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Kick Ass: 7 Areas of Assessment

Kick Ass: Seven Areas of Audience and Inatitution Assessment

The issues raised by media ownership in contemporary media practice:
This issue with the british film indusrty is that we have to have imput from american film companies as we are 'poorly organised.' Because of this, 'Kick Ass' had to have the imput of Plan B. The reason for this is because the British production companies dont have the same amount of money on the same scale as the American film companies. Most, if not all, of the 'Big 6' major film production companies (major film studio is a production and distribution company that releases a substantial number of films annually and consistently commands a significant share of box-office revenues in a given market) are all American showing that American films dominate the film indusrty meaning that British films struggle to ever be a major success without the help (sharing ownership) of American companies. Personally, I don't really think yhat smaller production companies can compete with the massive film companies, however I still think they can be successful. This is because their budgets and profits will be a lot smaller that the major film companies, however their profit margins could be similar meaning they are just as successful just not on such a large scale. For example, Kick ass almost tripled their budget at the box office making around '96 million dollars' whereas 'The Amazing Spiderman' also doubled the revenue at the box office. Their total at the box office is about £750 million- much more than 'Kick Ass', however their budget was £230 million- around seven times the budget of 'Kick Ass.' This shows that both films were equally as successful- just on completely different size scales.

The importance of cross media convergence and synergy in production, distribution and marketing:
In the initial idea of 'Kick Ass', director Matthew Vaughn went to all of the major film production companies, all of which refused to finance the film. This meant that he had to raise finance on his own. He put in half of the £30 million from his own pocket and got the rest from private investors, including a hefty chunk from Brad Pitt's production company (Plan B) making him a co producer of 'Kick Ass.' This joint venture into the making of a film is a perfect example of synergy within the film industry. Without the merge of the two large companies, Kick Ass wouldnt have been as much of a success as it was. this is because they will have worked together in the distribution and promotion of the film. With Matthew Vaughns company being British and Brad Pitts being American, they can work together to ensure that they distribut and market in both countries meaning that they will have a greater knowledge about selling/distributing/marketing in more than one country meaning more people in the different countries will be likely to go and see it.
Disney can use their size to promote and piblicise films as they are already a well known brand/company. This means that they are very successful; they will have a lot of money which they will be able to use to market/promote any films which they produce. This is good as they can then advertise to a wider audience meaning more people will know about the film so more people are likely to go and see it. This will continue Disney's success and allow them to do this again and again.
By smaller companies joining togther, it allows them to cover more advertising methods. This is because each company will put in a small amount of money. When put together, they will have a larger advertising/promotional budget. From this, they can use the money on trailers, posters and launching offical websites in order to create a buzz. These types of things were created during the promotion of 'Kick Ass'
Trailer for Kick Ass:

This trailer was shown before other films as a promotional trailer in cinemas throughout the UK and the USA in order to gain publicity and make people aware of the film. This (hopefulluy) would lead to people going to see the film meaning the joint advertising would have been worth it.

The technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange:
Recently, 3D films have been introduced into cinema as a way of bringing in more money. The 3D films attract people who want more of a real life experience when going to see a film with objects flying out of the screen. Even though the cost of equipment for 3D filming is very expensive (some 3D cameras can be thousands and thousands of pounds) however the 3D concept often attracts a lot more people to go and see the film meaning that the production companies will make up the costs through extra ticket sales. Often, films will release a 3D and a 2D verion of the film in the same cinema giving viewers the choice of 2 different screenings. This means that they will appeal to a wider range of people (those who like 3D films and those who don't) meaning that they will sell tickets to more people than they would if they only had one screening. Kick Ass didnt have a 3D version of the film, however still managed to be a success. This proves that 3D doesn't necessarily have to be included within films in order for them to be a hit.
The special effects used in the film 'Kick Ass' are very good and clever. This is useful in a lot of the graphic scenes (hit girl shoots/stabs a lot of people.) The use of the special effects make it look very realistic and gory which makes it seem more realistic to the viewers. The growing use of special effects in films means that the quality is better and the over all effect is much more life like as 10 or 15 years ago, the technology wasn't advanced enough in order to make the film look as gory and realistic as it does in films today.
Also, there hasn't been a decrease in DVD sales proving that they are still very popular with the public. This is good for films such as 'Kick Ass' as they can be bought by the public after they have left the cinema. Because of the high age rating on Kick Ass, people who werent eligible to see the film when it came out in the cinema would now be able to buy it when it was released on DVD. This would mean that the film production companies would still be making money even though 'Kick Ass' is no longer in the cinema, being advertised/promoted, etc. As well as DVD, there is now Blu-Ray players which quite a lot of people own. This means, as well as DVD sales, 'Kick Ass' will alos benefit from the sales of Blu-Ray disks. This leads to more sales and then more money for Matthew Vaughn and his company which makes Kick Ass and even bigger success.
Internet streaming and downloading (often illegal) can have negative effects on film production companies as people are able to view the films, which have cost millions of pounds to make, for free. This means that the production companies get no money from them yet the people still get the luxury of viewing the film. In 2010 when Kick Ass was released internet streaming and illegal downloading werent as popular as they are now which is good as this means more people who now illegally download will have gone to the cinema to see the film, however this may be a problem for the sequel 'Kick Ass 2' as more people are using illegal downloads as it it quicker and easier than it used to be.
Also, with new technology being introduced such as iPads and iPhones, films are now available to purchase online so people can watch them on their phones and iPads. People are more likely to do this than buying DVDs as it is cheaper (The average film on iTunes costs around £6 whereas an actual DVD is between $10 and £15.) This introduction of technology is good for films such as 'Kick Ass' as they may still sell the films to people even when the film is no longer in the cinema.

The significance of proliferation in hardware and content for institutions and audiences:
It is good that a lot of people now have smart phones as it means that they will be able to access the film trailers and information on their phones. This could be used when they are with friends meaning that larger amounts of people will become aware of the film. This is all a way of creating a buzz for the film- the more people that hear about the film, it is likely that more people will go and see the film. The increase in viewing rates will mean more money generated by the film and therefore making the film a success.
For 'Kick Ass,' they would have had to have made a phone-enabled page for their website as this would then mean that more people will be able to access the trailer. This wouldn't cost too much to do but would have needed time in order to make it perfect and attractive to the people who are viewing the website. If the phone website looks awful it is likely that people won't think that film will be very good so will be unlikely to go and see it.
Also, with things such as NetFlicks, people dont have to go out and buy DVDs as they can just download the film on their game consoles. For 'Kick Ass' they will have to make sure that the film is available to buy/download on sites such as this one as it means more people will be able to buy and see it. If they like it then they will hopefully go and see the sequel. Because of this and other things such as illegal downloading, people no longer need to go to the cinema in order to see the film. This means that the amount of cinema sales is likely to decrease as there are other ways of film viewing. However, it doesn't mean that the film will be unsuccessful as, due to things such as NetFlicks, the film is still liley to succeed as they will still get money and people hyping about the film.

The importance of technological converge for institutions and audiences:


The issues raised in the targeting of national and local audiences (specifically British) by internnational of global institutions:
The director of the 'Kick Ass' is British, he owns a Birtish film company 'Marv Films'. This is useful as he will is able to relate to the British public. For this, he has used a British actor as the main character (Aaron Johnson is Kick Ass) which means that British people will recognise him which may attract them to go and see the film.) Also, he has British connections within the film industry meaning he can use professionals within the film (Jane Goldman wrote the script- she is married to Jonathan Ross as well as being very successful in her own rights meaning that people will recognise the name and want to go and see the film.) He will also have been able to conduct research through his previous films, such as 'Stardust', when considering how to appeal to the British Public.
However, he was able to appeal to the American market as he joined up with American film production company 'Plan B' which is owned by Brad Pitt. This is good when appealing to the Americans as 'Plan B' will have knowledge on how to prote throughout the USA as they have done it before. This is good for 'Kick Ass' as it means more people across different countries will have heard about the film and will then be likely to go and see the film. The more people that hear about the film means more people will be likely to go and see the film making 'Kick Ass' an overall success.

The ways in which the candidates' own experiences of media consumption illustrate wider patterns and trends of audience behaviour:
I feel like 'Kick Ass' was a success as they tripled their original budget at the box office. This means that a lot of people went to see the film and enjoyed it which is the maoin reason for creating a film. I think that the film was fun, not too serious as well as being entertaining and gripping to the viewer.
I think that because the film was made in 2010, some of the technologies werent as well. For example, things such as internet streaming and illegal downloading werent as well know and easy to access. I think that this was good for 'Kick Ass' otherwise not as many people would have gone to see the film at the cinema. If these things were as well know when they released it, thye wouldn't have made as much money and the viewing figures wouldn't have been as high, so i think that for Kick Ass, the lack of technology wuld have been a bonus. However, people will still be able to download the film illegally now rather that purcasing a Blu-Ray disk or a DVD, however I dont think that will effect the overall success of the film. However, i do think that this is a bad thing for future releases (such as 'Kick Ass 2' as the amount of people who illegally download and watch films has increased menain gthat the amount of people who go to the cinema and watch films has seen as slight decrease. If the amount of illegal downloaders continues to grow then it could have a serious negative effect on the film industry. I think that the amount of illiegal downloaders will continue to grow as the 'cinema experience' is so expensive these days (tickets ranging from £6-£10, more for 3D as special glasses have to be purchased, drinks now cost at least £3 and snacks can be well over a fiver!) that people would rather save moeny and watch it at home. I think that this is good for the public as they get the pleasure of viewing films without having to pay for it, however this is bad for the film industry, including films such as 'Kick Ass,' as people would rather stay at home and watch them so arent spending money at the cinema meaning not as much money will be made. Currently this isnt a huge issue, however if films start making losses rather than profits, the film industry might completely die out.

Kick Ass Prezi

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Kick Ass: Other Windows

Why ‘Kick-Ass’ is Kicking Butt in DVD/Blu-ray Sales

Lionsgate announced yesterday that Kick Ass “proved dominant across all revenue channels this past week.” The film debuted in the number one position in DVD and Blu-ray sales – as well as the top movie download on iTunes since its release August 3rd.
The critical success of Kick-Ass hinted at the potential for excellent performance in home entertainment sales. While it wasn’t a huge surprise, for many of us, it offers a welcome sense of validation. Those of us who believed in the film’s potential for ‘cult’ success were rewarded with quantifiable proof this week.
Last April, there was much ado about nothing with regard to the film’s “failure at the box office.” In fact, the film was only a “failure” when measured against the inflated projections for opening weekend numbers – numbers that were based on perceived “audience awareness.” What these projections failed to consider was that the perceived awareness was isolated to a powerful, but segmented, fraction of the population at large – meaning an improper sampling. The blogosphere often becomes a self-cannibalizing entity and the response to Kick Ass illustrates that trend beautifully.


There was (an understandable) fan boy and girl fervor in anticipation of the film. One which lead credence to the notion that Kick Ass would strike it big opening weekend – and by big I mean projections forecast a $35 million open weekend – for a film that cost $25 million to make.

There was also an enormous influx of trailers, videos, and other marketing materials prior to the release of the film – a tactic that could have backfired, positioning the audience to rail against a film – as a result of overexposure. When the film failed to perform as projected, the blogosphere (unsurprisingly) jumped at the opportunity to write a bunch of snarky articles outlining the film’s financial shortcomings. To put that in perspective – remember the film cost $25 million and went on to make $96 million worldwide.
Kick-Ass 2 will be 'incredible'

Here is what those projections failed to account for:

1.      As mentioned, the “audience awareness” sampling came from a community predisposed to be aware of, and interested in, a film like Kick Ass – as well as its source material. Without a recognizable name attached, or broader brand appeal, that awareness wasn’t representative of the general movie-going audience.

2.      Much of the target audience for Kick Ass was not old enough to take themselves to an R (hard R) rated movie, and this film is not an easy sell to parents. “Oh yes mom, can I please go see this film that features an adorable mass murdering twelve year old who makes liberal use of the ‘C’ word? Yep, it’s the very one Roger Ebert called ‘morally reprehensible’!”

3.      How hopelessly square Americans really can be (this feeds off of number two on the list). Now, don’t misunderstand, I like Roger Ebert. I don’t always agree with him, but I like him. However he asked in his review if his response to Kick Ass made him “hopelessly square.” My response is – yes, yes it does.

4.      Misinterpretation or rejection of the film’s central characters and story lines. Again this is a follow-up to number three on the list. I will use Mr. Ebert as the singular representative to a broad stick in the mud reaction to the film.

Many felt that the film was morally bereft due to its depiction of an exquisitely violent little girl. Emphasis on little girl. I contend that Hit Girl’s gender played a powerful subconscious role in some people’s negative reactions to her. Further, people felt that the film lacked a broader social message. To that I would ask: What kind of message would you like? A lie? Would you like to be told that good triumphs over evil every time and all is really simple and neat in the end?

I would follow those questions up with another: Is a film under an obligation to deliver a standard ‘moral of the story’ which is easily digestible by all? An idea already broadly accepted that adds nothing new to our cultural discussion? Or can it not simply be tons of fun and wickedly entertaining? I did myself the favor of steering clear of all the videos released for Kick Ass prior to its open. As a result I was both delighted and surprised with Chloe Moretz. I found Hit Girl’s action sequences alone enough to justify a trip to the movies.

However, I would argue that the film does in fact have a moral and societal message. A very simple message perhaps, but a clear one imbued in every moment of the movie. The message is this: You, even you, ordinary, non special “regular Joe” you who is just like ordinary, “regular Joe,” non special me can do something – so why don’t you? Why do you, do we instead just sit back and watch?
We see this in the character of Kick Ass himself. This perspective is clearly laid out in his “YouTube treatises,” but can also be seen in everything he tries, fails and succeeds at doing throughout the film. We see this theme play with Nick Cage as the hilariously overzealous Big Daddy – crazy, but committed. We see this in Kick Ass’s love interest Katie who takes the more traditional social action route. We particularly see this in the character of the “bystander” who watches, but does nothing – and is eventually shot for it.


What Kick Ass does so beautifully is set itself up as a film that is going to be the “anti-comic book” movie, the one that breaks all the rules – and pokes fun at the accepted tropes of the genre. Then at a certain point (around the time of Big Daddy’s confrontation with his ex-partner) the film takes a turn and fulfills every aspect of a standard comic book tale. Kick Ass tells you it is making this turn by visually propelling us into the comic book world of Big Daddy’s creation. This is some fun and outstanding filmmaking.
Kick Ass felt like a film that was destined to be misunderstood in its initial release and then appreciated by a large cult audience as time progressed. The kids who could not get their parents to take them to the movie can now buy the DVD. Those who balk at $10 in the theater seem okay with $15 spent on the more permanent DVD or $25 for a Blu-ray.

“Word of mouth” has had a real chance to spread to the general population. Many “non-traditional” films have followed this same trajectory to cult film success. Some notable selections include; Blade Runner, Office Space, Fight Club, TV series would include Firefly, Freaks and Geeks and Arrested Developmen

What do you think the future holds for Kick-Ass?

KICK-ASS 2 WILL BE INCREDIBLE

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Thursday, 20 September 2012

Aaron Taylor-Johnson has said he can't wait to get cracking on Kick-Ass 2.The actor is reprising his role as a costumed high-school hero for Jeff Wadlow's highly-anticipated sequel, which is expected to be released next year.

Aaron, who can next be seen on screens in Anna Karenina, told Collider: "It's incredible. There's some really interesting journeys our characters embark on. I can't really go too deep into it, but I'm really excited about it. We've got a great cast."

Aaron revealed some of the more shocking scenes from the original comic book hadn't made the final script for the movie, called Kick-Ass 2: Balls To The Wall.

"There are some really disturbing things in the comic book which we're not going to put in, I think for the better. Yet it's got all the elements there and probably more, it's got a bit of narrative and story to be told, so it's great."

British actor Enzo Cilenti is joining Aaron and Chloe Moretz in the sequel, according to Variety.

Bradford-born Enzo, 38, is known for his supporting roles in Johnny Depp film The Rum Diary, Armando Iannucci's In The Loop and The Fourth Kind alongside Milla Jovovich.

Kick Ass: Sales, Marketing and Exhibition

The Trailer

Shown on cinemas before other films, on TV during adverts..

Rating and Audience: In an interview with Total Film, Aaron Johnson confirmed that the film stays true to the adult nature of the comic series by featuring a large amount of profanity and graphic violence. The film received an R rating by the MPAA for "strong brutal violence throughout, pervasive language, sexual content, nudity and some drug use—some involving children", and it received a 15 rating from the BBFC. Director Matthew Vaughn felt the 15 certificate was about right and expressed some surprise at the film having received a "PG rating" in France.

The Premiere

Daily Mail:

The film, based on a comic book by Mark Millar, has been criticised for its use of bad language and features actress Moretz, who was 11 at the time of filming, repeatedly swearing and killing other characters.
Director Vaughn has previously defended the film, which has a 15 rating, saying: 'It's pretty amazing that four letters can have such a powerful effect on people.
'You know, taboos have to be broken,' he added. 'It's a free country and you don't have to watch it. There are enough people who like this film to warrant it being made.'
The character, called Hit-Girl, slices off people’s legs and shoots bullets through a man’s cheek. In one scene, the young serial killer screams at her victims: ‘Okay, you ****s, let’s see what you can do now.’
In another, she tells her vigilante father she wants a puppy for her birthday. When he looks surprised, she says: ‘I’m just f****** with you, Daddy’, and asks for a razor-sharp knife instead.

The premiere was used as a way to gain publicity for the film and make sure everyone knew about it. All of the stars went (including Brad Pitt- a major attraction) as well as other celebrities. The reason of creating a 'buzz' for the film would be to get people to go and see the film and make money.


Sound Track:
the film also has a sound track
1. Stand Up- The Prodigy
2. Kick Ass (We Are Young)- Mika vs RedOne
3. Can't Go Back- Primal Scream
4. Theres A Pot Brewin'- The Little Ones
5. Omen- The Prodigy
6. Make Me Wanna Die- The Pretty Reckless
7. Banana Splits (Kick Ass Film Version)- The Dickies
8. Starry EyeD- Ellie Goulding
9. This Town Ain't Big Enough For The Both Of Us- Sparks
10.We're All In Love- The New York Dolls
11. Bongo Song- Zongamin
12. Per Qualche In Piu (For A Few Dollars More)- Ennio Morricone
13. Bad Reputation- The Hit Girls

Kick Ass: The Shoot

Filming locations for

 

Kick-Ass (2010)

 

• All Star Lanes, Whiteleys Shopping Centre, Bayswater, London, England, UK
• Charles Street, Hamilton, Ontario, Canada
• Cinespace Film Studios, Toronto, Ontario, Canada (studio)
• Dip 'n Sip Donuts - 663 Kingston Road, Toronto, Ontario, Canada
• Elstree Studios, Borehamwood, Hertfordshire, England, UK(studio)
• Keith Street, Hamilton, Ontario, Canada (Dave's House)
• London, England, UK
• Pinewood Studios, Iver Heath, Buckinghamshire, England, UK(studio)
• Sir Winston Churchill Secondary School, Hamilton, Ontario, Canada
• Toronto, Ontario, Canada
• Yonge Street, Toronto, Ontario, Canada

 

Interview with Matthew Vaughn about the film as a whole

 

 

Kick Ass: Finance

Box Office Info

 

 

 

Budget: £30 million

Opening Weekend:
-£3,881,704 (UK) (4 April 2010) (402 Screens)
-$19,828,687 (USA) (18 April 2010) (3,065 Screens)

Gross
-£11,597,750 (UK) (13 June 2010)
-$48,043,505 (USA) (27 June 2010)

Why ‘Kick-Ass’ Succeeded At the Box Office (Even If It Doesn’t Feel That Way)

Features By Cole Abaius on April 19, 2010 | 

 

Updated: Deadline is reporting that Kick-Ass actually won the week by a narrow margin of $19.8 million to $19.6 million for How to Train Your Dragon.

I’m sitting in a giant echo-chamber of a movie theater complete with it’s old-style, curved panoramic screen and chairs that were ordered with gusto by someone in the 1950s. In the Century Park 16, tucked away from the rest of the bustling world in Tucson, Arizona, it’s no surprise that my afternoon screening of Kick-Ass is almost completely empty except for a trio of teens who are skipping school, a middle-aged man who’s slouched down in the back, and a couple that sneak in fifteen minutes into the action.

There’s almost never a huge crowd there (which is part of why I love it), but the bad news for Matthew Vaughn and company is that the scene I witnessed was the norm, not an outlier.

So now everybody is asking the proverbial question about how a movie with that much hype performs with such lackluster at the box office. After all, it came out with geeks screaming its praises from Butt-Numb-a-Thon, from South by Southwest, and from Austin in general. How could all of those positive reviews not lead to success?

It’s fairly simple actually, but the first thing to remember is that Kick-Ass wasn’t a failure except at playing the expectations game. Let’s look at it in context:

Kick-Ass is an indie film made for $30 million that just made $37 million world-wide by its U.S. opening weekend.

Even with the average path a film takes through the theaters, the movie has already made its budget back, will make its advertising budget back by next weekend, and will ultimately be a financial success. It won’t be the smashing success that some predicted, but it will still be a success.

Of course, those raw numbers don’t take into consideration the split between Lionsgate, the theaters, and the film’s producers, so technically the production team has not regained its original investment. However, a film (especially one with this type of budget) making an equitable number back on its opening weekend is a good sign that it will be on schedule to be a positive investment.

People are shifting in their seats about sequel possibilities seeming out of reach now, which is a fine question to ask, but we’ll get to that after taking a look at why Kick-Ass didn’t explode out of the box.

Kick Ass: A Kick Ass Cast

Aaron Johnson as David "Dave" Lizewski / Kick-Ass: Johnson said that Kick-Ass is a "sensitive guy" who lost his mother and is a "nobody" at school, so he creates his superhero identity "as this whole different persona." Johnson said that Dave is "a kid who’s got the guts to go out there and do something different."

 

MATTHEW VAUGHN: When we first met, you were just a young whippersnapper. But within a year, your life has probably changed beyond recognition. Where is your head at right now?

AARON JOHNSON: Quite a lot has changed. I dunno… I’m just happy. I’m sort of more interested in what’s going on in my life rather than my career right now, to be honest. It’s quite exciting because I’ve got two really interesting films out this year, so it’s a good moment to sort of take a break and enjoy life.

 

 

Chloë Grace Moretz as Mindy Macready / Hit-Girl: Vaughn commented on the maturity of Moretz, who said that because she has four older brothers, she was no stranger to much of the language in the script. Her mother read the script and permitted her to use the profanity in the movie.Jane Goldman, one of the two co-writers of the script, said, "We just really wanted Hit-Girl to be a character who, in a sense, simply happens to be an eleven-year-old girl," Goldman said that Mindy "is genuinely dangerous, she's genuinely mad. It's not her fault: she's been raised in this environment where she doesn't know anything different."

 



 

Nicolas Cage as Damon Macready / Big Daddy: Vaughn described Cage's performance as a little bit Elvis and a little bit Adam West. A character in the film even says his costume looks like that of Batman.Cage was inspired by his costume to try delivering his lines in the same style Adam West used for Batman.

Christopher Mintz-Plasse as Chris D'Amico / Red Mist: Frank D'Amico's son.
Mark Strong as Frank D'Amico: The head of a criminal organization

 

Film 4 Review Clip on Characters:

On the action front, in particular, it rarely fails to deliver - Dave's early forays into vigilantism feel brutal and real, while Vaughn shows a consummate amount of flair in choreographing a breathtaking, one-take rampage by Nic Cage's Batman-esque Big Daddy. But if the action sequences - and indeed, the film as a whole - provide us with a real star, it's in the foul-mouthed, samurai sword-wielding, pre-pubescent hurricane known as Hit Girl, a character and performance that mark young Chloe Moretz out as an astonishing discovery.

Development

 

Production companies:

-Marv Films: a British based film production company set up in 2004
-Plan B Entertainment: a film production company founded by Brad Pitt founded in 2002
together, these film production companies found £30 million in order for kick ass to be created.

Film Distributors:

Universal Pictures International (UPI) (2010) (UK) (theatrical)

Universal Pictures International (UPI) (2010) (Australia) (theatrical)

Paramount Pictures (2010) (New Zealand) (theatrical)

Nordisk Film (2010) (Norway) (theatrical)

Nordisk Film (2010) (Sweden) (theatrical)

United International Pictures (UIP) (2010) (Croatia) (theatrical)

Nordisk Film (2010) (Denmark) (theatrical)

Lark Films Distribution (2010) (Hong Kong) (theatrical)

A-Film Distribution (2010) (Netherlands) (theatrical)

Leopolis (2010) (Russia) (theatrical)

Cathay-Keris Films (2010) (Singapore) (theatrical)

Nordisk Film Theatrical Distribution (2010) (Finland) (theatrical)

Viva International Pictures (2010) (Philippines) (theatrical)

Monolith (2010) (Poland) (theatrical)

CatchPlay (2010) (Taiwan) (theatrical)

Lionsgate (2010) (USA) (theatrical)

Metropolitan Filmexport (2010) (France) (theatrical)

Universal Pictures International (UPI) (2010) (Germany) (theatrical)

Warner Roadshow Film Distributors (2010) (Greece) (theatrical)

Prisvídeo - Edições Videográficas (2010) (Portugal) (theatrical)

Media Pro Film Distribution (2010) (Romania) (theatrical)

Lotte Entertainment (2010) (South Korea) (theatrical)

Universal Pictures International (UPI) (2010) (Austria) (theatrical)

Nu Metro Theatres (2010) (South Africa) (theatrical)

Acme Film (2010) (Lithuania) (theatrical)

Bioscop (2010) (Czech Republic) (theatrical)

Culture Publishers (CP) (2010) (Japan) (theatrical)

Innoform Media (2010) (Singapore) (theatrical)

InterCom (2010) (Hungary) (theatrical)

Maple Pictures (2010) (Canada) (theatrical)

Paramount Pictures do Brasil (2010) (Brazil) (theatrical)

United International Pictures (UIP) (2010) (Argentina) (theatrical)

Universal Pictures International (UPI) (2010) (Switzerland) (theatrical)

Universal Pictures International (UPI) (2010) (Mexico) (theatrical) (Latin America)

A-Film Home Entertainment (2010) (Netherlands) (DVD)

A-Film Home Entertainment (2010) (Netherlands) (DVD) (Blu-ray)

Argentina Video Home (2010) (Argentina) (DVD)

CN Entertainment (2010) (Hong Kong) (DVD)

CN Entertainment (2010) (Hong Kong) (DVD) (Blu-ray)

Emperor Motion Pictures (2010) (Hong Kong) (all media)

Film1 (2011) (Netherlands) (TV) (limited)

IPA Asia Pacific (2010) (Thailand) (all media)

Lionsgate Home Entertainment (2010) (USA) (DVD)

Lionsgate Home Entertainment (2010) (USA) (DVD) (Blu-ray)

Nordisk Film (2010) (Finland) (DVD) (Blu-ray)

Nordisk Film (2010) (Sweden) (DVD)

Nordisk Film (2010) (Sweden) (DVD) (Blu-ray)

RTL Entertainment (2012) (Netherlands) (TV) (RTL5)

Spike TV (2013) (USA) (TV) (cable)

Tanweer Films (2011) (India) (TV)

Universal Pictures Home Entertainment (2010) (Brazil) (DVD) (Blu-ray)

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