WALT DISNEY STUDIOS MOTION PICTURES INTERNATIONAL
UPDATED: Pixar tentpole Coco retained the international crown thanks to a $69.6m session in 33 markets, powered by a Chinese engine that has established the film as Pixar’s biggest release in China after 10 days on $75.7m.
The international running total vaulted to $172.3m, and $282.4m worldwide including the number one North American hold. However it is the film’s performance in China that took the plaudits, as an estimated $44.2m following the $17.8m opening weekend delivered the second biggest weekend for an animation behind Zootopia.
Coco ranks as the third biggest release in the market for Pixar/Disney behind Zootopia and Big Hero 6, and studio brass said if the $44.2m gross were ranked against industry animation opening weekends it would stand at number three in China behind Despicable Me 3 and Kung Fu Panda 3.
Pixar’s latest has produced $55.6m in Mexico, where it has performed exceptionally well to rank as the biggest film of all time. In a string of number one debuts, Coco opened in France on $5.2m or $6.5m including previews, Spain on $2.9m, Germany on $2m, and Belgium on $1.1m.
Marvel Studios’ Thor: Ragnarok grossed $6.6m for $526.1m internationally, and $817.7m worldwide. China is the lead market on $112m, followed by the UK on $39.8m, South Korea on $34.9m, Brazil on $29.9m, and Australia on $25.2m. The worldwide tally puts the third Thor film at number seven in the pantheon of Marvel Cinematic Universe releases, while internationally it ranks sixth.
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Justice League has reached $370.1m thanks to a $35.7m session in 66 markets and stands at $567.4m worldwide. The superhero adaptation is on the cusp of $100m in China and ranks as DC Entertainment’s biggest film after $8.6m in the third weekend raised the haul to $98.5m.
In third sessions, Brazil generated $4.1m for $31.2m; Mexico $2m for $21.7m, the UK $1.9m for 20.2m, France $1.7m for $12.1m, and Australia $1.5m for $12.5m. After two weekends Japan has generated $6.6m. Justice League has amassed $12.9m in South Korea.
Full Metal Alchemist opened top in Japan on $3.6m, roughly on par with Rurouni Kenshin, some 62% ahead of Museum, and around 75% ahead of Jojo’s Bizarre Adventure. The film is a Full Metal Alchemist Film Partners production led by Warner Bros Japan.
UPDATED: A $23.7m weekend haul for Murder On The Orient Express in 72 markets elevated the running total to $153.4m. Strong debuts in Italy, South Korea and Indonesia led the way on $3.8m, $3.4m and $1.8m, respectively.
The murder mystery opened in Brazil on $1.5m, and produced $954,000 in Hong Kong and $603,000 in Singapore. Spain, Germany and the UK led holdover business on $1.6m for $5.1m after two sessions, $1.1m for $9.5m after four, and $1.1m for $28.8m after five, respectively. Australia delivered $1m for $9.9m after four.
The Mountain Between Us generated $1.5m from 26 markets for $27.5m and the drama debuted in the U.A.E. on $393,000. France has generated $2.1m after four, while Holland has produced $2m after six. The Mountain Between Us opens in Germany this week.
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UPDATED: Daddy’s Home 2 added $15.9m in 49 markets including 25 debutants after an overall 32% drop against last weekend to reach $34m. Will Ferrell and Mel Gibson will need to deliver sustained laughs through the holiday period if the comedy sequel is to get close to the 2015 original’s $92.4m final international score.
Mexico helped the cause, scoring the second biggest Hollywood comedy debut of all time on $5m behind Pixels, according to Paramount Pictures International executives, and came in 108% ahead of the Mexican debut of Daddy’s Home, which finished on $7.1m. Argentina delivered $450,000, some 53% above the original, while $169,000 in Ecuador scored the highest debut ever for a comedy.
In second weekends, UK produced $2.6m for $10.5m, Australia $1.5m for $5.3m, Russia $743,000 for $2.6m, and Brazil $330,000 for $1.6m.
UPDATED: Julia Roberts mother-son drama Wonder crossed $100m worldwide as $8.8m from 46 markets boosted the tally to $101m, of which $13.4m comes from international markets. Australia was the frontrunner with a $2.5m number one debut including previews, while the UK produced $1.7m, and Spain $854,000.
Jigsaw grossed $2.3m from 71 for $60.1m and arrived in Brazil on $908,000. The UK is the main market on $6.7m, followed by Venezuela on $5.7m, Russia on $5.1m, Germany on $5.1m, and France on $4m.
UPDATED: A Bad Moms Christmas added $3.9m to reach $38.2m from international markets and $102.9m worldwide. The three main debuts were Benelux on $752,000, the Netherlands on $546,000, and a disappointing $444,000 from France that was almost half that of the 2016 original. The UK added $460,000 for $9.7m after five sessions, German-speaking Europe generated $822,000 for $9.6m after four, and Australia and New Zealand $259,000 for $8.1m after five.
The Foreigner stands at $103.5m following a $1.2m session after the Jackie Chan crime dra opened in Russia at number four on $765,000. The worldwide tally has reached $137.7m.
UNIVERSAL PICTURES INTERNATIONAL
UPDATED: Happy Death Day grossed $2.3m in 39 territories for $53.2m internationally and $109m worldwide. The weekend brought a number three debut in Argentina on $418,000, with France and Germany the most notable holdovers on $601,000 for $3.6m and $423,000 for $2.9m, respectively.
Spanish comedy Perfectos Desconocidos, which Universal distributes in Spain, ranked second on a solid $2.2m. Darkest Hour starring Oscar frontrunner Gary Oldman opened in limited release in China on $2.1m in fifth place and will roll out internationally in the New Year, including the UK on January 12.
Michael Fassbender thriller and Jo Nesbo Nordic Noir adaptation The Snowman grossed $1.6m in 19 for $34.9m and arrived in France at number six on $757,000.
Girls Trip, featuring New York Critics Circle best supporting actress winner Tiffany Haddish, stands at $23m and debuted in German-speaking Europe on $676,000. The comedy’s worldwide tally stands at $138.1m. Horror Marrowbone added $245,000 in its sixth session in Spain for $7.7m and is produced by J.A. Bayona.