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A Good Day To Die Hard leads international on $18.3m

UPDATED MAR 4: A Good Day To Die Hard remained the top Hollywood film internationally courtesy of a confirmed $17.5m from 8,140 screens in 67 markets through Fox International that propelled the tally to $161.5m after three weekends.

Bruce Willis et al added $3.2m in the second weekend in France from 665 for $10.4m to rank second and the action thriller grossed $1.9m from its third session in Germany from 701 for $12.7m to rank third.

A Good Day To Die Hard held on to number one in its second weekend in Brazil, where $1.5m from 528 elevated the running total to $4.9m. Japan returned $1.6m from 646 for $17.2m after three to rank second and the UK delivered $1.2m from 449 in the third weekend for $15.1m and fourth place.

Spain generated $503,202 from 333 for $4m and fifth place after three weekends.

Multiple Oscar winner Life Of Pi, which last weekend won awards for best director, visual effects, cinematography and music, experienced slim drops and grossed a further $3.3m from 2,181 in 38 markets to reach $477.7m.

Of the major markets that remain active, Japan and Germany have returned $19.8m and $26.8m, respectively, while Australia and Brazil have generated $28.8m and $14.1m, respectively. Venezuela continues to demonstrate great promise and has produced $3.9m after four weekends.

Lincoln also held on thanks to its best actor Oscar win for Daniel Day-Lewis and grossed $3.8m for $74m. There are four territories to go including South Korea on Mar 14 and Japan on Apr 19.

Park Chan-wook’s English language debut Stoker from Fox Searchlight debuted in a handful of markets and earned $1.7m from 326 in the director’s native South Korea to rank as the number two Hollywood film behind Jack The Giant Slayer and local titles New World and Miracle In Cell No. 7. Overall Stoker grossed $2.4m from five territories.

Data supplied by Rentrak on Sunday said that Finecut’s New World grossed $7.3m over the session to stand at an early $14.7m, while Finecut’s smash Miracle In Cell No. 7 added $6.2m for $76.2m.

  • UPDATED: Warner Bros Pictures International’s Jack The Giant Slayer made off with $14.3m from 1,950 screens in 10 Asian markets that opened day-and-date with the number one North American launch. The fantasy adventure opened top in eight out of 10 except South Korea, where it took $4.8m from 51 screens to rank third, and India, where it took $713,500 from 443 to rank third behind local titles.

The Jack attack generated $1.7m in Malaysia from 173, $1.5m from 207 in Thailand, $1.5m from 139 in Taiwan, $1.3m from 178 in the Philippines, $1.1m from 68 in Singapore, $737,000 from 38 in Hong Kong and $875,000 from 152 in Indonesia.
 
Vietnam generated $198,000 from 35. The film is set to open in Germany on Mar 14, followed by Spain and Mexico on Mar 15.

Jack The Giant Slayer grossed $1.2m from 33 IMAX screens and IMAX sources noted a particularly robust score in South Korea.

MGM, New Line and Warner Bros’ The Hobbit: An Unexpected Journey crossed $1bn worldwide, reaching $700m internationally and $301.4m in North America. See separate story here.

Best picture Oscar winner Argo added $4.3m from 1,795 screens in 53 countries following its triumph and stands at $85.2m. Gangster Squad stands at $53.2m.

  • UPDATED: Hansel And Gretel: Witch Hunters brought in a further $14.8m from more than 3,440 sites in 47 countries reported through Paramount Pictures International (PPI) as the tally climbed to $124.9m.

Germany was the lead market of the session on a $5.4m number one debut from 408 locations while Spain also impressed with a number one launch on $2.4m from 487 sites. The UK generated a $2.4m number two debut on 404.

Flight opened at number one in Japan on $2.5m from 321 and generated $5.2m from 47 markets to boost the running total to$60.4m. Tad – The Lost Explorer, a PPI acquisition in Latin America and Spain, brought in $1.4m from 1,043 sites in 10 Latin American territories to drive the regional tally to $14.9m. The family adventure stands at $6.7m in Mexico after five weekends.

  • UPDATED: Buoyed by three Oscar wins including best supporting actress for Anne Hathaway, Working Title and Universal’sLes Misérables soared past the $400m worldwide mark to consolidate its status as Working Title’s biggest global hit.

A further $10.4m from 8,053 venues in 50 territories through Universal Pictures International (UPI) boosted the musical’s international running total to $264.3m and the global score to $412m.

The smash opened in China on Thursday [Feb 28] to rank third on $3.9m from 5,000 sites. Germany added $1.3m from 454 for $3.5m after 11 days and the UK brought in $935,000 from 386 for $61.8m after eight weekends. Japanese audiences continue to respond to Les Misérables and the film added $760,000 in the 11th weekend for a $61.6m running total. Mexico has generated $4m after three sessions.

UPI reported that Mama added $4m from 1,425 venues in 22 territories to reach $33.9m running total. The horror film opened in five, led by number one results in Colombia and Panama. Mama ranks second in Spain, where it added $727,000 from 315 for $9.7m after four weekends, and the film stands at $8.6m in Mexico after five.

Comedy Identity Thief has grossed $1.7m from early days and opened top in Lebanon on $59,000 from 12 sites. The first major release will be Russia on Mar 21 followed by the UK on Mar 22.

Anna Karenina earned an Oscar boost for its costume design win last weekend, adding $1.7m from 786 in 25 territories for $46.3m. Ted stands at $324.5m internationally and $39.4m in Japan after seven weekends. Judd Apatow comedy This Is 40 has grossed $13.1m overall, $4.2m in the UK after three weekends and $660,000 in Spain after two.

Family comedy La Vrai Vie Des Profs has earned $2.3m in France after two weekends. Zero Dark Thirty has reached $21.8m in the 12 territories where Universal holds rights. The overall international running total including independent distributors who acquired rights from Panorama Media stands at $42m.

  • UPDATED: Django Unchained, winner of the best original screenplay Oscar for Quentin Tarantino and best supporting actor for Christoph Waltz last weekend, earned approximately $8.3m through Sony Pictures Releasing International (SPRI) from 59 markets to propel the running total to $233.6m.

The revenge Western opened in Japan on $684,841 from 148 in fifth place. It grossed $1.9m in Germany from 663 for $44.9m after seven weekends and took $1.4m in France from 531 for $34.9m after seven. The UK and Spain have generated $24.5m and $13.1m, respectively.

  • Wreck-It Ralph grossed $4m through Walt Disney Studios Motion Pictures International to reach $247.9m. The animation Oscar nominee added $2.3m in its fourth session in the UK to reach $31.9m and stands at $24.2m in Australia, $20.6m in Brazil, $14.7m in Russia, $14.3m in Mexico, $14.2m in France and $12.6m in Spain.
  • StudioCanal opened the Mark Wahlberg-Russell Crowe crime thriller Broken City in the UK on $693,000 from 318 sites. Rom-com hit I Give It A Year stands at $8.7m.
  • Data issued on Sunday afternoon by Rentrak said Lionsgate International’s Beautiful Creatures grossed $6m to reach $22m, while Warm Bodies added $1m to stand at $26m. StudioCanal’s family comedy Boule Et Bill amassed $5m in its launch weekend.TWC’s Silver Linings Playbook starring Oscar winner Jennifer Lawrence added $4.5m for $59m, and EuropaCorp’s thriller Mobius starring Jean Dujardin opened on $3m.
  • Focus Features International said on Monday [4] that Cloud Atlas had reached $18.7m through licensees, with Brazil and Italy on $4.7m apiece and the Netherlands on $1.3m. Hyde Park On Hudson has generated $2.5m through FFI territories and $8.7m overall while Promised Land, which launches throughout Europe in spring, stands at an early $540,890.

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