Kieran Culkin
Actor
Financial Data
Film Title Release (m/yr)
| Film Title | Release (m/yr) | Est. Production Cost (millions) | US Box Office (000's) | Foreign Box Office (000's) | Worldwide Box Office (000's) | Est. World Film Rentals (000's) Est. Profitable | |
|---|---|---|---|---|---|---|---|
 | A Real Pain | 10/2024 | 14 | N/A | N/A | N/A | N/A |
 | No Sudden Move | 07/2021 | N/A | N/A | N/A | N/A | N/A |
 | Quitters | 07/2016 | 4 | N/A | N/A | N/A | N/A |
 | Wiener-Dog | 06/2016 | 6 | 470 | N/A | 470 | 221 |
 | Margaret | 09/2011 | 15 | 47 | N/A | 47 | 22 |
 | Scott Pilgrim vs. The World | 08/2010 | 65 | 32,000 | 16,500 | 48,500 | 21,640 |
 | Lymelife | 04/2009 | 2 | 421 | 105 | 526 | 240 |
 | Igby Goes Down | 09/2002 | 9 | 4,700 | N/A | 4,700 | 2,209 |
 | The Dangerous Lives Of Altar Boys | 06/2002 | 20 | 1,800 | N/A | 1,800 | 846 |
 | The Cider House Rules | 12/1999 | 24 | 57,536 | 37,000 | 94,536 | 41,842 |
 | Music of the Heart | 10/1999 | 27 | 14,755 | N/A | 14,755 | 6,935 |
 | Shes All That | 01/1999 | 10 | 63,320 | 40,000 | 103,320 | 45,760 |
 | The Mighty | 10/1998 | N/A | 2,652 | N/A | 2,652 | 1,246 |
 | Father Of The Bride Part II | 12/1995 | 30 | 76,600 | 76,000 | 152,600 | 66,402 |
 | Nowhere To Run | 01/1993 | N/A | 22,189 | 41,900 | 64,089 | 27,189 |
 | Home Alone 2: Lost In New York | 11/1992 | N/A | 174,000 | 106,000 | 280,000 | 124,180 |
 | Father of the Bride | 12/1991 | N/A | 91,547 | 98,000 | 189,547 | 82,227 |
 | Only The Lonely | 05/1991 | N/A | 24,469 | N/A | 24,469 | 11,500 |
 | Home Alone | 11/1990 | 15 | 297,873 | 248,000 | 545,873 | 239,200 |
Note: Film Rentals is the amount received by Distributors from Theaters/Exhibitors. A film's profitability may be assessed when estimated world film rentals approach/equal/exceed estimated production cost. DVD, Television, Digital and Ancillary revenues are then added and production, marketing and other costs deducted (Cost variables may affect this calculation).
Click on Est. Profitable above.
Approximately one half of the films released each year in the U.S. avoid the considerable marketing costs of a wide release in theaters and go directly to digital and other media often taking them into profit. A substantial number are made for and streamed by Netflix, Amazon, Hulu, Disney, Apple, Peacock, HBO and similar platforms.
