astra was made by Fox before the merger with Disney and I’m not sure Disney is 100% behind this movie. Downton Abbey is based on a recent TV show and people are not always willing to go to the theater and spend money on something they could recently watch on TV for free. Finally, Rambo: Last Blood is earning weak reviews and that could hurt its box office chances. Meanwhile, this weekend last year, The House with a Clock in its Walls opened with $26.61 million, while A Simple Favor was the only other film to earn more than $10 million. This weekend, we could have no movie earn more than $20 million, but there are five films that should have no trouble getting to $10 million. This depth could help extend 2019’s winning streak to three weeks. More...

2019 Preview: September

September 1st, 2019

It: Chapter Two

Summer ended on a thoroughly mediocre note, with more August releases missing expectations than topping them. That said, it wasn’t a complete mess, with Hobbs and Shaw doing extremely well internationally, and some others heading towards profitability, if not becoming spectacular hits. September, on the other hand, should be one of the best months in the year, at least on the year-over-year competition. The month starts with It: Chapter Two, which could open with more than $100 million. By comparison, last September, only one film, The Nun, earned more than $100 million in total. Additionally, Abominable has a slim but realistic chance at reaching the $100 million milestone, so it should be a great month on the year-over-year comparison. 2019 isn’t going to catch up to 2018, but it should narrow the gap considerably. More...

Ad Astra Trailer

July 18th, 2019

Sci-fi thriller starring Brad Pitt opens September 20 ... Full Movie Details.

Astronaut Roy McBride travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet. His journey will uncover secrets that challenge the nature of human existence and our place in the cosmos. More...

Ad Astra Trailer

June 5th, 2019

Sci-fi thriller starring Brad Pitt and Tommy Lee Jones opens September 20 ... Full Movie Details. More...

2019 Preview: May

May 1st, 2019

Detective Pikachu

April got off to a fast start with Shazam! opening the first weekend of the month. Meanwhile, Avengers: Endgame ended the month with a record-breaking debut. Unfortunately for 2019, last April had a very similar result leaving 2019 behind 2018’s pace by over $400 million. Will May be able to turn things around? Last May, there were only two films that reached $200 million, Deadpool 2 and Solo: A Star Wars Story. Meanwhile, this May there are three such films, Detective Pikachu, Aladdin, and Godzilla: King of the Monsters. There are two points we need to make. Firstly, the only reason there are more potential $200 million hits this year is because May has five Fridays this year. Secondly, this May also has a lot better depth with films like John Wick: Chapter 3 - Parabellum and Rocketman being potential $100 million hits. Even if we ignore the final weekend, May should do well enough to cut into 2018’s lead over 2019. It’s not going to be able to cut it in half, but it could do well enough to make box office analysts a little more positive about the year’s chances overall. More...

Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.

Weekend Box Office Performance

DateRankGross% ChangeScreensPer ScreenTotal GrossWeek
2019/09/20 - $2,700,000   0     $2,700,000 1
2019/09/27 - $2,000,000 -26% 0     $5,400,000 2

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 9/20/2019 $136,718 0 0 0 $335,027 11/17/2019
Australia 9/20/2019 $1,318,639 364 364 1217 $3,955,150 12/31/2019
Brazil 9/27/2019 $900,000 0 0 0 $1,655,061 11/10/2019
Bulgaria 9/20/2019 $55,525 0 0 0 $204,186 11/7/2019
China 12/5/2019 $2,060,000 40896 40896 40896 $3,259,145 1/3/2020
Czech Republic 9/20/2019 $192,842 117 117 316 $629,844 10/19/2022
France 9/20/2019 $2,700,000 0 0 0 $8,680,945 11/2/2019
Germany 9/20/2019 $900,000 0 0 0 $3,361,158 11/17/2019
Indonesia 9/20/2019 $700,000 0 0 0 $700,000 9/23/2019
Italy 9/26/2019 $893,047 0 0 0 $1,973,962 10/19/2022
Japan 9/20/2019 $2,200,000 0 0 0 $7,400,000 11/17/2019
Lithuania 9/20/2019 $84,503 16 16 49 $244,865 10/19/2022
Mexico 9/20/2019 $1,378,601 0 0 0 $3,682,944 11/10/2019
Netherlands 9/20/2019 $412,178 104 105 467 $1,378,510 10/19/2022
New Zealand 9/19/2019 $161,967 97 99 396 $599,868 10/19/2022
North America 9/20/2019 $19,001,398 3,460 3,460 13,219 $50,188,370 5/12/2020
Poland 9/20/2019 $305,872 0 0 0 $1,125,253 10/19/2022
Portugal 9/20/2019 $235,804 80 80 276 $588,712 10/19/2022
Romania 9/20/2019 $153,693 89 89 299 $478,851 12/3/2019
Russia (CIS) 9/26/2019 $4,011 0 1337 3986 $5,524,509 10/19/2022
Slovakia 9/20/2019 $119,032 76 76 170 $309,804 10/19/2022
Slovenia 9/20/2019 $16,869 34 34 83 $53,338 11/29/2019
South Korea 9/20/2019 $2,318,647 853 853 1395 $4,800,000 11/10/2019
Spain 9/20/2019 $2,101,551 378 383 1568 $5,192,420 11/17/2019
Taiwan 9/20/2019 $484,335 0 0 0 $937,858 1/5/2020
Turkey 9/20/2019 $254,940 336 336 923 $700,740 10/19/2022
United Arab Emirates 9/20/2019 $700,000 0 0 0 $700,000 9/23/2019
United Kingdom 9/20/2019 $2,829,258 616 643 2169 $7,699,572 11/17/2019
 
Rest of World $19,046,188
 
Worldwide Total$135,406,280 10/19/2022

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

Leading Cast

Brad Pitt    Roy McBride

Supporting Cast

Tommy Lee Jones    Clifford McBride
Ruth Negga    Helen Lantos
John Ortiz    Lieutenant General Rivas
Liv Tyler    Eve
Donald Sutherland    Thomas Pruitt
Greg Bryk    Chip Garnes
Loren Dean    Donald Stanford
Kimberly Elise    Lorraine Deavers
John Finn    Brigadier General Stroud
LisaGay Hamilton    Adjutent General Vogel
Donnie Keshawarz    Capt. Lawrence Tanner
Bobby Nish    Franklin Yoshida
Freda Foh Shen    Captain Lu
Kayla Adams    Female Flight Attendant
Ravi Kapoor    Arjun Dhariwal
Elisa Perry    Woman in the White Pants/Shirt
Daniel Sauli    Sal
Kimmy Shields    Sergeant Romano
Kunal Dudheker    Technician One
Alyson Reed    Janice Collins
Sasha Compère    Female Team Member
Justin Dray    Male Team Member
Alexandria Rousset    Woman on Screen
Natasha Lyonne    Tanya Pincus
Zoro Saro Manuel Daghlian    SpaceCom Employee
Jacob Sandler    Young Roy
Elizabeth Willaman    Cepheus
Jamie Kennedy    Peter Bello
Anne McDaniels    Shunga Hologram
Sean Blakemore    Willie Levant
Nicholas Walker    Lunar Medic
Ran Wei    Hip Japanese Traveler
Halszka Kuza    Dancer
Mallory Low    SpaceCom Employee
Jen Morillo    Hologram Dancer
Matthew Jones    Paramedic
Danny Hamouie    Rory Flynn
Kento Matsunami    Hip Japanese Traveler
Amanda Tudesco    Grace
Bayardo De Murguia    Hector Bustamante
Vivian Fleming-Alvarez    Mars Officer Daniels
Adinett Nsabimana    Military
Alex Luna    Kendall
Eleanor Goodall    Ship Med Tech
Eloy Perez    Lt. Nash
Lisa Shows    Military Medic
Lawrence Dex    Robert
Lorell Bird Dorfman    Earth Scientist
James Dunn    Lunar Passenger
Jean-Pierre Mouzon    American Astronaut
Luis Richard Gomez    Jim
Terence Rivera    Lunar Medic
Sheila M. Lockhart    Drug Addict
Melvin Payne Jr    Russian Astronaut
Bayani Ison    Asian Male Host
Afsheen Olyaie    Middle Eastern Traveler
Eliza Gerontakis    The Singing Face
Georgia James Gray    Evelyn McBride

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

Production and Technical Credits

James Gray    Director
James Gray    Screenwriter
Ethan Gross    Screenwriter
Brad Pitt    Producer
Dede Gardner    Producer
Jeremy Kleiner    Producer
James Gray    Producer
Rodrigo Teixeira    Producer
Arnon Milchan    Producer
Anthony Katagas    Producer
Marc Butan    Executive Producer
Lourenco Sant' Anna    Executive Producer
Sophie Mas    Executive Producer
Yu Dong    Executive Producer
Jeffrey Chan    Executive Producer
Anthony Mosawi    Executive Producer
Paul Conway    Executive Producer
Yariv Milchan    Executive Producer
Michael Schaefer    Executive Producer
Hoyte Van Hoytema    Director of Photography
Kevin Thompson    Production Designer
Lee Haugen    Editor
John Axelrad    Editor
Allen Maris    Visual Effects Supervisor
Randall Poster    Music Supervisor
George Drakoulias    Music Supervisor
Max Richter    Composer
Lorne Balfe    Additional Music
Albert Wolsky    Costume Designer
Douglas Aibel    Casting Director
Anthony Katagas    Unit Production Manager
Doug Torres    First Assistant Director
Christina Fong    Second Assistant Director
Nico Leunen    Additional Editor
Doug Torres    Co-Producer
Robert Alonzo    Supervising Stunt Coordinator
Jake Dewitt    Stunt Coordinator
Samuel Le    Stunt Coordinator
Caleb Deschanel    Additional Photography
Nils Frahm    Additional Music
Robert Charles Mann    Additional Music
Jason Ruder    Executive Music Producer
Christina Oh    Associate Producer
Michael Johnson    Production Supervisor
Mark Ulano    Sound Mixer
Christa Munro    Supervising Art Director
Kevin Constant    Art Director
David E. Scott    Art Director
Gary Warshaw    Art Director
Sarah Contant    Set Designer
Timothy Croshaw    Set Designer
Scott Herbertson    Set Designer
Noelle King    Set Designer
Lauren Polizzi    Set Designer
Anne Porter    Set Designer
Easton Smith    Set Designer
Trinh Vu    Set Designer
Jay Martin    Story Artist
John Casey    Costume Supervisor
Nana Fischer    Make-up and Hair Designer
Jaime Leigh McIntosh    Hairstylist
Galaxy San Juan    Make up
Julie Rea    Hairstylist
Karen O'Hara    Set Decorator
Scott R. Fisher    Special Effects Supervisor
Frank Iudica    Special Effects Coordinator
Sharron Reynolds-Enriquez    Script Supervisor
Christopher Kusiak    Location Manager
Dan Bradley    Second Unit Director/Stunt Coordinator
Scott Morris    Additional Editor
Traci Duran    First Assistant Editor
Jared Simon    Assistant Editor
Jason F. Voss    Assistant Editor
Jonathan Thornhill    Assistant Editor
Gary Rydstrom    Supervising Sound Editor
Brad Semenoff    Supervising Sound Editor
Gary Rydstrom    Sound Designer
Gary Rydstrom    Re-recording Mixer
Tom Johnson    Re-recording Mixer
Cheryl Nardi    Dialogue Editor
Chris Gridley    Dialogue Editor
Steve Bissinger    Sound Effects Editor
Pascal Garneau    Sound Effects Editor
Teresa Eckton    Sound Effects Editor
J.R. Grubbs    Sound Effects Editor
Lucas Miller    Sound Effects Editor
Steve Orlando    Sound Effects Editor
Nia Hansen    Sound Effects Editor
Robert Hein    Sound Editor
Kent Sparling    Sound Editor
Ian Gaffney    Dialogue Editor
Grant Elder    Sound Effects Editor
Kari Vahakuopus    Foley Mixer
Pietu Korhonen    Foley Editor
Jamie Hallett    Visual Effects Supervisor
Lindsey Hallett    Visual Effects Producer
Jason Ruder    Supervising Music Editor
Katrina Schiller    Supervising Music Editor
Terry Wilson    Music Editor
Lena Glikson    Music Editor
Rupert Coulson    Score Recordist
Rupert Coulson    Score Mixer
Juan Peralta    Additional Sound Re-recording Mixer

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