#1 of 4 #1 thriller movie of Week 17, 2019
2019 · Comedy, Mystery
$117.9K worldwide · 92% of the chart's total
$96.7K US & Canada · 82% $21.2K elsewhere · 18%
Thriller box office · Week 17 · Apr 21–27, 2019
Thriller Box Office, Week 17 of 2019: Thriller Releases of Apr 21–27
Come to Daddy (2019) is the highest-grossing thriller movie released in week 17 of 2019 (Apr 21–27), with $117.9K worldwide, ahead of Body at Brighton Rock (2019) at $5.1K and Range Runners (2019) at $3.8K. 4 thriller films released that week report a worldwide gross, $128.5K in all, 79% of it from the US & Canada.
- week 17 releases with a gross
- 4
- combined worldwide
- $128.5K
- Come to Daddy (2019), the #1
- $117.9K
- earned in the US & Canada
- 79%
#1 of 4 Top 4
What Were the Biggest Thriller Hits of Week 17 of 2019?
Come to Daddy (2019) leads with $117.9K, 92% of the total. The top 4 together took $128.5K, almost all of what the 4 films earned. Each bar splits a film's gross into the US & Canada and the rest of the world.
- Number 1
-
Number 2 -
Number 3 -
Number 4
US & Canada (domestic) Rest of the world
The chart
Every Thriller Release of Week 17 of 2019, Ranked by Worldwide Gross
Lifetime worldwide grosses in US dollars, not adjusted for inflation; domestic means the US & Canada. Films are grouped by their release date in week 17 of 2019 (Apr 21–27).
- 1 Apr 25, 2019 US and Canada: $96.7K Rest of the world: $21.2K Worldwide: $117.9K
- 2 Apr 26, 2019 US and Canada: $5.1K Rest of the world: Worldwide: $5.1K
- 3 Apr 26, 2019 US and Canada: – Rest of the world: – Worldwide: $3.8K
- 4 Apr 25, 2019 US and Canada: – Rest of the world: – Worldwide: $1.6K
Weeks around it
How Does Week 17 Compare With the Weeks Around It?
Week 17 releases took $128.5K. The biggest of these 9 weeks is week 12 (Mar 17–23) with $281.2M, led by Us (2019).
- Week 11 Wk 11 Mar 10–16 Captive State (2019) $21.6M Captive State (2019)
- Week 12 Wk 12 Mar 17–23 Us (2019) $281.2M Us (2019)
- Week 13 Wk 13 Mar 24–30 Lucifer (2019) $5M Lucifer (2019)
- Week 14 Wk 14 Mar 31–Apr 6 Pet Sematary (2019) $114.4M Pet Sematary (2019)
- Week 15 Wk 15 Apr 7–13 Dogman (2019) $7.5M Dogman (2019)
- Week 16 Wk 16 Apr 14–20 The Curse of La Llorona (2019) $136.4M The Curse of La Llorona (2019)
- Week 17 Wk 17 Apr 21–27 Come to Daddy (2019) $128.5K Come to Daddy (2019)
- Week 18 Wk 18 Apr 28–May 4 The Intruder (2019) $49.7M The Intruder (2019)
- Week 19 Wk 19 May 5–11 The Professor and the Madman (2019) $6.1M The Professor and the Madman (2019)
Earlier years
How Does Week 17 of 2019 Compare With Earlier Years?
Of these 10 years, Week 17, 2013 earned the most: $108.3M from 6 films, led by Pain & Gain (2013). Week 17, 2019 took $128.5K.
| Week | Films | Worldwide | Change | Biggest film |
|---|---|---|---|---|
| Week 17, 2010 Apr 18–24 2 films | 2 | $29.4M | – | The Losers (2010) $29.4M |
| Week 17, 2011 Apr 17–23 5 films · −87% | 5 | $3.8M | −87% | Hidden 3D (2011) $1.7M |
| Week 17, 2012 Apr 22–28 6 films · +2403% | 6 | $95.4M | +2403% | Safe (2012) $41.6M |
| Week 17, 2013 Apr 21–27 6 films · +13% | 6 | $108.3M | +13% | Pain & Gain (2013) $87.3M |
| Week 17, 2014 Apr 20–26 7 films · −91% | 7 | $10.2M | −91% | Locke (2014) $5.2M |
| Week 17, 2015 Apr 19–25 5 films · +151% | 5 | $25.7M | +151% | Kung Fu Killer (2015) $24.1M |
| Week 17, 2016 Apr 17–23 7 films · −77% | 7 | $5.8M | −77% | At the End of the Tunnel (2016) $3.2M |
| Week 17, 2017 Apr 23–29 6 films · +1426% | 6 | $88.7M | +1426% | Battle of Memories (2017) $43.9M |
| Week 17, 2018 Apr 22–28 5 films · −28% | 5 | $63.6M | −28% | A or B (2018) $56.2M |
| Week 17, 2019 Apr 21–27 4 films · −100% | 4 | $128.5K | −100% | Come to Daddy (2019) $117.9K |
Archive
Thriller Box Office in 2019, Week by Week
52 weeks of 2019 with reported grosses; the biggest is week 40 (Sep 29–Oct 5) with $1.3B, led by Joker (2019).
- Week 1 $10.9M
- Week 2 $12.6M
- Week 3 $247.4M
- Week 4 $22M
- Week 5 $16.8M
- Week 6 $118.2M
- Week 7 $470.7M
- Week 8 $207.9K
- Week 9 $29.2M
- Week 10 $19.6M
- Week 11 $21.6M
- Week 12 $281.2M
- Week 13 $5M
- Week 14 $114.4M
- Week 15 $7.5M
- Week 16 $136.4M
- Week 17 $128.5K
- Week 18 $49.7M
- Week 19 $6.1M
- Week 20 $334.5M
- Week 21 $34M
- Week 22 $79.2M
- Week 23 $53.9M
- Week 24 $89.9K
- Week 25 $43.4M
- Week 26 $232.4M
- Week 27 $55.3M
- Week 28 $125.7M
- Week 29 $932.2K
- Week 30 $398.4M
- Week 31 $763.5M
- Week 32 $204.9M
- Week 33 $106.4M
- Week 34 $208.1M
- Week 35 $769.5M
- Week 36 $481M
- Week 37 $179.9M
- Week 38 $226M
- Week 39 $1.2M
- Week 40 $1.3B
- Week 41 $479.5M
- Week 42 $1.1M
- Week 43 $76.8M
- Week 44 $5.1M
- Week 45 $76.5M
- Week 46 $54M
- Week 47 $76.2M
- Week 48 $313M
- Week 49 $11.8M
- Week 50 $269.9M
- Week 51 $65.6M
- Week 52 $3M
- Week 53 No grosses
FAQ
Thriller Box Office Week 17 of 2019: Questions & Answers
The chart's numbers in short: the #1 film, the total, the billion-dollar hits and the US & Canada share, answered from the same 4 films as the chart.
What is the highest-grossing thriller movie in week 17 of 2019 (Apr 21–27)?
Come to Daddy (2019) leads with $117.9K worldwide, $96.7K of it in the US & Canada. Next come Body at Brighton Rock (2019) at $5.1K and Range Runners (2019) at $3.8K.
How much did thriller movies released in week 17 of 2019 (Apr 21–27) earn?
4 thriller films released in week 17 of 2019 (Apr 21–27) report a worldwide gross, $128.5K in all, or $32.1K per film on average.
How many thriller movies released in week 17 of 2019 (Apr 21–27) made $1 billion?
None. The biggest, Come to Daddy (2019), earned $117.9K.
How is the week 17, 2019 thriller box office chart ranked and where do the numbers come from?
Films are ranked by lifetime worldwide gross in US dollars, not adjusted for inflation, and grouped by their release date in week 17 of 2019 (Apr 21–27). The figures are the reported box office grosses in our database. A gross that looks misattributed, such as one figure shared by two unrelated films or a blockbuster total on an obscure title, is left out rather than shown as a fact.
How often is the week 17, 2019 thriller box office chart updated?
Grosses change while films are in theaters and whenever a new figure is reported; this chart reads the latest numbers in our database, so an older film can still move after a re-release.