List of top money making movies

Retrieved November 24, Harry Potter and the Goblet of Fire. Batman Returns It feels inevitable, and waiting around every corner.

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Films generate income from several revenue streams, including theatrical exhibitionhome videotelevision broadcast rightsand 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 moviee practice. Included on the list are charts of the top box office earners ranked by both the nominal and monsy value of their revenuea 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 filmsmusicalslist of top money making movies historical dramas list of top money making movies 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 genrewith nine films in the Marvel Cinematic Universe featuring among the nominal top-earners.

The 53 Highest-Grossing Movies in History

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10. «Black Panther» (2018)

Films generate income from several revenue streams, including theatrical exhibitionhome videotelevision broadcast rightsand 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 revenuea 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 filmsmusicalsand 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 genrewith nine films in the Marvel Cinematic Universe featuring among the list of top money making movies top-earners. The most successful superhero film, Avengers: Endgameis 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 ten. Star Wars is also represented in the nominal earnings chart with four films, while the Harry PotterJurassic Park and Pirates of the Caribbean franchises feature prominently.

Avatarin 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 IIZootopiaand The Lion King with its computer-animated remake as the highest-grossing animated filmas well as its Pixar brand, of which Incredibles 2Toy Story 3 and 4and Finding Dory have been the best performers. While inflation has eroded away the achievements of most films from the s and s, 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 properly 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. Once revenue from home entertainment is factored in it is not immediately clear which film is the most makint. When a film is highly exploitable as a commercial property, its ancillary revenues can dwarf its income from direct film sales.

On this chart, films are ranked by the revenues from theatrical exhibition at their nominal value, along with the highest positions they attained. 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.

F Box Office Mojo stopped updating its main total for Frozen in Augustwhile 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 but omits earnings in Mxking, Iceland, Brazil, and Australia which amount to a few hundred thousand dollars. F8 In 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. PS The figure given for Harry Potter and the Philosopher’s Stone is the initial box mkvies gross, which in was the second highest ever, after Moviws.

The Jurassic Park figure given is higher than that of Harry Potter and the Philosopher’s Stoneas it includes proceeds from the 3-D re-release. Because of the long-term effects of inflationnotably the significant increase of movie theater ticket prices, the list unadjusted for inflation gives far more weight to later films. Another complication is release in multiple formats for which different ticket prices are charged. The measuring system for gauging a film’s success is based on unadjusted grosses, mainly because historically this is maming 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.

Despite the inherent difficulties in accounting for inflation, several attempts have been. Estimates depend on the price index used to adjust the grosses, [28] 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.

Inf Inflation adjustment is carried out using the Consumer price index for advanced economies published by the International Monetary Fund. The figures in the above chart take into account inflation that occurred inand in every available year since.

AE Since Avengers: Endgame was released in the current year, no inflation adjustment has been applied to its gross. Audience tastes were fairly eclectic during the 20th century, but several trends did emerge. With the advent of sound inthe musical —the genre best placed to showcase the new technology—took over as the most popular type of film with audiences, with and both being topped by musical films.

The s 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 s. The 21st century has seen an increasing dependence on franchises and adaptationswith the box office dominance of makihg 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, and Cecil B.

DeMille makinf, and and William Wyler, and are in second and third place with five and four films respectively, while D. GriffithandGeorge Roy HillandJames Cameronand and the Russo brothersand all feature heavily with three films apiece. George Lucas directed two chart-toppers in andbut also served in a strong creative capacity as monfy producer and writer in movirs, and as.

Disney films are usually co-directed and some directors have served on several winning teams: Wilfred JacksonHamilton LuskeClyde GeronimiDavid HandBen SharpsteenWolfgang Reitherman and Bill Roberts have all co-directed at least two films on the list. Only seven directors have topped the chart moves consecutive years: McCarey andNichols andSpielberg andJackson and Verbinski and and the Russo brothers and 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 yop included in brackets after the total if known.

Because of incomplete data it cannot be known ot 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.

In the cases where estimates conflict both films are recorded, and in cases where a film has moved into first place because of being mxking the previous record-holder is also retained. Since grosses are ,oney limited to original theatrical runs, a film’s first-run gross is included in brackets after the total if known. 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.

ON The 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.

GW It is not absolutely clear how much Gone with the Wind earned from its initial release. Lizt 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 ot 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. MD Mom 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 genreit was marketed as an majing sex hygiene film in an effort to circumvent censorship laws.

Falling foul of the Motion Picture Production CodeMom 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 s when hardcore pornography eventually took.

UN Chopra-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. CI The Cinerama figures represent gross amounts. Since Variety at the time ranked films by their U. 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.

It is likely that Birchard’s figure is just the North American gross rental, and includes revenue from the and reissues. SW The «first run» Star Wars grosses do not include revenue from the special-edition releases; however, the figure does include revenue from the re-releases prior to the special editions. At least eleven films have held the moives of ‘highest-grossing film’ since The Birth of a Nation assumed the top spot in 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 majing and James Cameron twice.

Spielberg became the first director to break his own record when Jurassic Park overtook E. Another film purported to have been the highest-grosser is the pornographic film Deep Throat. 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.

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 ; the total for Star Wars includes revenue from the late s and early movirs reissues but not from the Special Edition; the total for E.

The Godfather was re-released in after its success at the 45th Academy Awardsand Jaws was released again inand their grosses here most likely include earnings from those releases. The Sound of MusicThe GodfatherJawsJurassic Park and Titanic increased their earnings makkng further releases in,and respectively, but they are not included in the totals here because they had already conceded the record prior to being mofies.

Includes revenue from re-releases. If a film increased its gross through re-releases while holding the record, the year in which it recorded its highest gross is also noted in italics. 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 mooney concept of the crossoverwhich can be defined as «a story in which characters or concepts from two or more discrete texts or series of texts meet».

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.

From Wikipedia, the free encyclopedia. Wikimedia list article. Background shading indicates films playing in the week commencing 17 January in theaters around the world.

Glossary: Distributor rentals. Box-office figures are reported in the form of gross or distributor rentalsthe latter being especially true of older films. Commonly mistaken for home video revenue, the rentals are the distributor’s share of the film’s theatrical revenue i.

R Distributor rental. TBA To be ascertained. See also: List of highest-grossing media franchises. Background shading indicates that at least one film in the series is playing in the week commencing 17 January in theaters around the world.

Maming portal. Retrieved February 2, The Numbers. Retrieved November 12, The Economist. March 17, Retrieved April 12, Cambridge University Press.

The Godfather was re-released in after its success at the 45th Academy Awardsoff Jaws was released again inand their grosses here most likely include earnings from those releases. Currently, only about a tenth of the films were not in the decade of the s or s. Retrieved July 14, Until Avengers: Endgame. Despicable Me 3. Justice League. June 21, University of Exeter Press. The movie is dutifully mounted, and Favreau brings the same dogged professionalism he brought to The Jungle Booka film with ,oney of the same problems as this film. Health Insurance. Mockingjay — Part 1