No major new releases in the overseas markets this weekend as current titles expanded their reach to new territories. Oblivion opened in seven new territories (as well as in North America) after posting a $60.4 million premiere weekend that solidified Tom Cruise’s global drawing power. The expansion brought in an additional $33.7 million from overseas and brought the sci-fi blockbuster to a $150.2 global total. $112 million of that figure comes from 60 overseas markets. Two major markets are still on the horizon for the Tom Cruise vehicle. The film is slated to open in China and Japan in May.
G.I. Joe: Retaliation crossed the $200 million overseas milestone overseas with a massive $33 million opening in China. It more than doubled co-star Bruce Willis's opening weekend for A Good Day to Die Hard, which premiered with $15.7 million in China last month.. The recent postponement of Quentin Tarantino's Django Unchained in the Chinese market likely facilitated the fantastic opening weekend numbers for G.I. Joe, but a $211.7 million overseas total and $322.9 million global cume attest to the franchise's overseas potential. The sequel still has one major market remaining; it will open in Japan on June 8.
The Croods looks destined to reach the $300 million overseas mark. The animated film hasn't slowed down since its release, adding another $23.4 million this weekend to take its overseas cume to $274.5 million. $6 million of the weekend's figures came from its opening in China. The Croods has currently grossed $429.4 million globally.
Oz: The Great and Powerful is winding down its overseas run. The Disney film grossed $1.5 million this weekend to reach $254.8 million overseas. A good performance in North America gives the film a balanced and successful $478.6 million global cume.
Mama opened in Austria, Germany, and German-Switzerland and grossed an additional $2.9 million over the weekend. The overseas total is $64.2 million with Belgium and Chile opening in early May. The global cume is $135.8 million.
Identity Thief grossed $2.1 million in 20 overseas markets this weekend. The film still has 25 more markets lefts in its overseas roll out and has currently grossed $32.9 million outside of North America. The global cume is $164.6 million.
Lincoln had a strong $2.2 million opening weekend in Japan to bring its overseas cume to $85 million. Spielberg's biopic of the American politician has grossed $267.1 million globally.
Check back with us throughout the day for live updates on the global box office.
Nosotros Los Nobles nearly beat out Oblivion for the top spot at the Mexican box office last weekend. The Mexican film is already in its third week in release and narrowly lost the #1 ranking with $2.3 million to Oblivion's $2.7 million. The Croods dipped 39% to fall to third place with a $1.5 million weekend to add to its $23.1 million total in Mexico. Evil Dead saw its business affected by the premiere of The Texas Chainsaw Massacre 3D. Neither of the horror films fared particularly well over the weekend, a situation that might warrant a closer look at the release calendar for genre titles in the future. Snitch made its premiere in Mexico and only grossed $203,224 in 148 theaters. Escape from Planet Earth was the big disappointment of the weekend, unable to reach the $1 million mark despite opening in over 500 screens.
Box Office Results for Mexico. April 12-14, 2013.
Oblivion was the only film to gross over $1 million in Germany last weekend, taking in $2.5 million for the top spot in its opening weekend. It faced no competition as the sole new release to hit theaters. The slew of hold-overs fared poorly with per-screen averages in the hundreds for all the films that fell below the top three. Hansel and Gretel: Witch Hunters is still enjoying its continued success in the country, reporting a $17.5 million cume that has carried its overseas total since its release. Django Unchained has been in theaters for thirteen weeks and is still in the top ten. The Quentin Tarantino film starring German Academy Award winner Christoph Waltz has grossed over $50 million Germany.
Box Office Results for Germany. Weekend of April 12-14, 2013.
by Shawn Robbins
Moderator Elvis Mitchell played host to a filmmakers' luncheon on Wednesday at CinemaCon. On stage for the special event were the renowned Sam Raimi, Oliver Stone, and Guillermo del Toro.
They began the afternoon's discussion with a debate on horror versus tension in film and how it pertains to attracting--and keeping--an audience. Stone commented that he's "too old for horror" now, preferring tense moments in his films. Raimi and del Toro differed somewhat, though all three generally agreed that tension was necessary to sell moments of horror (similar to setting up a joke in comedy). "Horror has to be transgressional," said del Toro, believing that pushing boundaries comes with the territory of the horror genre.
The conversation then turned more toward general topics. Raimi aims at making his movies specifically for an audience, while Stone adamantly feels that early screenings can be a hindrance to the final product. He cited his 1991 hit, JFK, as an example. Having denied test screenings for the film, Stone feels that was a blessing for the end result because it allowed them to focus on assembling the film rather than throwing it at an audience with incomplete information on a complex subject. Guillermo del Toro went on to explain that during the process of creating a movie he "discovers the moment" a movie will find its audience.
del Toro further explained his philosophy to be that an audience's desire for going to see movies boils down to two reasons: to see a reflection of ourselves, or to escape.
The panel then began revealing the biggest concerns of the present and future state of moviegoer experiences. Stone referred to what he calls the "copy/cut" phenomenon--not being able to tell the difference between action movies because marketing campaigns are are trying to emulate past successful films. "Content is king," said Stone, "and style is important but it gets old."
Raimi's concerns gravitated more toward exhibition. He emphasized that full immersion in theaters (such as Dolby Atmos and Barco systems) are integral toward driving theatrical attendance because those are experiences that cannot be replicated in the home--nor will they be for a long time. Raimi also would like to see the industry settle on fewer standards (or one). When filmmakers are mixing their work for a large variety of sound platforms, "quality may not pass down the chain," said Raimi. He then compared his hope for a standard in that arena to the standardization of 24 frames-per-second as the norm for film frame rates and how it helped to establish a consistency in the industry. del Toro differed somewhat, saying that he wants "more brushes" with which to paint his canvas.
As the forum wound down, Stone emphasized his poor experiences with regard to presentation in theaters. While some theaters may be putting the care and attention to detail necessary for a quality movie presentation, others aren't. He cited his experience of seeing The Avengers last year in a digital auditorium where the light exposure was low enough to make the picture significantly darker than optimal conditions. Further proclaiming that digital cinema has resulted in no projectionists being present and the theater "running on automatic", Stone feels strongly that theaters should exercise better management and ensure that presentation is always made a top priority. If that happens, the movie theater will go "back to being a sacred temple for the audience...and they will stay loyal."
The three versatile filmmakers closed their discussion by saying they all still go to theaters despite the occasional quality and presentation issues that are encountered. "Exhibition is the last frontier", said del Toro. Filmmakers and audiences both go to theaters because that's where movie-lovers go. Today's panel revealed just how important it is--for filmmakers, theater owners, and moviegoers alike--to protect that unique experience.
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