There were two major new entries this weekend at the international box office, one local (Tamil thriller Leo: Bloody Sweet) and one from Hollywood. Starting with the latter, Martin Scorsese’s Killers of the Flower Moon from Apple, Paramount and Imperative Entertainment, had a big opening with $21M in 63 offshore markets and No. 1s in 24 of those, including France, Germany, Australia, Spain, Netherlands and Switzerland. The global bow, factoring in its strong domestic opening, was $44M; great for a period movie with a long running time and at a moment when talent could not promote it due to the actors strike.
The international launch, excluding previews and on a like-for-like basis, is on par with Ford V Ferrari, 7% ahead of The Imitation Game, 14% above Captain Phillips and 25% over House of Gucci. Positive word of mouth has it positioned for a strong run.
The top opening markets were the UK with $3M at 701 cinemas, the widest release for a Scorsese film. France grossed $2.6M across 528 locations, Germany did $1.6M at 420, Australia brought in $1.4M from 314 and Spain was good for $1.3M at 371.
In IMAX, the take was $5.1M global including $1.75M overseas with many markets performing well above their typical percentage of national totals.
Meanwhile, Thalapathy Vijay-starrer Leo: Bloody Sweet kicked off with an estimated $43.9M overseas, per comScore for its full opening frame (though our sources have it lower at $39.5M), which, either way, would be above Flower Moon. The global estimate is $48.5M, also per comScore. Again, our sources see it down from that, at $44M global which would be on par with Flower Moon (as we often remind, numbers out of India are extremely difficult to track). The story of a mild-mannered café owner who becomes a local hero through an act of violence that causes the life he left behind to resurface, had the biggest worldwide debut for a Tamil film ahead of 2018’s 2.0. Leo is part of director Lokesh Kanagaraj’s LCU (Lokesh’s Cinematic Universe).
In India, it grossed an estimated $26M, the 2nd highest 4-day debut for a Kollywood film behind 2.0. From Seven Screen Studios it picked up $1.1M in IMAX, including $925K from 42 international IMAX screens, an impressive per screen average of $22K. IMAX also achieved its biggest local language opening ever in Singapore.
As it rolls out internationally ahead of domestic, Universal/DreamWorks Animation’s Trolls Band Together added another 21 markets and a further $14.3M for a $16M overseas cume through Sunday. This is just off Trolls at the same point, and above the first Paw Patrol movie.
The UK was the top opener this weekend with $4M from 1,500 screens across 654 locations at No.1 in the market ahead of the opening of Killers of the Flower Moon and the second frame of The Eras Tour. The toon opens leading into half-term school holidays, setting up a strong first week of play. The performance excluding previews is in line with Trolls and above The Boss Baby.
Brazil was also a No.1 start with $2.6M including previews. Excluding those, the weekend was $900K, above Sing and more than double the first Paw Patrol. Locations and screens grew 5% and 23% respectively from previews, which is aggressive for the market. 3D made up a 28% share from 39% of screens. Word of mouth is positive and audiences are digging the local dubbing cast.
France opened with $1.7M from 689 screens, which is above Trolls World Tour. Germany debuted at No.1 with $1.6M including previews ($1.3M excluding), performing above Puss In Boots 2. Severe flooding in the north impacted the total market this weekend with some theaters closed along the Baltic coast. Netherlands enjoyed a strong opening boosted by autumn school holidays, finishing the weekend with $1.2M including previews ($600K excluding). This is over double Trolls and above Sing. The title released in the crowded school holiday period, with Paw Patrol, two local Sinterklaas titles and Eras Tour taking up space with the family audience. The title finished the weekend at No.2 behind the strong opening of Killers of the Flower Moon.
Still to come are Mexico, Spain, Italy, Australia and Korea through October and November.
The pups of Paramount/Nickelodeon/Spin Master’s Paw Patrol: The Mighty Movie woofed it up again with another $11.7M overseas (-42% hold). The international total is now $92.3M and the worldwide cume is $148.4M.
The Top 5 markets to date are: China ($15.8M), Germany ($8.1M), France ($6.4M), Mexico ($6.3M) and UK ($5.6M). Still to come is Japan on December 15.
In the sophomore session, Taylor Swift: The Eras Tour, per comScore, generated a further $10.5M from 35 international markets, bringing the offshore cume to $35M and global to $164.8M. Distributor AMC (and Trafalgar overseas) have not yet reported official international numbers, nor provided market breakdowns.
Universal/Blumhouse/Morgan Creek’s The Exorcist: Believer added $8.2M in 80 overseas markets for an offshore cume of $53.4M and a $107.6M global running total.
Korea launched across 640 screens this weekend, grossing $500K including $85K of previews at No.3 behind local drama Love Reset and the opening of Killers of the Flower Moon. Performance is in line with the openings of Halloween and Smile.
The Top 5 to date are: Mexico ($8.2M), the UK ($5.7M), France ($3.2M), Spain ($3.1M) and Italy ($2.9M). Japan rolls out in December.
In local play, China’s Only the River Flows, which released on Saturday, grossed RMB 90.9M ($12.4M) for the weekend. The crime drama is directed by Wei Shujun.
MISC UPDATED CUMES/NOTABLE
The Creator (DIS): $4.1M intl weekend (51 markets); $53.6M intl cume/$90.4M global
The Equalizer 3 (SNY): $2.6M intl weekend (50 markets); $91.1M intl cume/$182.6M global
Oppenheimer (UNI): $1.4M intl weekend (83 markets); $621.3M intl cume/$945.4M global