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International details - Hangover Shows Potential Overseas

June 21st, 2009

The top film on the international scene was published on Wednesday and can be found here.

Night at the Museum - Battle for the Smithsonian remained in second place adding a solid $18.53 million on 8300 screens in 67 markets for a total of $175.90 million. The film opened in first place in Mexico, no surprise there, but with $3.34 million on 1150 screens its per screen average is not that impressive and being booked on more than 1000 screens, you think the studio was expecting a bit more. The film did hang on better than most in South Korea down just 50% to $2.13 million on 576 screens over the weekend for a total of $7.57 million after two. It also added $1.77 million on 506 screens in the U.K. for a total of $27.96 million, which is its best single market of its run so far.

  • Angels and Demons is coasting on holdovers, but it still added $13.82 million on 7189 screens in 71 markets for a total of $314.97 million internationally and $438.18 million worldwide. It is the leader for the year in both categories, but still well back of its predecessor in both.
  • The Hangover started its international run in fourth place with $11.54 million on 1276 screens in 13 markets for a very early total of $12.03 million. This includes a trio of first place openings in the three English-speaking markets starting with the U.K. where it pulled in $4.49 million on 422 screens over the weekend for a total of $5.22 million. In Australia it was equally impressive with $2.79 million on 226 screens while in neighboring New Zealand it managed 314,000 on 44 screens. The film had to settle for second place in Russia with $1.48 million on 340 screens, but topped the charts in the Netherlands ($712,000 on 64 screens) and in Sweden ($640,000 on 52). Its performance in English-language markets was to be expected after its run here, but its performances elsewhere bode well for a strong international run. I still don't think it will match its domestic performance, but it could reach $100 million or more.
  • Up remained in the top five with $9.29 million on 1981 screens in 11 markets for a still early total of $27.48 million. Much of this came from Mexico ($2.48 million on 799 screens over the weekend for a total of $7.88 million) and Russia ($1.25 million on 443 screens for a total of $10.52 million). It is coasting on holdovers, mostly, and won't have another major market opening till July. But given its holds so far, it could do quite well till then.
  • Rookies was pushed into second place in Japan with $8.14 million on 428 screens over the weekend. That was enough for sixth place on the international chart, while it lifted its total of $49.46 million after three weeks of release.
  • Drag Me To Hell expanded into nearly a dozen markets climbing a spot to seventh in the process. Its biggest opening came in Germany, but it only managed fifth place there with $969,000 on 274 screens. So far it has made just $16.64 million internationally, including $4.62 million on 1496 screens in 16 markets this past weekend. However, like its domestic run, it is not living up to is reviews, which is a shame.
  • Hannah Montana the Movie added $3.69 million on 2067 screens in 21 markets to its total of $47.42 million. This is more than I was expecting it to earn worldwide, and it has yet to open in a number of significant markets. This week its biggest opening market was Brazil, which is more of an emerging market; there it placed fourth with $1.01 million on 188 screens, which is inline with expectations.
  • Star Trek added $3.30 million on 2367 screens in 46 markets for a total of $118.60 million internationally and $350.48 million worldwide. The film has now made more internationally that Insurrection made worldwide, and has likely reached the same level of comparison with Generations by now. With no new markets left to open in, it is relying on holdovers, but it is a massive, massive hit compared to the rest of the franchise, and one of the best franchise re-boots of all time.
  • On the one hand, Land of the Lost opened with a mediocre $3.22 million on 647 screens in 5 markets during its international debut. On the other hand, plenty of Will Ferrell movies don't do this well internationally. Its biggest market was Russia where it placed third with $1.46 million on 448 screens, while it also placed third in Australia with a slightly weaker $1.32 million on 219 screens.
  • The Ghosts of Girlfriends Past added $3.07 million on 1109 screens in 24 markets for a total of $25.19 million. This includes a sixth place opening in Brazil where it earned $755,000 on just 129 screens over a solid per theater average.
  • Running Turtle opened in first place in South Korea and twelfth place internationally with $2.60 million on 396 screens over the weekend and $2.93 million in total.
  • Coraline climbed a spot to 13th place with $2.58 million on 1467 screens in 30 markets for a total of $29.72 million internationally and $104.96 million worldwide. This includes a third place, $1.38 million opening on 438 screens internationally, but that's for the full week. So far the film has not done as well as its reviews would indicate, and I'm hoping with an Oscar nod it will become a hit on the home market. But that's a lot ways away.
  • State of Play just about slipped off the chart with $2.04 million on 1142 screens in 34 markets for a total of $34.45 million. The film did open in Brazil, but only scored seventh place with $358,000 on 111 screens.
  • The final multi-million dollar movie was The Girl With The Dragon Tattoo, which landed in 15th place with $2.04 million on 1103 screens in 9 markets for a total of $58.69 million. This film is a massive hit doing excellent business in a number of European markets, and it has yet to open in the U.K., Germany, and other lucrative markets there.


Filed under: International Box Office, Up, The Hangover, Star Trek, Night at the Museum: Battle of the Smithsonian, Angels & Demons, Hannah Montana the Movie, Coraline, Ghosts of Girlfriends Past, Land of the Lost, Drag Me To Hell, State of Play