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.
Traditionally, war films, musicals, and historical dramas have been the most popular genres, but franchise films have been among the best performers in the 21st century. There is strong interest in the superhero genre, with nine films in the Marvel Cinematic Universe featuring among the nominal top-earners. The most successful superhero film, Avengers: Endgame , is also the highest-grossing film overall 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 Harry Potter , Jurassic Park and Pirates of the Caribbean franchises feature prominently. Avatar , in second place on the nominal chart, is the highest-grossing film that is not a sequel or an adaptation of a pre-existing property. 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 I and 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.
While inflation has eroded away the achievements of most films from the 1960s and 1970s, there are franchises originating from that period that are still active. Besides the Star Wars and Superman franchises, James Bond and Star Trek 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 adjusted for inflation, however, on that comparative scale Gone with the Wind —which was the highest-grossing film outright for twenty-five years—is 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.
With a worldwide box-office gross of over $2.797 billion, Avengers: Endgame 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, 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, and ultimately sold a total of thirty million DVD and Blu-ray units worldwide. 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 as much as 20–25% of its theatrical box-office for a couple of television runs on top of pay-per-view revenues; Titanic earned a further $55 million from the NBC and HBO broadcast rights, equating to about 9% of its North American gross.
When a film is highly exploitable as a commercial property, its ancillary revenues can dwarf its income from direct film sales. billion in box-office and home video sales, but this pales in comparison to the $8 billion earned at box offices around the world by the stage adaptation. Merchandising can be extremely lucrative too: The Lion King also sold $3 billion of merchandise, while Pixar's Cars —which earned $462 million in theatrical revenues and was only a modest hit by comparison to other Pixar films —generated global merchandise sales of over $8 billion in the five years after its 2006 release. 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.The Lion King (1994) earned over $2
On this chart, films are ranked by the revenues from theatrical exhibition at their nominal value, along with the highest positions they attained. Five films in total have grossed in excess of $2 billion worldwide, with Avengers: Endgame 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.
|4||3||Star Wars: The Force Awakens||$2,068,223,624||2015|
|5||4||Avengers: Infinity War||$2,048,359,754||2018|
|7||7||The Lion King||$1,656,943,394||2019|
|10||10|| Frozen II ||$1,450,026,933||2019|
|11||5||Avengers: Age of Ultron||$1,402,805,868||2015|
|13||3||Harry Potter and the Deathly Hallows – Part 2||$1,341,693,157||2011|
|14||9||Star Wars: The Last Jedi||$1,332,539,889||2017|
|15||12||Jurassic World: Fallen Kingdom||$1,309,484,461||2018|
|17||10||Beauty and the Beast||$1,263,521,126||2017|
|19||11||The Fate of the Furious||F8 $1,238,764,765||2017|
|20||5||Iron Man 3||$1,214,811,252||2013|
|22||12||Captain America: Civil War||$1,153,304,495||2016|
|24||2||The Lord of the Rings: The Return of the King||$1,142,219,401||2003|
|25||24||Spider-Man: Far From Home||$1,131,927,996||2019|
|27||4||Transformers: Dark of the Moon||$1,123,794,079||2011|
|29||10||Transformers: Age of Extinction||$1,104,054,072||2014|
|30||7||The Dark Knight Rises||$1,084,939,099||2012|
|31||31|| Joker ||$1,074,251,311||2019|
|32||32|| Star Wars: The Rise of Skywalker ||$1,074,144,248||2019|
|33||30||Toy Story 4||$1,073,394,593||2019|
|34||4 TS3||Toy Story 3||$1,066,969,703||2010|
|35||3||Pirates of the Caribbean: Dead Man's Chest||$1,066,179,725||2006|
|36||20||Rogue One: A Star Wars Story||$1,056,057,273||2016|
|38||6||Pirates of the Caribbean: On Stranger Tides||$1,045,713,802||2011|
|39||24||Despicable Me 3||$1,034,799,409||2017|
|42||2||Star Wars: Episode I – The Phantom Menace||$1,027,044,677||1999|
|43||5||Alice in Wonderland||$1,025,467,110||2010|
|45||14||The Hobbit: An Unexpected Journey||$1,021,103,568||2012|
|46||4||The Dark Knight||$1,004,934,033||2008|
|47||2 PS||Harry Potter and the Philosopher's Stone||$975,051,288||2001|
|48||19 DM2||Despicable Me 2||$970,761,885||2013|
|49||2||The Lion King||$968,483,777||1994|
|50||30||The Jungle Book||$966,550,600||2016|
F Box 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. It was re-released in the United Kingdom in December 2017 with Olaf's Frozen Adventure earning an additional $2.3 million. The total is rounded to $1 million to compensate for the numerical inaccuracy.
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—Argentina being the worst affected—led to a drop in the overall worldwide total. In view of what appears to be an aberration in the source, a previous figure is provided.
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. This means that it peaked at #4 at the end of its run, ahead of Pirates of the Caribbean: Dead Man's Chest , rather than at #5 as indicated by the source.
PSThe figure given for Harry Potter and the Philosopher's Stone is the initial box office gross, which in 2001 was the second highest ever, after Titanic. The Jurassic Park figure given is higher than that of Harry Potter and the Philosopher's Stone, as it includes proceeds from the 2013 3-D re-release.
DM2Disney issued an erratum to the gross for The Lion King in May 2016, correcting its gross from $987.5 million to $968.5 million. This means that Despicable Me 2 peaked at #19 at the end of its run, ahead of The Lion King, rather than at #20 as indicated by the source.
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.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. 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. Ticket prices have also risen at different rates of inflation around the world, further complicating the process of adjusting worldwide grosses.
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.Social and economic factors such as population change and the growth of international markets also impact 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.
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.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. 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", so there is little incentive to switch to a more robust analysis from a marketing or even newsworthy point of view.
Despite the inherent difficulties in accounting for inflation, several attempts have been made. Estimates depend on the price index used to adjust the grosses, 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; other estimates fall either side of this amount, with one putting its gross just under $3 billion in 2010, while another provided an alternative figure of $3.8 billion in 2006. 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.and the exchange rates used to convert between currencies can also impact upon the calculations, both of which can have an effect on the ultimate rankings of an inflation adjusted list. Gone with the Wind—first released in 1939—is generally considered to be the most successful film, with Guinness World Records in 2014 estimating its adjusted global gross at $3.4
|Rank||Title||Worldwide gross |
|1||Gone with the Wind||$3,706,000,000||1939|
|5||Avengers: Endgame||AE $2,798,000,000||2019|
|6||The Sound of Music||$2,549,000,000||1965|
|7||E.T. the Extra-Terrestrial||$2,489,000,000||1982|
|8||The Ten Commandments||$2,356,000,000||1956|
|10||Star Wars: The Force Awakens||$2,202,000,000||2015|
InfInflation adjustment is carried out using the Consumer price index for advanced economies published by the International Monetary Fund. 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 2019.
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. This chart incorporates the gross of $343,550,770 from the reissue and adjusts it from the 2014 index. Titanic grossed a further $691,642 during a limited re-release in 2017 for its 20th anniversary, but this figure is not represented in the adjusted total.
AESince Avengers: Endgame was released in 2019, no inflation adjustment has been applied to its gross.
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—the genre best placed to showcase the new technology—took 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,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. 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.
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) and William Wyler (1942, 1946, 1959 and 1968) are in second and third place with five and four films respectively, while D. W. Griffith (1915, 1916 and 1920), George Roy Hill (1966, 1969 and 1973), James Cameron (1991, 1997 and 2009) 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).
Because of release schedules—especially in the case of films released towards the end of the year—and 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.
|1915||The Birth of a Nation||$50,000,000–100,000,000|
$20,000,000+ R ($5,200,000) R
|1916||Intolerance||$1,000,000 * R IN||$489,653|
|1917||Cleopatra||$500,000 * R||$300,000|
|1919||The Miracle Man||$3,000,000 R||$120,000|
|1920||Way Down East||$5,000,000 R ($4,000,000) R||$800,000|
|1921||The Four Horsemen of the Apocalypse||$5,000,000 R ($4,000,000) R||$600,000–800,000|
|1922||Robin Hood||$2,500,000 R||$930,042.78|
|1923||The Covered Wagon||$5,000,000 R||$800,000|
|1924||The Sea Hawk||$3,000,000 R||$700,000|
|1925||The Big Parade||$18,000,000–22,000,000 R |
|Ben-Hur||$10,738,000 R ($9,386,000) R||$3,967,000|
|1926||For Heaven's Sake||$2,600,000 R FH||$150,000|
|1928||The Singing Fool||$5,900,000 R||$388,000|
|1929||The Broadway Melody||$4,400,000–4,800,000 R||$379,000|
|Sunny Side Up||$3,500,000 * R SS||$600,000|
|1930||All Quiet on the Western Front||$3,000,000 R||$1,250,000|
|1931||Frankenstein||$12,000,000 R ($1,400,000) R||$250,000|
|City Lights||$5,000,000 R||$1,607,351|
|1932||The Sign of the Cross||$2,738,993 R||$694,065|
|1933||King Kong||$5,347,000 R ($1,856,000) R||$672,255.75|
|I'm No Angel||$3,250,000+ R||$200,000|
|She Done Him Wrong||$3,000,000+ R||$274,076|
|1934||The Merry Widow||$2,608,000 R||$1,605,000|
|It Happened One Night||$1,000,000 R ON||$325,000|
|1935||Mutiny on the Bounty||$4,460,000 R||$1,905,000|
|1936||San Francisco||$6,044,000+ R ($5,273,000) R||$1,300,000|
|1937||Snow White and the Seven Dwarfs||$418,000,000+ S7 ($8,500,000) R||$1,488,423|
|1938||You Can't Take It With You||$5,000,000 R||$1,200,000|
|1939||Gone with the Wind||$390,525,192–402,352,579|
($32,000,000) R GW
|1940||Pinocchio||$87,000,862 * ($3,500,000) R||$2,600,000|
|Boom Town||$4,600,000 * R||$2,100,000|
|1941||Sergeant York||$7,800,000 R||$1,600,000|
|1942||Bambi||$267,997,843 ($3,449,353) R||$1,700,000–2,000,000|
|Mrs. Miniver||$8,878,000 R||$1,344,000|
|1943||For Whom the Bell Tolls||$11,000,000 R||$2,681,298|
|This Is the Army||$9,555,586.44 * R||$1,400,000|
|1944||Going My Way||$6,500,000 * R||$1,000,000|
|1945||Mom and Dad||$80,000,000 MD /$22,000,000 R||$65,000|
|The Bells of St. Mary's||$11,200,000 R||$1,600,000|
|1946||Song of the South||$65,000,000 * ($3,300,000) R||$2,125,000|
|The Best Years of Our Lives||$14,750,000 R||$2,100,000|
|Duel in the Sun||$10,000,000 * R||$5,255,000|
|1947||Forever Amber||$8,000,000 R||$6,375,000|
|Unconquered||$7,500,000 R UN||$4,200,000|
|1948||Easter Parade||$5,918,134 R||$2,500,000|
|The Red Shoes||$5,000,000 * R||£505,581 (~$2,000,000)|
|The Snake Pit||$4,100,000 * R||$3,800,000|
|1949||Samson and Delilah||$14,209,250 R||$3,097,563|
($20,000,000/$7,800,000 R )
|King Solomon's Mines||$10,050,000 R||$2,258,000|
|1951||Quo Vadis||$21,037,000–26,700,000 R||$7,623,000|
|1952||This Is Cinerama||$50,000,000 CI||$1,000,000|
|The Greatest Show on Earth||$18,350,000 R GS||$3,873,946|
|1953||Peter Pan||$145,000,000 ($7,000,000) * R||$3,000,000–4,000,000|
|The Robe||$25,000,000–26,100,000 R||$4,100,000|
|1954||Rear Window||$24,500,000 * ($5,300,000) * R||$1,000,000|
|White Christmas||$26,000,050 * ($12,000,000) * R||$3,800,000|
|20,000 Leagues Under the Sea||$25,000,134 * |
($6,800,000–8,000,000) * R
|1955||Lady and the Tramp||$187,000,000 ($6,500,000) * R||$4,000,000|
|Cinerama Holiday||$21,000,000 CI||$2,000,000|
|Mister Roberts||$9,900,000 R||$2,400,000|
|1956||The Ten Commandments||$90,066,230 R |
($122,700,000/$55,200,000 R )
|1957||The Bridge on the River Kwai||$30,600,000 R||$2,840,000|
|1958||South Pacific||$30,000,000 R||$5,610,000|
|1959||Ben-Hur||$90,000,000 R |
($146,900,000/$66,100,000 R )
|1960||Swiss Family Robinson||$30,000,000 R||$4,000,000|
|Spartacus||$60,000,000 ($22,105,225) R||$10,284,014|
|Psycho||$50,000,000+ ($14,000,000) R||$800,000|
|1961||One Hundred and One Dalmatians||$303,000,000||$3,600,000–4,000,000|
|West Side Story||$105,000,000 ($31,800,000) R||$7,000,000|
|1962||Lawrence of Arabia||$77,324,852 ($69,995,385)||$13,800,000|
|How the West Was Won||$35,000,000 R||$14,483,000|
|The Longest Day||$33,200,000 R||$8,600,000|
|From Russia with Love||$78,900,000/$29,400,000 R |
|1964||My Fair Lady||$55,000,000 R||$17,000,000|
|Goldfinger||$124,900,000 ($46,000,000) R||$3,000,000|
|Mary Poppins||$44,000,000–$50,000,000 R||$5,200,000|
|1965||The Sound of Music||$286,214,076 ($114,600,000) R||$8,000,000|
|1966||The Bible: In the Beginning||$25,325,000 R||$18,000,000|
|Hawaii||$34,562,222 * ($15,600,000) * R||$15,000,000|
|Who's Afraid of Virginia Woolf?||$33,736,689 * ($14,500,000) * R||$7,613,000|
|1967||The Jungle Book||$378,000,000 ($23,800,000) R||$3,900,000–4,000,000|
|The Graduate||$85,000,000 R||$3,100,000|
|1968||2001: A Space Odyssey||$141,000,000–190,000,000|
|1969||Butch Cassidy and the Sundance Kid||$152,308,525 ($37,100,000) R||$6,600,000|
|1970||Love Story||$80,000,000 R||$2,260,000|
|1971||The French Connection||$75,000,000 R||$3,300,000|
|Fiddler on the Roof||$49,400,000 R |
($100,000,000/$45,100,000 R )
|Diamonds Are Forever||$116,000,000 ($45,700,000) R||$7,200,000|
|1973||The Exorcist||$413,071,948 ($112,300,000) R||$10,000,000|
|The Sting||$115,000,000 R||$5,500,000|
|1974||The Towering Inferno||$104,838,000 R||$14,300,000|
|1975||Jaws||$470,653,591 ($193,700,000) R||$9,000,000|
|1976||Rocky||$225,000,000 ($77,100,000) R||$1,075,000|
($530,000,000 SW /$268,500,000 R )
|1980||The Empire Strikes Back||$547,969,004 ($413,562,607) SW||$23,000,000–32,000,000|
|1981||Raiders of the Lost Ark||$389,925,971|
|1982||E.T. the Extra-Terrestrial||$792,910,554|
|1983||Return of the Jedi||$475,106,177 ($385,845,197) SW||$32,500,000–42,700,000|
|1984||Indiana Jones and the Temple of Doom||$333,107,271||$27,000,000–28,200,000|
|1985||Back to the Future||$389,053,797 ($381,109,762)||$19,000,000–22,000,000|
|1986||Top Gun||$356,830,601 ($345,000,000)||$14,000,000–19,000,000|
|1989||Indiana Jones and the Last Crusade||$474,171,806–494,000,000||$36,000,000–55,400,000|
|1991||Terminator 2: Judgment Day||$523,774,456 ($519,843,345)||$94,000,000|
|1993||Jurassic Park||$1,029,939,903 ($914,691,118)||$63,000,000–70,000,000|
|1994||The Lion King||$968,483,777 ($763,455,561)||$45,000,000–79,300,000|
|1995||Toy Story||$373,554,033 ($364,873,776)||$30,000,000|
|Die Hard with a Vengeance||$366,101,666||$70,000,000|
|1999||Star Wars: Episode I – The Phantom Menace||$1,027,044,677 ($924,317,558)||$115,000,000–127,500,000|
|2000||Mission: Impossible 2||$546,388,105||$100,000,000–125,000,000|
|2001||Harry Potter and the Philosopher's Stone||$975,051,288 ($974,755,371)||$125,000,000|
|2002||The Lord of the Rings: The Two Towers||$951,208,089 ($936,689,735)||$94,000,000|
|2003||The Lord of the Rings: The Return of the King||$1,142,219,401 ($1,140,682,011)||$94,000,000|
|2005||Harry Potter and the Goblet of Fire||$897,099,794 ($896,911,078)||$150,000,000|
|2006||Pirates of the Caribbean: Dead Man's Chest||$1,066,179,725||$225,000,000|
|2007||Pirates of the Caribbean: At World's End||$963,420,425||$300,000,000|
|2008||The Dark Knight||$1,004,558,444 ($997,039,412)||$185,000,000|
|2010||Toy Story 3||$1,066,969,703||$200,000,000|
|2011||Harry Potter and the Deathly Hallows – Part 2||$1,341,693,157 ($1,341,511,219)||$250,000,000 HP|
|2014||Transformers: Age of Extinction||$1,104,039,076||$210,000,000|
|2015||Star Wars: The Force Awakens||$2,068,223,624||$245,000,000|
|2016||Captain America: Civil War||$1,153,304,495||$250,000,000|
|2017||Star Wars: The Last Jedi||$1,332,539,889||$200,000,000|
|2018||Avengers: Infinity War||$2,048,359,754||$316,000,000–400,000,000|
|2020|| Bad Boys for Life ||$425,514,702||$90,000,000|
(...) Since grosses are not limited to original theatrical runs, a film's first-run gross is included in brackets after the total if known.
*Canada and U.S. gross only.
TBATo be ascertained.
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. 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.
FHSome sources such as The Numbers state that Aloma of the South Seas is the highest grossing film of the year, earning $3 million. 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.
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, which may suggest the higher figure is the worldwide rental, given the confusion over international figures during this period.
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.
S7Snow White's $418 million global cume omits earnings outside of North America from 1987 onwards.
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. 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), and as of 1953—following the 1947 re-release—Variety was reporting earnings of $26 million. Through 1956, MGM reported cumulative North American earnings of $30,015,000 and foreign earnings of $18,964,000, from three releases. 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.
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.
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) were in fact worldwide rental grosses, so it is possible this is also true of Unconquered.
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. 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. Variety's 'rental' amounts are often repeated, but have no basis in the reality of what the films actually earned—they are hypothetical figures conceived for comparative analysis. All five Cinerama features collectively generated $120 million in worldwide box office receipts.
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 ) 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.
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.
HPProduction costs were shared with Harry Potter and the Deathly Hallows – Part 1.
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 holding the record on three occasions and James Cameron twice. 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 ended thirty-six years of Spielberg/Cameron dominance.
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. million as of 1919. 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. At this time, Variety still had The Birth of a Nation ahead of The Big Parade ($6,400,000) on distributor rentals and—if its estimate is correct—Snow White and the Seven Dwarfs ($8,500,000) would not have earned enough on its first theatrical run to take the record; although it would have been the highest-grossing 'talkie', displacing The Singing Fool ($5,900,000). Although received wisdom holds that it is unlikely The Birth of a Nation was ever overtaken by a silent-era film, 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. 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. It was hugely popular with the Ku Klux Klan who used it to drive recruitment, and at one point Variety estimated its total earnings to stand at around $50 million. Despite later retracting the claim, the sum has been widely reported even though it has never been substantiated. While it is generally accepted that Gone with the Wind took over the record of highest-grossing film on its initial release—which is true in terms of public exhibition—it 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. 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 $58–60 million compared to Gone with the Wind's $59 million; 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, and by 1963 it was trailing Gone with the Wind by just $2 million with international takings of $65 million, ultimately earning $66 million from its initial release.Exact figures are not known for The Birth of a Nation, but contemporary records put its worldwide earnings at $5.2
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; 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. Exact figures are not known, but testimony in a federal trial in 1976—about four years into the film's release—showed the film had grossed over $25 million. 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.
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 includes revenue from the 2010 Special Edition, which represents all of its earnings up to the point it relinquished the record. Gone with the Wind is represented twice on the chart: the 1940 entry includes earnings from its staggered 1939–1942 release (roadshow/general release/second-run)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—after it took back the record—includes 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 increased their earnings with further releases in 1973, 1997, 1979, 2013 and 2012 respectively, but they are not included in the totals here because they had already conceded the record prior to being re-released.
|Established||Title||Record setting gross||Reference(s)|
|1915||The Birth of a Nation||$5,200,000 R|
|1940||$15,000,000 R ‡|
|1940||Gone with the Wind||$32,000,000 R|
|1963||$67,000,000 R ‡|
|1966||The Sound of Music||$114,600,000 R|
|1971||Gone with the Wind||$116,000,000 R ‡|
|1972||The Godfather||$127,600,000–142,000,000 R|
|1978||Star Wars||$410,000,000/$268,500,000 R|
|1983||E.T. the Extra-Terrestrial||$619,000,000–664,000,000|
Prior to 2000, only seven film series had grossed over $1 billion at the box office: James Bond , Star Wars , Indiana Jones , Rocky , Batman , Jurassic Park , and Star Trek . Since the turn of the century that number has increased to over fifty (not including one-off hits such as Avatar, Titanic, and Zootopia). This is partly due to inflation and market growth, but also 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.
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". billion at the box office.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. 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 $22
The Star Wars films are the highest-grossing series based on a single property, earning over $10 billion at the box office (although the Eon James Bond films have earned over $18 billion in total when adjusted to current prices). If ancillary income from merchandise is included, then Star Wars is the most lucrative property; it holds the Guinness world record for the "most successful film merchandising franchise" and was valued at £19.51 billion in 2012 (approximately $30 billion). The Marvel Cinematic Universe has had the most films gross over $1 billion with nine. The four Avengers films and the two Frozen films are the only franchises where each installment has grossed over $1 billion. Along with The Lion King, these are also the only franchises to have a series average of over $1 billion per film.
*Canada and U.S. gross only.
In the motion picture industry, a box-office bomb or box-office flop is a film that is considered highly unsuccessful or unprofitable during its theatrical run. Although any film for which the production and marketing costs exceed the combined revenue after release can be considered to have "bombed", the term is more frequently used on major studio releases that are highly anticipated and expensive to produce.
Shrek 2 is a 2004 American computer-animated comedy film directed by Andrew Adamson, Kelly Asbury and Conrad Vernon. It is the sequel to 2001's Shrek and the second installment in the Shrek film franchise. The film stars Mike Myers, Eddie Murphy and Cameron Diaz, who reprise their respective voice roles of Shrek, Donkey, and Fiona. They are joined by new characters voiced by Antonio Banderas, Julie Andrews, John Cleese, Rupert Everett, and Jennifer Saunders. Shrek 2 takes place following the events of the first film, with Shrek and Donkey meeting Fiona's parents as her zealous Fairy Godmother, who wants Fiona to marry her son Prince Charming, plots to destroy Shrek and Fiona's marriage. Shrek and Donkey team up with a swashbuckling cat named Puss in Boots to foil her plans.
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 synonym for the amount of business a particular production, such as a film or theatre show, receives.
Walt Disney Animation Studios (WDAS), sometimes shortened to Disney Animation, is an American animation studio that creates animated features and short films for The Walt Disney Company. Founded on October 16, 1923 by brothers Walt Disney and Roy O. Disney, it is one of the oldest-running animation studios in the world and currently acts as a division of Walt Disney Studios, being headquartered at the Roy E. Disney Animation Building at the Walt Disney Studios lot in Burbank, California. Since its foundation, the studio has produced 58 feature films, from Snow White and the Seven Dwarfs (1937) to Frozen II (2019), and hundreds of short films.
Nickelodeon Movies is the theatrical motion picture production arm of the Nickelodeon TV channel. Founded in 1995, the company released its first film Harriet the Spy in 1996. It has produced family features and films based on Nickelodeon programs, as well as other adaptations and original projects. Its films are co-produced and/or distributed by fellow ViacomCBS division Paramount Pictures. The studio's highest-grossing films are Teenage Mutant Ninja Turtles (2014), which grossed $493.3 million worldwide, The Adventures of Tintin (2011), which grossed $374 million worldwide, and The SpongeBob Movie: Sponge Out of Water (2015), which grossed $323.4 million worldwide.
2012 is a 2009 American disaster film directed by Roland Emmerich. It was produced by Harald Kloser, Mark Gordon, and Larry J. Franco, and written by Kloser and Emmerich. The film stars John Cusack, Chiwetel Ejiofor, Amanda Peet, Oliver Platt, Thandie Newton, Danny Glover, and Woody Harrelson. The plot follows geologist Adrian Helmsley (Ejiofor), who discovers the Earth's crust is becoming unstable after a massive solar flare caused by an alignment of the planets, and novelist Jackson Curtis (Cusack) as he attempts to bring his family to safety as the world is destroyed by a series of extreme natural disasters caused by this. The film refers to Mayanism and the 2012 phenomenon in its portrayal of cataclysmic events.
Harry Potter and the Deathly Hallows – Part 2 is a 2011 fantasy film directed by David Yates and distributed by Warner Bros. Pictures. It is the second of two cinematic parts based on J. K. Rowling's 2007 novel of the same name. The film, which is the eighth and final instalment in the Harry Potter film series, was written by Steve Kloves and produced by David Heyman, David Barron, and Rowling. The story continues to follow Harry Potter's quest to find and destroy Lord Voldemort's Horcruxes in order to stop him once and for all.
2018 in film is an overview of events, including the highest-grossing films, award ceremonies, critics' lists of the best films of 2018, festivals, a list of films released and notable deaths.
The Hows of Us is a 2018 Philippine romantic drama film directed by Cathy Garcia-Molina and starring Kathryn Bernardo and Daniel Padilla. They were recognized as Phenomenal Box Office Stars and was given the Golden Jury Award and honors at the 50th Guillermo Box Office Entertainment Awards and received the prestigious Camera Obscura Award for its phenomenal success worldwide.
Most pictures would likely receive 20% to 25% of theatrical box office gross for two prime-time network runs.
North America: $57,884,114; Overseas: $285,666,656
Domestic Total Gross: $691,642
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.
Rentals are the distributors' share of the box office gross and typically set by a complex, two-part contract.
Film Rentals as Percent of Volume of Business (1939): 36.4
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.
The year's top–grossing movie, Aloma made $3 million in the first three months and brought Gray back to Milwaukee for its opening at the Wisconsin Theatre.
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.
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.
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 1915–1919 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.
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—MGM'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.
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.
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.Cite journal requires
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.
Jaws (1975) saved the day, grossing $104 million domestically and $132 million worldwide by January 1976.