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Twelve Tops the Best of the Rest

February 27th, 2005

Note: This week we continue trying out a new format for the international box office. Previously we've published the top five as well as a section for, 'Other highlights' as one story. For the next few weeks these will be broken up into two stories: The Top Five, which will continue to be published on Wednesday, while the latter section will be published on the weekend. These extra few days should allow for more detailed figures from smaller markets. However, some markets are still a week behind, but their data is included in this column.

Ocean's Twelve may have dropped out of the top five, but it is still going strong with $4.5 million on 1400 screens in 35 markets for an international box office of $225.8 million so far. No new openings means the heist film had to rely on holdovers likes its $2.5 million during its third weekend in the U.K. and $1.4 million during its fifth week of release in Japan, finishing second in both those markets.

  • SpongeBob SquarePants is still going strong, earning more than expected but not quite enough to make the top five overall. This weekend it added $4.1 million on 1400 screens in 11 markets to its $41 million international box office. Highlights include a slight increase in France to just over $1.1 million, as very shallow drop-off in the U.K. down just 10% to $2.2 million; both markets were helped out by holidays.
  • Sideways continues its limited release roll out in several international markets this week, and while it is doing well in most of those markets, it is not doing well enough to expand to full release. The Oscar contender had strongish per screen averages in its debuts in both Spain, ($780,000 on 165 screens for a $4,700 average) and Italy, ($620,000 on 173 for a $3750 average.) However, the film collapsed in South Korea where it could only manage $71,638 on 50 screens. Overall the film added $4.0 million to its $14.4 million / 43 market international total .
  • Million Dollar Baby saw its weekly take jump to $3.6 million thanks in part to a $1.1 million opening on 205 screens in Italy. The film also had strong holdovers in Spain, ($1.1 million, down 20%) and Australia, ($625,000 also down 20%.) The film has already earned $16.9 million and should continue to do well especially if it cleans up at the Oscars tonight.
  • The Magic Roundabout grew for the second week in a row in France earning $1.3 million for the week while dropping 27% in the U.K. to $2.2 million. The film has already brought in $12.4 million in those two markets on an estimated production budget of $20 million.
  • Another week, another German movie finishes in the top ten there. This week it was the release of Die Wilden Kerle II, which roughly translated into English mean The Wild Kerle part 2. The family film brought in $2.75 million on 500 screens, good enough for third place on the charts.
  • It was a milestone weekend for Closer as the film crossed $100 million worldwide thanks to its $2.6 million weekend box office. So far the film has pulled in $67.6 million internationally and $101.6 million worldwide and should bring in $10 to $20 million more before its run is over.
  • Shall We Dance? was the top debut in the U.K. this weekend, but it could only manage a $2.1 million, fifth place finish. That was the majority of its $2.5 million weekend lifting its international total to $74.2 million.
  • Hitch started its international run with number one debuts in Mexico, ($1.4 million on 350 screens) and in Brazil, ($809,000 on 211screens.) The film has already debuted in London, but won't really take off internationally for a couple of weeks.
  • The French comedy, Espace Détente, added another $2.1 million to its $9.6 million box office in the market. To put that into perspective, that's about the same box office The Aviator has earned in four weeks, while Espace Détente has got there in only three.
  • After a fast start in Germany, Are We There Yet? tumbled this week dropping by close to 60% landing at $440,000. The news was no better in the U.K. where the film missed the top five in its debut with $1.7 million. So far the film has earned $3.3 million in just 2 markets, but those will likely be its biggest two markets when all is said and done.
  • Andrew Lloyd-Webber's The Phantom of the Opera again claimed top spot in Japan with nearly $2 million. With $21.1 million there, Japan has become the movie's top international draw pulling in more than a quarter of its $81 million international box office. On the other hand, the film flopped in its Argentine debut barely making the top ten with $40,000
  • Spanglish opened in Spain but could manage no better than a $518,000 on 200 screens, which was only good enough for ninth place. It did better in Australia where it opened fourth with $781,000 on 206 and sixth in Russia with $233,000 on 60. Overall the film took in $1.9 million over the weekend doubling its early international box office to $3.8 million.
  • Racing Stripes pulled in $1.64 million during its third weekend in the U.K., up 8% from last weekend thanks to school holidays there. That was the lion's share of its $1.87 million weekend, which lifted its box office to $8.98 million in the market and $18 million internationally. Its first major test of its international run comes in two weeks when it opens in both Germany, (and other German speaking markets) and Japan.
  • Ray is still looking for a massive breakout performance on the international scene. This weekend it added $1.8 million to it $20.4 million international box office after opening in 35 markets. Its best result continues to be Germany where it pulled in $4.5 million.
  • School holidays helped Son of the Mask drop a very shallow 4% during its second weekend in the U.K. landing at $1.33 million and eighth place. Add in reasonable debuts in both Sweden and Thailand, (exact figures are unavailable) and the film made an estimated $1.8 million over the weekend.
  • Howl's Moving Castle has fallen out of the top ten in France with an estimated $500,000, but not before it grabbed nearly $9 million in that market. On the other hand, it is still in fourth place in Japan where it added another $1.2 million to its $172 million Japanese box office. Internationally the film has now earned an amazing $211 million, all before opening domestically.
  • The Bourne Supremacy dropped a virtually unheard of 49% during its second weekend in Japan landing at just $1.6 million and killing any chance the film had at making it to $300 million worldwide. However, with $283 million worldwide, the film is already a success beating the original by $70 million.
  • Felix - The Film continues its run in several German speaking markets earning $1.4 million for the week and $5.9 million during its run so far.
  • Blade: Trinity had strong starts in a number of smaller markets, however, its lone midlevel debut of the weekend, Mexico, resulted in an estimated $190,000 on 141 screens, a flop by any standard. On the plus side, it did add another $1.35 million to its $57 million international box office and should top the original film soon.
  • Pooh's Heffalump Movie opened in first place in Finland earning $248,000 while topping the debut of Meet the Fockers on the charts. Overall the film pulled in $1.2 million over the weekend and $4.8 million overall.
  • If its U.K. debut is any indication, In Good Company won't be able to duplicate its domestic box office internationally. Despite opening on 305 screens it could manage no better than a $1.2 million, ninth place finish.
  • The Merchant of Venice saw its fortunes rise in Italy to $1.2 million for the week and $2.8 million in market. The film has now earned more there than it has domestically, ($1,932,447) or in the U.K., ($1,861,137.)
  • Alexander added another $1.2 million, thanks mostly due to its $902,600 weekend in Japan, and now sits at $127 million internationally. That's impressive compared to its $34 million it earned domestically, but not so much when compared to its $155 million production budget.
  • The $45 million French / British co-production, Danny the Dog fell out of the top ten in France but did pull in an additional $1.1 million over the week for a total of $5.3 million in that one market. On a side note, Danny the Dog sounds like a family film movie involving five kids and a scruffy dog. On the other hand, Unleashed, which is the name its being released under in most markets, sounds like a movie about an unstable and dangerous man. Can you guess which of those names is more apt?
  • A Very Long Engagement has spent its last week in the top ten in Germany earning $480,000, just ahead of 11th place Sideways. Adding in the $170,000 from Italy, $160,000 from Spain and other, smaller markets and the film managed an estimated $1.1 million over the weekend pushing its international total to $53 million.
  • Downfall opened well in Spain, ($615,000 on 92 screens) and Norway, ($210,000 on 25). Add in holdovers and the film added $1.075 million to its $56.7 million international box office.
  • Spain is usually very kind to horror films, so it comes as no surprise than White Noise opened well there last weekend earning $1.4 million. It is also no surprise that this weekend it saw that number get cut in half to $700,000, which was still enough to make Spain is biggest single market at $2.4 million. On the other hand, it started much slower France but has held up better bringing in an estimated $300,000 this weekend for $2.1 million in the market and $17.5 million internationally.
  • The Forgotten fared little better in its debut in Italy, its final market. The film finished fifth there with $943,585 on 200 screens pushing its international total to $42.8 million.
  • Bride and Prejudice continued its international run debuting in a couple more markets over the weekend. The film finished in third place in Australia with $781,000, ($827,500 include sneak peaks) despite playing on just 99 screens, which gave it the best per screen average in the top twenty but struggled in the Netherlands with just $55,000 on 20 screens. The film has already earned nearly $13 million internationally on a production budget of just $7 million, including more than $9 million in the U.K.
  • Lemony Snicket's A Series of Unfortunate Events has dropped off the radar screen in most markets, but from the data I could find it has pulled in $650,000 lifting its box office to $66 million internationally and $183 million worldwide. You have to think that the studio was hoping for at least double that.
  • House of Flying Daggers opened in fifth place finish in semi-limited release in Australia with $595,000, $747,600 including sneak peaks. That pushes its international box office to $76 million but without any more major or even midlevel markets left to open in, $100 million worldwide is most likely out of reach.
  • The Grudge opened in Japan last weekend with $1.35 million, however, this weekend it lost more than 55% of the figure landing at $590,000. That did push its international box office past $50 million, which is very strong given its $15 million production budget.
  • Hide & Seek opened Chile last weekend topping the market with $212,000, well ahead of second place National Treasure. It also debuted in first place in New Zealand this weekend with $170,000. The film held onto third place in Russia with just under $200,000.
  • Last weekend Flight of the Phoenix opened in Spain, its first major market, and took in $840,000 on 275 screens. A mixed result at best. This weekend it held up better than expected with $580,000, down less than one third for a two week total of $1.6 million in the market. The film has also opened in a lot of smaller markets, Hong Kong, Turkey, Russia, New Zealand doing about as well as one would expect building a $4.3 million international box office thus far.
  • The Incredibles added another $500,000 to its Hong Kong box office, which now sits at just below $4 million. Overall the film has $366 million internationally and $625 million worldwide.
  • Creep, the British horror/thriller fell out of the top ten there with $320,000 for the weekend and $3.4 million overall. The film opens in Spain and Germany next month, but there's no American release date yet.
  • Assault on Precinct 13 opened in Greece with $120,000 and is wrapping up its run in the U.K. bringing in $144,000 for the week. Still early in its international run, the remake has made $4.2 million internationally, but should improve upon that as it opened in Spain this weekend and France next weekend.
  • The Sea Inside won't have the legs of most limited releases in the U.K. as it dropped more than 30% during its second weekend there despite seeing a healthy increase in theatre count. That resulted in a $120,000 box office for the weekend and $420,000 two week total. Overall the film added $250,000 to its $25 million international total.
  • Cellular dropped out of the top ten in Australia with just $213,000, a second weekend drop-off of 34% wasn't as bad as one would have expected given its poor start.
  • Around the World in 80 Days held onto tenth spot for one more weekend in Italy with $194,586, down just 14% from the previous weekend. Overall the film has made $1,830,330 in that market and $42.5 million internationally, not nearly enough given its $110 million production budget.
  • School holidays helped Laura's Star climb 42% during its second weekend in the U.K. pushing its weekend box office to $183,000 for the weekend and $650,000 so far.
  • Criminal opened in the U.K. with $183,000 over the past week on 51 screens. That puts its opening there about on par with its domestic releases, which is not a good sign for its long-term success.
  • Team America: World Police crashed and burned in Mexico last weekend bringing in just $126,000 on 200 screens. While the film still has several major and midlevel markets to open in, it is unlikely it can push its $17 million international box office high enough to overtake its domestic totals.
  • Bridget Jones: Edge of Reason opened in third place in Chile with $120,000. With just Japan as its last major market, the film needs just over $6 million to top the original internationally and just $7 million to top $250 million worldwide.
  • Suspect Zero added $114,000 to its box office in Japan pushing its total in the market to $515,000. Its performance there should soon surpass its run in Mexico, ($560,000 in 12 weeks) making Japan its most lucrative market to date.
  • Ladder 49 fell out of the top ten in Italy with less than $100,000. It performed even worse in Germany where it was yanked from theatres after only two weeks. Overall the film has brought in $19 million internationally and with only a couple of markets left will most likely fail to reach $100 million.
  • The Life Aquatic with Steve Zissou made its London debut earning $87,616 in its one theatre.
  • After opening in limited release last weekend in Australia, Vera Drake saw its weekend haul remain flat at $69,000 while its box office in the market climbed to nearly $200,000. Overall the film has earned $5 million internationally, most of which has come from the U.K.
  • Seed of Chucky took only three weeks to drop out of the top ten in Argentina bringing in just $32,000 this weekend. Even more impressive, it also only took 3 weeks for the film to drop out of the top twenty in Australia with $37,000. Things should pick up for the film next week when its released in France and other French speaking markets.
  • Raise Your Voice is still in a holding pattern waiting for its next opening, this weekend it earned an addition $30,000 in the Netherlands and $34,000 in Australia to push its box office total to $2.8 million in those two markets.
  • Open Water finally opened in Chile bringing in $55,000 on 12 screens. The film doesn't open in Argentina until next month, but we should have the data when it does.
  • First Daughter dropped from 18th place to 27th after just one week of release there with just $49,000 for the week, $325,000 for the market, and still less than $10 million worldwide.
  • Vanity Fair struggled in its opening in New Zealand taking in just $33,000. That was about on par with the rest of its $2.1 million international run, most of which has come from the $1,228,249 it has earned in the U.K.
  • Yes Men opened in the U.K. with $27,004 on just 9 theatres.
  • Elektra died in its debut in Argentina pulling in a mere $25,000 on 24 screens. That was enough to help push its international total ahead of its domestic one, but unfortunately, that wasn't a major feat.
  • Kinsey is wrapping up a reasonable run in Australia, for a limited release that it. This week it added $19,000 to its $635,000 total in the market, which is the majority of its $800,000 international box office after opening in three markets so far.

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Source: Variety

Filed under: International Box Office, The Incredibles, Hitch, The Bourne Supremacy, Ocean's Twelve, Lemony Snicket's A Series of Unfortunate Events, The Grudge, Million Dollar Baby, SpongeBob SquarePants: The Movie, Ray, Ladder 49, Sideways, The Forgotten, Shall We Dance?, White Noise, Blade: Trinity, The Phantom of the Opera, Hide and Seek, Racing Stripes, In Good Company, Spanglish, Bridget Jones: The Edge Of Reason, Alexander, Closer, Team America: World Police, Cellular, Open Water, Danny the Dog, Elektra, The Life Aquatic with Steve Zissou, Around the World in 80 Days, Flight of the Phoenix, Assault On Precinct 13, Pooh's Heffalump Movie, Son of the Mask, Seed of Chucky, Vanity Fair, House of Flying Daggers, Raise Your Voice, Kinsey, First Daughter, Suspect Zero, Doogal, Bride & Prejudice, Un long dimanche de fiançailles, Der Untergang, Hauru no ugoku shiro, The Merchant of Venice, Vera Drake, Mar adentro, Criminal, The Yes Men, Are We There Yet?