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After seven rounds as an also-ran on the foreign theatrical circuit, Disney Animation’s Tangled finally nailed the No. 1 overseas box-office spot with a weekend take of $26.6 million – just $700,000 ahead of No. 2 The Tourist – from 4,227 venues in 33 markets.
First-place openings in 10 markets plus strong holdovers in German-speaking territories put the 3D animation retelling of the classic Rapunzel tale over the top. Foreign box-office cume now stands at $180.4 million from playoff in about 55 percent of the international marketplace.
Tangled did gangbusters business in Brazil ($6 million from 385 situations) and Australia ($5.7 million from 250 locations). Solid business also came from Argentina, Colombia, Greece and New Zealand. Tangled now ranks as Disney’s 15th-biggest animation title ever released and has yet to play such key foreign markets as the U.K., Spain, Korea and Japan.
Finishing No. 1 on the weekend in nine markets (seven of which were new) was Sony and other distributors’ The Tourist, which collected $25.9 million from some 5,000 screens in 61 territories. Sony markets provided $21.3 million of the total. The best of the territories was Russia, where the No. 1 opening tally was $10.2 million over four days from 630 locations.
Although The Tourist has been playing the foreign circuit since Dec. 9, the offshore gross total for the romantic thriller starring Johnny Depp and Angelina Jolie has yet to break the $100 million mark (cume $99.6 million), but will surely do so by Monday. Sony’s cume for the picture is $51.9 million.
The weekend’s No. 2 title in the U.K. was Warner Bros.’ release of 127 Hours, directed by Danny Boyle and starring James Franco as a mountain climber trapped under a boulder. The opening round for the Pathe-Handmade Films-Films 4 co-production (released domestically by Fox Searchlight) landed $3.4 million from 310 locations, averaging almost $11,000 per screen.
Relativity Media/Atlas Entertainment’s Season of the Witch, starring Nicolas Cage and Ron Perlman, opened via Paramount in the U.K. day-and-date with its No. 3 domestic bow. The Crusader Knight saga set in the Dark Ages drew a No. 10 U.K. ranking with $871,269 drawn from 306 locations for a per-screen average of $2,847.
Storming Italy boxoffice was the opening of Medusa Film’s Ma che bella giornata (But What a Beautiful Day), a comedy starring Checco Zalone. The debut round at some 685 screens generated $24.9 million over five days, a resounding No. 1 market launch. The local-language title ranks No. 3 overall on the weekend.
The 20th Century Fox film Gulliver’s Travels, a 3D adaptation of the Jonathan Swift classic starring Jack Black — which narrowly finished in the No. 1 foreign box-office spot last round — dropped to No. 4 this time with a tally of $21 million drawn from 5,130 venues in 39 markets. Offshore gross cume stands at $81.2 million. Weekend action was powered a strong Russia bow ($9.5 million from 934 sites).
No. 5 was Paramount’s Little Fockers, which flew past the $100 million foreign gross mark on the weekend ($109 million), generating $18.4 million from 4,492 spots in 45 territories.
The third installment of the Meet the Parents comedy franchise opened in nine Latin America and Asian markets with Brazil being the biggest ($1.5 million from 196 situations). A No. 3 third weekend holdover in the U.K. produced $2.4 million from 495 sites, bringing the market cume to $23.8 million.
Disney’s Tron: Legacy generated a fourth-weekend gross of $18 million from 4,122 venues in 55 territories for an overseas cume of $145 million.
The high-budget 3D sequel to 1982’s Tron opened in Italy, dominating the market with $7.2 million generated at 425 locations and accounting for 40% of the overall weekend take. A China opening is due Monday at some 1,600 3D venues plus 25 Imax sites.
Opening at No. 1 in China, as per Fox, was The Chronicles of Narnia: The Voyage of the Dawn Treader, which collected $17.8 million overall on the weekend from 7,558 sites in 69 markets, and finished No. 5 on the weekend. The China opening number is $5.07 million drawn from some 1,300 locations. Narnia’s overseas cume stands at $244.2 million.
Coming in with $8.8 million on the weekend was Warner Bros.’ Harry Potter and the Deathly Hallows Part I, which played at some 3,965 screens in 62 markets. Cume for the seventh Harry Potter film weighs in at $639.1 million.
Bouncing back in terms of foreign box office was Unstoppable, which garnered $8.37 million on the weekend from 1,697 screens in nine markets. The Denzel Washington runaway train thriller from Fox opened in five markets, the best of which was Japan where the No. 1 gross was $3.26 million from 338 screens. Unstoppable’s foreign cume stands at $66.8 million.
Topping the boxoffice chart in the U.K. was Momentum’s release of the Weinstein Co.’s co-production The King’s Speech, in contention for Oscar action plus British Academy of Film and Television Arts awards in 15 categories. Opening weekend take was $5.5 million from 395 locations.
King’s Speech is also doing royal business in Australia. Distributor Paramount reports a third weekend tally of $2.17 million from 106 sites – more than $20,514 per screen – for a market cume of $9 million. The film is also playing in Spain ($576,000 from 112 sites, cume $2.5 million) and Greece ($216,000 at 15 locales, cume $563,000). Weekend in all the four territories generated $8 million, pushing the overseas gross total to date to $18.3 million.
Warners introduced Hereafter in 11 overseas markets on the weekend. Director Clint Eastwood’s fantasy drama about three people touched by death drew $7.3 million from 895 screens. An Italy bow generated a five-day tally of $4.5 million from 368 sites (including sneak previews), which Warners says is the best opening market result for any Eastwood film.
DreamWorks Animation’s Megamind continued to be a strong draw in Mexico ($1.2 million in its fourth round from 450 locations; cume $11.4 million) and grossed $7.1 million overall on the weekend from 4,126 venues in 40 markets. Foreign cume for the 3D animation is $148.4 million.
Fox’s romantic comedy Love and Other Drugs continues alluring in the U.K. (No. 6 with $1.26 million elicited from 412 screens for a cume of $5.6 million) and in France (No. 4 with $1.2 million drawn from 280 locales). The weekend overall provided $5.7 million from 1,325 sites in 18 markets for a cume of $22.9 million.
Opening in Germany, Austria and Switzerland was Sony’s Burlesque, which grossed $4 million overall on the weekend from 1,092 screens in 23 markets. Cume for the Cher-Christina Aguilera showbiz drama stands at 17.8 million since opening foreign on Nov. 24.
Openingat No. 1 in France was Mars Distribution’s La chance de ma vie (The Chance of My Life), a comedy directed by Nicolas Cuche about the marital problems of a marital counselor. Debut round at 350 sites yielded $2.9 million.
Remaining No. 1 for a second stanza in South Korea was director Hyung-rae Shim’s comedy The Last Godfather, filmed in the U.S. and starring Harvey Keitel. The film’s weekend take was an estimated $2.8 million from 458 locations.
The romantic comedy Morning Glory, starring Rachel McAdams, Harrison Ford and Diane Keaton, opened via Paramount in Australia ($2 million from 217 locations), New Zealand and Taiwan, generating a total of $2.3 million on the weekend from a combined 320 screens.
Other international cumes: Sony’s The Social Network, $105.5 million (after a $544,312 weekend at 430 overseas screens); Focus Features/Universal’s The American, $31 million; Universal’s Devil, $23.7 million; Focus Features’ The Kids Are All Right, $4.1 million; DreamWorks Animation/Paramount’s Shrek Forever After in 3D, $510 million; Focus Features/Universal’s Biutiful, $10.3 million; Universal’s Robin Hood, $216.4 million; Lionsgate’s The Next Three Days, estimated $15.5 million; Focus Features’ Another Year, $6.4 million; Universal’s Despicable Me, $290.6 million; Focus Features’ Somewhere, $4.3 million; and Universal’s Julia’s Eyes, $9.8 million France and Spain only.
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