Portugal Box Office for Welcome to the Rileys (2010)
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Synopsis
Welcome to the Rileys is an emotional journey that takes us through grief, self-reinvention and healing. The Rileys have been struggling in their marriage since losing their teenage daughter eight years prior. Once a happily married and loving couple, Lois and Doug have grown distant. Lois has become agoraphobic and won't leave the house while Doug tries to stay away, finding their home depressing.
Looking to get away, Doug goes on a business trip to New Orleans. He meets Mallory, a teenage runaway. Despite her unsettling demeanor, Doug immediately recognizes an innocence in Mallory. He realizes she is in desperate need of paternal guidance, something he has been longing to provide. The opportunity to care and protect Mallory supplants the void Doug's marriage has left in his heart, and brings new meaning to his life. Doug decides to sell his business and stay in New Orleans to give Mallory the attention and help she can't bring herself to ask for.
Lois overcomes her phobia and ventures to New Orleans to reclaim her marriage. What initially seems to be the final straw that will derail their marriage turns out to be the inspiration for Lois and Doug to renew their love for each other. From Scott Free and Argonaut Pictures comes an unusual story of love lost and found.
Metrics
Movie Details
Production Budget: | $10,000,000 |
Portugal Releases: |
February 28th, 2013 (Wide) |
Video Release: |
February 1st, 2011 by Samuel Goldwyn |
MPAA Rating: |
R for strong sexual content, brief drug use and pervasive language involving a teenager. (Rating bulletin 2124, 6/9/2010) |
Running Time: |
110 minutes |
Keywords: |
Dysfunctional Family, Prostitution, Mental Illness, Unexpected Families, Sundance Film Festival 2010 |
Source: | Original Screenplay |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: |
Scott Free Films, Argonaut Pictures |
Production Countries: |
United States |
Languages: |
English |
February 1st, 2011
There's still a lull when it comes to first-run releases on the home market with no major, or even midlevel hits coming out this week. In fact, the best-selling release according to Amazon.com is Alice in Wonderland on Blu-ray / DVD Combo Pack, which is a contender for Pick of the Week. The other major contender is Let Me In on Blu-ray, which failed to find an audience despite impressing critics almost as much as the original did. I'm going to give the honor to Let Me In, but both are worthy contenders.
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November 2nd, 2010
Again, there was only one film that reached the $10,000 mark on the per theater chart. Inspector Bellamy opened with an average of $10,318 in two theaters. However, Waste Land came very close with $9,806 in its one theater.
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October 29th, 2010
Another week and I'm still waiting for the flood of Oscar hopefuls to come out. There are a couple of high profile films making their theatrical debut this week, The Girl Who Kicked the Hornet's Nest and Welcome to the Rileys, but neither are earning good reviews. While the movies that are earning excellent reviews are mostly documentaries and foreign imports.
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Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.
Weekend Box Office Performance
Date | Rank | Gross | % Change | Screens | Per Screen | Total Gross | Week |
2013/03/01 |
25 |
$2,482 |
|
2 |
$1,241 |
$2,482 |
1 |
2013/03/08 |
28 |
$632 |
-75% |
2 |
$316 |
$3,946 |
2 |
Box Office Summary Per Territory
Territory |
Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
North America |
10/29/2010 |
$42,145 |
10 |
11 |
52 |
$152,857 |
10/1/2015 |
Portugal |
2/28/2013 |
$2,482 |
2 |
2 |
4 |
$3,946 |
12/14/2015 |
|
Rest of World |
$199,116 |
|
|
Worldwide Total | $355,919 |
12/14/2015 |
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.
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits