Malaysia Film Censorship Board Bans ‘Hustlers’ For “Excessive Obscene Content”

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Malaysian distributor Square Box Pictures confirmed the ban on Instagram.
Jennifer Lopez, Constance Wu, Julia Stiles, Lizzo, and Cardi B star in the feature, which is based on a true story that first appeared in a New York Magazine article in 2015. The film about exotic dancers who fleece their clients has gotten off to a great start in the US and UK.
The Malaysian board also censored gay sex scenes in the Elton John biopic Rocketman earlier this year.
The naked breasts, erotic dancers and drugs being consumed in the film Hustlers have raised the eyebrows of the Malaysian Film Censorship Board, which has ruled that the scenes made the film "not suitable for public screening."

Will The ‘Downton Abbey’ Gang Take Out ‘Rambo’? – Weekend Box Office Preview

Elsewhere It Chapter Two should fall around 56% in Weekend 3 to $17M, while STX Entertainment's R-rated Hustlers should be ahead of it with $18M in Weekend 2, -45%. It Chapter Two, from New Line, is up to $158.2M through Tuesday. The ladies of Hustlers in their weekdays have been smacking down Pennywise, beating him on Monday ($2.7M to $2.2M) and Tuesday ($4.6M to $3.3M). Through five days, Hustlers counts an estimated $40.6M, with many finance sources telling us the film will profit in its theatrical window.
‘Rambo: Last Blood’ Trailer: Sylvester Stallone Returns Via The Old Town Road” />
Even if Downton Abbey slaps Rambo still across the face, the latter could wind up looking at the best opening in the Sylvester Stallone franchise's 37-year history should this finale best First Blood Part II's $20.1M bow. The previous John Rambo film released by Lionsgate in 2008 opened to $18.2M and topped out at $42.7M stateside. Previews are at 7 PM tomorrow night before going wide at 3,500 locations Friday. Millennium and Lionsgate already have a late-August hit in theaters, Gerard Butler's Angel Has Fallen, which soon will overtake 2016's London Has Fallen as the second-highest-grossing pic in the series stateside with more than $62M.
‘Downton Abbey’ Trailer: The Crawley Family Prepares For A Royal Visit
Abroad, Ad Astra opens in 82% of markets worldwide with the exception of Italy, Brazil, Russia and a handful of smaller markets. Disney isn't handling the release of the film in the China, Hong Kong or Taiwan markets. While Downton sops up all the older women, Hustlers draws the younger women, and the older guys go with Rambo, that doesn't leave much for the very expensive Brad Pitt astronaut movie Ad Astra, which Disney inherited from Fox, this despite an 80% certified fresh reviews coming out of its world premiere in Venice. Thursday previews start at 7 PM, with a theater count of 3,450 on Friday including 380 Imax screens, 340 Premium Large Format screens and 130 D-Box/4D locations. Some say this pic cost in the $80M range, we heard well above that in the $100M vicinity. The Plan B and New Regency co-production is only expected to bring in around mid- to high-teen millions, and it's going to need much more than that from abroad if it's going to see breakeven.
Sneaks start again at 7 PM Thursday before Downton plays at 3,076 theaters. Sneaks were held for the Maggie Smith-Michelle Dockery-Joanne Froggatt ensemble pic last Thursday, racking up $2.2M. An older-skewing female pic like that typically doesn't play into the wee hours of the night. But Downton already is a success before fully turning down the lights in auditoriums coast to coast. 1 spot in the UK with a $6.3M opening. Some box office soothsayers believe that Downton has advance ticket sales, and that's it. The pic opened in 17 offshore markets last weekend, making close to $12M including the No.
One midsize East Coast exhibitor tells us that Downton already has sold seven times more tickets than Rambo at his theater. This is not the case for advance ticket sales to Millennium/Lionsgate's Rambo: Last Blood at the big chains. Despite the discrepancy, its a toss-up as to whether Downton or Rambo wins the weekend with a $23M-$25M take apiece. We've been hearing for quite some time that the advance ticket sales for Focus Features' big-screen take on the TV series Downton Abbey are just through the roof. On Fandango, presales for the Michael Engler-directed feature continue to best those of Once Upon a Time in Hollywood, Mamma Mia: Here We Go Again and The Great Gatsby.

‘It Chapter Two’ Balloons Franchise To $1B+ Global; Tarantino’s ‘Hollywood’ Overtakes ‘Basterds’ WW; ‘Downton Abbey’ Serves Up Early $12M Debut – International Box Office

The Secret Life Of Pets 2 (UNI): $1.3M intl weekend (33 markets); $269.7M intl cume ($428M global)
Yesterday (UNI): $1.2M intl weekend (28 markets); $65.6M intl cume ($139M global)
String that onto the 2017 original and the two films combined have made $1.02B. UPDATE; writethru: New Line/Warner Bros’ It Chapter Two had its second reading at the global and international box office this weekend, after screaming to the 2nd highest worldwide opening ever for a horror movie last session. The split on Chapter Two is currently $169.5M overseas and $153.8M domestic for a global take of $323.3M. With the sophomore frame’s extra balloons, the franchise has now crossed $1B worldwide.
Good Boys/strong> (UNI): $1.8M intl weekend (33 markets); $18.3M intl cume ($91.6M global)
Fans of the series — which was a global phenomenon that sparked a new worldwide age of British drama — are expected to embrace it. Most agree the film is a warm hug from favorite characters with a giant scale and intricate detail not seen on TV. North America, where the Michael Engler-helmed movie opens this week, was one of the majors that helped push the TV saga to its heights (it won more Emmys than BAFTAs, and many of the cast and crew have told me in past years that they were stunned by the American response). and NBC and Focus are teaming on Return to Downton Abbey: A Grand Event one-hour special set to air a day before the extravaganza hits theaters Stateside. The challenge on this one will be in drawing an unschooled audience. As of two weeks ago in North America, Downton was on fire in pre-sales ahead of Mamma Mia: Here We Go Again!
Breakdowns on the films above and more have been updated below.
TLK notably had a great hold in Spain this week (-9%) given this was the start of the school year for kids locally.
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Universal’s spinoff is still spinning cash overseas with an $8.1M weekend to cume $572.6M abroad and $740.9M global. China remains the lead market at $196.1M after weekend 6. The film passed $700M last week, which star Dwayne Johnson even noted.
*Denotes new
1 at $214K from 31 locations, 51% above Bad Moms 2, and 119% over A Simple Favor. Elsewhere, Netherlands bowed to $370K from 86 sites, on par with A Bad Moms Christmas, while Israel boogied into No.
Dora And The Lost City Of Gold (PAR): $2.3M intl weekend (29 markets); $28.2M intl cume ($79.5M global)
Disney and Fox combined now have the top 5 films ever in EMEA with Avatar, Titanic, Star Wars: The Force Awakens, The Lion King and Avengers: Endgame. As noted above, in EMEA, TLK bested Avengers: Endgame to become the No. 4 highest grossing title of all time. It's good to be the king.
Universal's Fast & Furious Presents: Hobbs & Shaw banked a further $8.1M this weekend from 68 markets to lift the cume overseas to $572.6M and global to $740.9M. China is now at $196.1M.
While the UK, at $16.5M, is Pennywise’s top market so far, he did cede the No. The Dowager Countess’ zingers also nabbed the top spot in Australia while much play is still to come, including in the U.S. next weekend. The total weekend on this big screen transfer released by Universal is an estimated $11.7M from 17 markets. 1 spot there to Downton Abbey which grossed an estimated $6.3M in the home counties.
In Hollywood has become the director’s 2nd highest-grossing movie ever worldwide with $329.4M to surpass Inglourious Basterds. Elsewhere, Sony/Bona and Quentin Tarantino’s Once Upon A Time… The offshore portion is closing in on $200M with $192.5M so far.
Overseas, next session notably adds Germany which should see a solid serving; France opens September 25. There are also several other international markets to come.
The Top 5 overseas markets are: UK ($16.5M), Mexico ($16.1M), Russia ($13.9M), Germany ($12.8M) and Italy ($0.1M).
Japan is the last key market to release on November 1.
Hollywood is now the 2nd highest grossing film in the director’s career. The international cume is inching towards $200M, currently at $192.5M. Sony/Bona’s Quentin Tarantino love letter to 1969 Hollywood scooped another $8.4M this weekend from 60 markets. Globally, the hot August nights that sparked this Cannes premiere have now led to $329.4M, overtaking QT’s Inglourious Basterds.
As Anthony has noted, talent (including JLo, Cardi B, Lili Reinhart and Constance Wu) have a considerable social reach with more than 318M worldwide fans.
The UK, however, is the lead market at $16.5M in 2nd place this frame behind Downton. Germany was the best hold, with a 39% drop to cume $12.8M.
Holdover markets overseas dropped just 39% this weekend and there is still Italy and Korea to come.
The box office start there was $6.3M for No. This is above TV transfer Absolutely Fabulous (+25%), as well as period comps Darkest Hour (+26%) and The Favourite (+129%). A Focus Features and Carnival Films production distributed internationally by Universal Pictures, Downton Abbey, the movie, began offshore rollout via Universal this week in 17 markets including the UK where the film had its world premiere on Monday. 1 at 730 locations.
Toy Story 4/em>(DIS): $2.8M intl weekend (25 markets); $625.5M intl cume ($1.085B global)
*The Goldfinch (WB): $985K intl weekend (13 markets); $3.625M global

In the UK, the Jennifer Lopez pic was No. 3 with an estimated $1.7M from 477 locations to give STX its best debut to date there. In other new openers, STX’s Hustlers bowed in 15 overseas markets, shimmying to a $4.6M start.
Crawl (PAR): $555K intl weekend (26 markets); $37.3M intl cume ($83.5M global)
Top Five on TLK: China ($120.4M), UK ($90.8M), France ($78.6M), Brazil ($68.8M), Japan ($58.3M).
Disney’s The Lion King has put a paw past $1.6B global with an added $6.9M offshore in the current frame for a $1.083B international cume and $1.617B worldwide. 4 release ever. Notably, in Europe Middle East Africa, TLK has overtaken Avengers: Endgame to become the No.
The Angry Birds Movie 2 (SNY): $4.1M intl weekend (54 markets); $72.1M intl cume ($111.7M global)
Rollout continues from October through December in such majors as Australia, France, Italy, Spain, Mexico, Brazil and Germany.
I movie in Europe and Latin America this session; and as the top U.S. title in Asia (there are some local newcomers in both Korea and China). Overall, It2 continued as the No.
A Dog’s Journey (UNI): $1M intl weekend (4 markets); $49.2M intl cume including non-UNI markets ($71.8M global)
Disney’s The Lion King has now crossed $1.6B globally and stands as the No. The current weekend was worth $6.9M offshore in 44 markets. The gross abroad for Simba is $1.083B; global is $1.617B. 7 movie of all time both worldwide and overseas.
In launches, France welcomed the scary clown this session with $4.7M on 600 screens and Hong Kong grossed $935K from 83 to become the biggest opening weekend ever for a horror film in the market.
This lifts the global total to $37.7M. In the UK, the Jennifer Lopez pic was No. 2 with $1.2M from 2K sites. 3 with an estimated $1.7M from 477 locations to give STX its best debut to date. STX’s domestic champ opened in 15 overseas markets this session, overperforming in the UK and Russia, and shimmying to a $4.6M start. In Russia, the launch was No. That’s 6% ahead of STX’s A Bad Moms Christmas.
The Andy Muschietti-directed Chapter Two scared up another $47M this weekend in 78 offshore markets. 1 in all of its debuts this session, also maintaining No. 1s in 52 hubs that bowed last session. It is holding the top spot at the international box office and was No.
2. 1s in Finland ($608K/100 sites) and New Zealand ($502K/111), all above comps. There were also No. Australia, likewise, was a No.1 launch and well ahead of comps with $2.2M; Netherlands indexed above comps and rang in $685K from 136 locations at No.
New openers were all No. Now released in 78 international markets, Andy Muschietti’s star-studded follow-up to 2017’s Stephen King adaptation has grossed $169.5M for $323.3M worldwide. 1s while 52 markets held the top spot. Crazy clown-like, the weekend also puts the two movies in the franchise over $1B global. This weekend, like last, Pennywise was top clown overseas and added $47M from 20,449 screens in 78 markets.

What Is A Weekend?: ’Downton Abbey’ Eyeing $12M+ Early Overseas Bow; Kingly In UK

The big screen transfer of the award-winning and game-changing period drama is off to a strong start in key hubs. EXCLUSIVE: Downton Abbey, the movie, began offshore rollout this week in 17 markets including the UK where the film had its world premiere on Monday. The weekend is estimated at $12.5M.
However, newcomers to the series (if there are any for one of the biggest global phenomena ever) should also ease in easily. Early scores from Rotten Tomatoes are 81% fresh with UK reviewers tending to agree the film is a warm hug from favorite characters with a giant scale and intricate detail not seen on TV. At the London premiere, any time Maggie Smith's Dowager Countess delivered a trademark zinger it lit up the room. The difficulty will be in drawing that unschooled audience.
Currently, the Focus/Universal/Carnival Films production from the pen of Julian Fellowes is tracking ahead of The Kings’s Speech (+61%), Darkest Hour (+64%) and The Favourite (+75%) in like-for-like markets, perhaps giving Lady Mary cause to raise a perfectly-sculpted eyebrow.
There are also several other international markets to come.” /> Next session overseas also notably adds Germany which should see a solid serving; France opens September 25.
In the UK, the Michael Engler-directed return to all things Crawley is driving to the No. 1 spot this weekend, with an anticipated $7M frame. It is at 732 locations and on 1,500 screens. The British launch is estimated to be ahead of Murder On The Orient Express (+20%), Absolutely Fabulous (+47%), Darkest Hour (+48%) and Rocketman (+51%).
NBC and Focus are teaming on Return to Downton Abbey: A Grand Event one-hour special set to air a day before the extravaganza hits theaters Stateside. We will have a full update on Sunday, while North America releases next weekend. As of two weeks ago, Downton was on fire in pre-sales ahead of Mamma Mia: Here We Go Again!.
There have also been strong starts in the Netherlands, Sweden, Finland, New Zealand and Norway.
In Australia, Downton is duking it out with It Chapter Two for the top slot at around $2M, and is tracking ahead of The Inbetweeners (+11%), Absolutely Fabulous (+14%) and Victoria And Abdul (+68%).

‘It Chapter Two’ Screams 2nd Highest WW Opening For Horror Pic With $185M

Mexico with $10.2M at 4,571 screens, dominating with a 76% share of the Top 5 films.
Country spotlights:
This is after Thursday set horror opening records in some key hubs (see previous story below), and yesterday added $22.3M on about 25K screens. SATURDAY UPDATE: Now open in 75 offshore markets, New Line/Warner Bros’ It Chapter Two has grossed $39M through Friday. The international box office weekend is still aiming at around $100M.
UK grossed $9.4m at 1,998 screens, for 72% share of the Top 5 films and coming in as the 2nd biggest opening weekend ever for a horror film (behind It).
We’ll have a full report on Sunday.
Pic's best markets to date are UK ($22.6M), France ($17.9M), Russia ($17.7M) and Germany ($15.2M). Global is at $310M, and is poised to groove past Inglorious Basterds ($321M) as Quentin Tarantino's second highest grossing pic WW behind Django Unchained ($425M). Sony's Once Upon a Time in Hollywood made $13M from 59 markets for a running offshore total of $176.2M.
Other overseas notables: Hobbs & Shaw drove another $15M out of 69 markets taking foreign to $555.5M and the pic's global odometer to $719M. Twenty-six percent of that grand total comes from China or $184M.
Pre-weekend projections on the debut frame were in the $100M-$110M range. Landing within that certainly looks likely, though more will become clear once numbers for Friday’s 27 additional opening markets are posted. They include the UK, Spain and Mexico.
In Sweden, Chapter Two booked $509K on 220 screens, roughly on par with the previous movie and by far WB’s best first day of the year. The running tally is $614K.
SUNDAY UPDATE: New Line's It Chapter Two slotted the second best global opening for a horror film of all-time with $185M, right behind 2017's It which debuted to $189.7M. This was a similar case for the $79M production stateside where the Andy Muschietti-directed sequel notched the second best opening for both a horror pic and September release. Chapter Two is expected to be profitable like the first film, but less than its near $300M after ancillaries.
Italy: $5.5m on 840 screens, for 50% share of the Top 5 films and and the 2nd biggest opening weekend for horror pic behind It.
1 in virtually all markets in 2017 and broke records on the first day out in a number of plays. It opened No. That film, which was on a staggered release, bowed to $95M in like-for-likes at today’s rates. The final unadjusted overseas tally was $375M. The best offshore comp for Chapter Two is the previous title.
This is the second biggest opening day ever for a horror film, also only behind It. Australia gave Pennywise a 75% share of the Top 5 on Thursday with $625K from 501 screens.
Chapter Two screamed the biggest horror opening ever in 16 markets including Russia (and the entire Eastern Europe region), UAE, Holland, Norway, Finland and Argentina. Chapter Two also took the top spot in Latin America region and was, ditto, the biggest for Warners YTD. 1 in Europe and the biggest WB opening weekend for the region year to date, and Chapter Two was No. Other highlights: Pic was No. It was also Warners' best opening for the year in 37 markets including UK, Germany, Italy, Sweden, Denmark, Argentina, Mexico and Australia. 1 in Asia,  besting It by 10%.
Cume is $1.4M. Spain pitched in $1.1M on 737 screens with a 69% share of the Top 5. Also the best WB start this year and the 2nd best ever for a horror title.
The full total to date, including sneaks, is $3.6M. In the UK on Friday, Pennywise pounded $3M from 1,998 screens and took a 78% share of the Top 5 movies. This is the 2nd best horror bow of all time, surpassed only by the first It. As with several other markets, Chapter Two marked the biggest opening day for a Warner Bros film this year. The UK was ultimately the lead hub on the previous film, followed by Germany, France, Mexico and Brazil (France is not opening until September 11).
Russia grossed $8.8M on 3,215 screens and dominated the market with 84% marketshare of the top 5 pics.
Germany made $7.1M at 890 screens, repping a 59% share of the Top 5 Films and ranking as the 2nd biggest horror opening weekend ever, only surpassed by It.
Including previews, the running cume there is $1.5M. Germany grossed $1.1M on 681 with a 64% share of the Top 5 films and tracking as the second biggest opening day ever for a horror film, only behind the first installment (which opened on a holiday).
And, Brazil is now at $1.6M after two days. The movie also continues to dominate in Australia with a $2M cume through Friday.
Italy also scored a record horror bow with $1.6M from 840 screens. In Thursday openers, Russia led all play at $2.1M on 3,215 screens: the best opening day ever for a horror movie (topping It) and WB’s best of 2019.
Holdovers were led by Russia on Friday with a 91% share of the Top 5 and another $1.9M to lift the total so far to $4M.
Brazil did $4.6m on 2,023 screens with a 63% share of the Top 5 Films.
1 in all debuts and set records for a horror opening in both Russia and Italy, notably, topping the 2017 predecessor. PREVIOUS, FRIDAY: New Line/Warner Bros’ It Chapter Two has begun its reign of terror at the international box office with $16.5M from 48 markets through Thursday. The Andy Muschietti-directed sequel landed No.
‘It Chapter Two’ Review: Big Chill(s) Reunion Of The Losers Club Concludes Film Adaptation Of Stephen King Clown Show
Brazil bowed with $555K on 2,022 screens, coming in as WB’s best start of 2019. Including previews, the cume to date is $817K.
Germany held. Italy’s second day kept It2 in the top spot for a cume of $2.8M. 1 on Friday and has now amassed $3.2M. No.
11 and Japan on Nov. Pennywise haunts France on Sept. Other openings include Spain ($3.2M on 737 screens), South Korea (also $3.2M but on 998 — a typhoon hit the country on Saturday, causing power outages and impacting the film industry’s overall Saturday box office), Indonesia ($2.7M on 930), and Argentina ($1.4M at 465). 1. Australia grossed $4.4M at 501 screens, repping a 60% share of the Top 5 Films, also the 2nd biggest opening weekend for a horror pic.
film in all markets (though in Korea on Saturday, the movie dipped to No. It continues to hold the top spot for a U.S. 2 behind a local title — the day’s locally estimated take was $820K which is not included in the running tally above; cume through Friday was $1.25M). The Andy Muschietti-directed sequel took No. 1 positions in its major Friday bows, including the UK, Mexico and Spain.
We’ll be back with more from the scary clown throughout the weekend.” />
Again, the biggest WB launch day of 2019. Including sneaks there, the cume is $3.4M. Mexico made $2.5M from 3,360 screens and had a 76% share of the Top 5 on Friday.
Disney's The Lion King roared $13.4M from 50 territories bringing its running offshore total to $1.07B, $1.6B worldwide. Highest markets to date include China ($120M), UK ($90M), and France ($78M).
Korea, which opened It Chapter Two on Wednesday, is leading the market with $1.25M through Friday (not fully included in the offshore total above). The first film ultimately did best in the UK, Germany, France, Mexico and Brazil (France, along with Japan, is not in this weekend's opening suite on Chapter Two). Horror indexes in Latin America and Europe, with Southeast Asia likely to provide some extra muscle this time around.
With $94m from 25,945 screens, Chapter Two led all films at the overseas B.O.

‘Hobbs & Shaw’ Hustles Past $500M Overseas, Nears $700M Global; ‘Hollywood’ Closing In On $300M WW – International Box Office

Angel Has Fallen raised another $12.8M in 44 markets for an offshore cume to date of $28.7M.
It will soon pass the $300M milestone and with Italy and Korea to come this month, will overtake Inglourious Basterds worldwide. Quentin Tarantino’s summer of 69 saga added a groovy $21.6M in 60 markets this session. The offshore total is $152.7M for $284M global.
Breakdowns on the films above and more have been updated below (we are slightly abridged today owing to the Venice Film Festival).
The Top 5 markets so far are the UK ($20.1M), Russia ($17M), France ($15.6M), Germany ($12.7M) and Australia ($10.9M). No. 1s were notably held in Germany, Australia, Spain and Poland.
Crawl (PAR): $2M intl weekend (30 markets); $35.6M intl cume ($74.6M global)
Universal’s spinoff is now at $525.3M internationally and $684.2M globally, expected to pass $700M this week after a $39.1M frame in 69 markets overseas. The final should land in the $725M-$750M range worldwide.
Korea had a good -55% hold for a cume of $25M. The UK dipped just 2% for a running total of $22.8M and France was off 28% for $17.9M to date.
1 for a 4th weekend (though not consecutively), that would make it the only movie this year to have the honor. It is also the highest-grossing non-Disney and non-superhero movie of 2019 worldwide. Globally, H&S is estimated at No.
The Angry Birds Movie 2 (SNY): $5.5M intl weekend (48 markets); $58.5M intl cume ($93.7M global)
In Hollywood, meanwhile, added $21.6M in the frame, off a healthy Japan start that’s three times bigger than Django Unchained and 70% more than Inglourious Basterds. Sony’s Once Upon A Time… Europe is quite keen on the Quentin Tarantino pic with a drop of just 29%. The overseas cume is now $152.7M with $284M worldwide.
The current worldwide cume is $684.2M through Sunday. UPDATE, writethru: Universal’s Fast & Furious Presents: Hobbs & Shaw continued to flex its muscles at the top of the international box office this weekend, smack-talking its way to another $39.1M in 69 markets. The overseas cume topped $500M in the session, hitting $525.3M as it approaches $700M global.
Japan opened to $2.7M, triple the start of Django Unchained and 70% bigger than Basterds.
Greece was the final market to join the party this session, starting at No. 3 with $323K. Elsewhere, China led the session at $27.9M for a $166M cume on its way near $200M.
The Lion King now has a global gross of $1.562B and offshore is at $1.041B. 7 on the all-time overseas charts, having passed both The Fate Of The Furious and Jurassic World. The latter puts it at No.
The Sony/Bona pic had strong holds in Europe with the UK down 9%, Germany off 26%, France down 28% and Spain dipping 30%.
Abroad, it is also the No. Globally, the movie is now at $1.562B. Disney’s puss in loot added $20.6M in 53 overseas markets, down 37%, for a $1.041B total. 7 release ever. It has passed both Furious 7 and The Avengers worldwide and is the No. 7 pic.
The Top 5 markets are China ($120.4M), UK ($88.1M), France ($74M), Brazil ($67.5M) and Mexico ($51.7M).
Now that we've had a couple weekends of mostly holdover play, WB's It Chapter Two will be the s*it next session, opening in most overseas markets September 4-6.
this weekend). 2 behind H&S and has now cumed an estimated $686M (it also released in the U.S. Warner Bros’ Clint Eastwood drama The Mule rolled into the market under the arthouse film quota and grossed $975K on 1,870 screens. In China, Ne Zha was again No. That lifts the offshore cume to $69.8M.
Overall, the Dwayne Johnson/Jason Statham-starrer should top out in the $725M-$750M global range. 1 in the market and now with a running cume of $166M, on track for a $200M finish. The holdover markets are tracking above Fast 6 (+33%) and below Fast 7 (-38%) and F8 (-41%), as expected. China was responsible for the bulk of Hobbs & Shaw’s overseas weekend, holding No.
Dora And The Lost City Of Gold (PAR): $4.4M intl weekend (33 markets); $24.1M intl cume ($75.3M global)
Good Boys (UNI): $2.7M intl weekend (26 markets); $11.7M intl cume ($70.3M global)
Strong holds include UK (+8%), Belgium (-6%), France (-7%), Netherlands (-21%), Chile (-21%), Germany (-23%), Switzerland (-23%), Spain (-25%), Australia (-27%), Sweden (-32%), Russia (-35%), Japan (-35%) and Brazil (-35%).
Yesterday (UNI): $2.4M intl weekend (25 markets); $61.2M intl cume ($134.3M global)
Toy Story 4 (DIS): $4.9M intl weekend (24 markets); $613.8M intl cume ($1,043.5M global)
Scary Stories To Tell In The Dark (EONE/SIERRA): $2.5M intl weekend (59 markets); $26.7M intl cume ($85.5M global)
The Kitchen (WB): $511K intl weekend (21 markets); $2.7M intl cume ($14.5M global)” />
4 highest grossing Disney release ever in Italy, the 10th highest grossing release of all-time in the UK and the 2nd biggest movie ever in South Africa In Europe, TLK is now the No.
The Secret Life Of Pets 2 (UNI); $3.9M intl weekend (43 markets); $263.3M intl cume ($420.9M global)

Euro Cinema Chain Vue Won’t Show Martin Scorsese’s Netflix Pic ‘The Irishman’; UK Network Picturehouse Also Says No

“Despite The Irishman being directed by one of the true giants of cinema, Netflix has chosen not to give this film the full theatrical big screen release it deserves. Our policy is to only show titles launching with a full theatrical release, which is a well-known industry practice that creates and profiles cultural blockbusters, provides a more engaged and immersive experience for audiences and showcases exceptional content the way it was intended to be shown and enjoyed.”
Vue operates in UK, Ireland, the Netherlands, Germany, Denmark, Italy, Poland, Latvia, Lithuania and Taiwan.
European cinema chain Vue, which has more than 228 cinemas and 2,000 screens across Europe, has told us it will not be showing the movie due to its curtailed theatrical window. EARLIER EXCLUSIVE AT 10:22 AM PST: As anticipated, not everyone is on board with the rollout plan for Martin Scorsese and Netflix's The Irishman. The exhibitor issued the below statement:
We also have word out to UK arthouse network Picturehouse. Given that the former owns Regal (which won't show it) and the latter is owned by AMC (which won't show it) it seems logical that neither will host the movie. We're waiting to hear back from other leading Euro chains such as Cineworld and Odeon as to whether they'll show the film. UK boutique chain Curzon will likely show the film as it has given many Netflix movies a short run in the past.
That's another 23 UK theaters that won't be showing the anticipated Scorsese film. UPDATE 13:29 PM PST: Cineworld-owned UK arthouse chain Picturehouse won't be showing The Irishman either, the company has confirmed to us.
It may prove trickier than many fans would like to find a multiplex showing the film. In the U.S., major movie chains including AMC, Cineplex, Regal and Cinemark won't show the movie. Netflix will be relying on smaller indie chains for penetration. It could be a similar story in Europe.
In the UK, the movie is due to launch on November 8. before it makes its streaming service bow November 27. The film will have a 27-day theatrical window from November 1 in U.S. The Irishman will mark Netflix's most ambitious theatrical rollout for one of its original productions and the service has been working hard to win over exhibitors in recent months.
Hoffa’s body has never been found and Sheeran’s admission is one of numerous theories of the union boss’s demise.” /> Anticipated crime-epic The Irishman tells a sprawling story that culminates in the murder of Teamster boss Jimmy Hoffa — played by Al Pacino — as seen through the eyes of WWII vet Frank Sheeran (Robert De Niro), a hustler and hitman who claims he ended Hoffa’s life on orders of mob boss Russell Bufalino (Joe Pesci).

‘Hobbs & Shaw’ Tops $100M In China Bow, Nears $600M Global; ‘Lion King’ Roars Past $1.5B WW – International Box Office

The rush from China, which includes an August-best IMAX bow of $8.6M, also helps pump the F&F franchise across the $4B mark at the international box office, and $5.6B globally.
The Top 5 markets are: China ($120.4M), UK ($84.8M), France ($71.3M), Brazil ($66.2M) and Mexico ($51.4M).
When it opened earlier this month, H&S was No. 1 at the domestic and global box office for two consecutive weekends and is now on track for a No. The film is eyeing a $106M (RMB 750M) three-day launch session. The Middle Kingdom debuted with muscle on Friday (see below) and is estimated at $75M (RMB 529M) through today per Universal, and a bit higher per local reporting. 1 bow in China this frame.
In Korea last weekend, H&S topped the opening of any of the Toretto family-led core pics, snagging the best debut in the franchise.
Yesterday (UNI): $800K intl weekend (25 markets); $58.4M intl cume ($130.8M global)
Scary Stories To Tell In The Dark (eOne/SA): $4.3M intl weekend (8 markets); $21.5M intl cume ($71.7M global)
Winging to another $10.2M this weekend from 10,200+ screens in 43 markets, Sony/Rovio’s sequel now has an overseas cume of $47.6M. China has now cumed an estimated $16.4M amid stiff competition, and is on track for a $21M finish, sharply down from the previous entry and despite overall positive reviews. New openings included: India ($870K), Spain ($560K) and Peru ($380K). There are many markets still to come including Mexico, Australia, Italy, Germany, Brazil and France.
1 over local smash, Ne Zha, which found itself at No. The social scores on H&S were lower than recent F&F movies, but that didn’t hamper the start which came in above the $100M some were predicting pre-launch. H&S played at 10,655 locations in China and was a clear No. In China, where the series, Johnson and Statham excel, the film is outpacing Fast 6, The Meg, Rampage and Skyscraper. 2 for the first time in its month-long run (and now at $650M in the market).
Crawl (PAR): $4.1M intl weekend (35 markets); $31.4M intl cume ($70.2M)
The Dwayne Johnson/Jason Statham brawn-and-banter spinoff will also have bragging rights to pushing the international F&F franchise total past $4B, while the worldwide gross tops $5.6B through this weekend. SATURDAY UPDATE: After taking the act to China on Friday, Universal’s Fast & Furious Presents: Hobbs & Shaw is crossing $500M worldwide today, and will close in on $600M through the end of Sunday, landing just south of that next milestone. With Saturday estimates, the split through today is expected to hit $144.5M domestic and $408M at the international box office for a running global tally of $552.5M.
In Latin America, The Lion King is the 4th biggest industry film by admissions, behind only Endgame, Toy Story 4 and Infinity War.
Taking into account the overseas (excluding China) drops of some recent spinoffs versus the previous franchise film, H&S is off F8 by about 46% while Fantastic Beasts And Where To Find Them ended 45% below the final Harry Potter movie and Bumblebee was down 32% from the Transformers installment before it. The recent F&F titles are not an apples-to-apples comp, and the overall performance on the pricey pic is strong, particularly for a spinoff.
The Top 5 markets through Sunday are Japan ($86.7M), UK ($78.3M), Mexico ($71.9M), Brazil ($32.5M) and China ($29.1M). The current weekend was $4.3M in 32 markets for an offshore cume of $604.2M.
Upcoming key markets include Japan next weekend, followed by Italy and Korea in September.
8 highest grossing movie overall across the region. 12 highest grossing release of all time in the UK and the No. Elsewhere in Europe, TLK is now the top Disney release ever in Spain (surpassing Star Wars: The Force Awakens), the No.
When it passes $1B offshore, more than likely tomorrow, it will be only the 9th film ever to do so. 9 movie of all time worldwide (and will keep moving up the chart). The Jon Favreau directed pic is now the No. Hakuna Matata indeed. Disney’s The Lion King put its paw print on another $30M from 56 material markets this session, lifting the overseas cume to just shy of $1B ($997.9M) and global to $1,508.5M.
France led play this session, adding $3.1M at No. In the UK, Hollywood was also tops again and has now tallied up $14.8M. Same goes for Germany ($10.1M cume) and Spain ($7.3M cume). Europe is leaning into the film that first debuted at Cannes in May. 1 for a $12.3M cume. The Russia and Australia totals are also strong at $15.7M and $8.5M, respectively.
The Top 5 markets to date are China ($102M), Japan ($25.5M), Korea ($22M), the UK ($21.4M) and Russia ($18M).
The Kitchen (WB): $550K intl weekend (26 markets); $2.05M intl cume ($15.6M global)
1 this session in 23 holdover markets, including France, the UK, Germany and Spain. The overseas cume is now $116.6M for $239.8M globally. In Hollywood added $28M from 55 markets. Quentin Tarantino’s celebration of 1969 LA was No. After a sensational debut last weekend, Sony/Bona's Once Upon A Time… It was also tops in five new hubs that include Mexico for QT's best-ever start there, at $2.4M.
Good Boys (UNI): $3.5M intl weekend (22 markets); $6.9M intl cume ($49M global)
SUNDAY UPDATE, writethru: Universal’s Fast & Furious Presents: Hobbs & Shaw hit the ground running in China this weekend, muscling in on an estimated $102M (RMB 721M) three-day debut. That sets a new all-time August opening record for the market and is the 2nd best bow of 2019 on a studio movie there. Overall, the Dwayne Johnson/Jason Statham spinoff this weekend grossed another $120.4M from 68 markets for an offshore cume of $441.2M and a worldwide tally of $588.9M.
H&S is expected to do over $700M globally; finance sources suggest a nice profit to come.
In IMAX, H&S opened to $8.6M on 623 China screens, setting a new August record and topping Mission: Impossible – Fallout’s $7.1M. Worldwide, H&S has put $30.5M in the IMAX tank to date. The debut is also the 2nd biggest IMAX China bow for the F&F franchise.
Italy is the final market to release and this weekend welcomed the pride with open wallets, spending $15.9M across five days. This is the 2nd best Disney opening ever there (behind only Endgame) and the highest ever August bow of all time.
7 best opening day ever for a foreign film in the Middle Kingdom (in local currency terms). Overall, this is the No. PREVIOUS, FRIDAY: Universal's Fast & Furious Presents: Hobbs & Shaw muscled into China on Friday, grossing an estimated $34.5M (RMB 245M). The figures do not include Thursday midnights and rep the 2nd best debut of 2019 for an imported movie, behind only Avengers: Endgame.
Through Thursday, and not counting China's Friday, the international box office cume is $322.9 for $462.5M global.
The Top 5 markets through Thursday (again, not including China's Friday) are Japan ($24.1M), UK ($20.4M), Korea ($18.2M), Russia ($17.6M) and Mexico ($16.1M).
Furious 7 ultimately did $391M while F8 revved to $393M. However, comps to the last two F&F movies versus this spinoff in the market, as with elsewhere, are not apples-to-apples. Both Johnson and Statham were in Beijing earlier this month to promote the pic. The Fast & Furious franchise and its stars, who excel individually outside the series, are big business in China.
Directed by David Leitch from a story by longtime F&F narrative architect Chris Morgan and a screenplay by Morgan and Drew Pearce, H&S is produced by Johnson, Statham, Morgan and Hiram Garcia. Executive producers are Dany Garcia, Kelly McCormick, Ethan Smith, Ainsley Davies and Steven Chasman.
(F7 opened on a Sunday.) The projected Middle Kingdom bow also gives the Fast & Furious franchise its 2nd best FSS launch there ever, coming in behind just The Fate Of The Furious which still holds the record as biggest FSS opening weekend of all time in China at RMB 1.3B.
Dora And The Lost City Of Gold (PAR): $3.2M intl weekend (28 markets); $17.4M intl cume ($60.5M global)
The Douban score on H&S is lower than its brothers at 6.4, and while its Maoyan score is also lower, it has increased throughout the day to an 8.6. Maoyan, which can be fickle, is currently predicting a finish above $220M.
TLK is currently the No. 9 movie of all time globally and will soon pass both Furious 7 and The Avengers to bump further up the chart. The multi-quad Disney pic, which added a total $30M this session, has now crossed $1.5B in global box office. Also setting an August record this weekend, The Lion King roared into Italy with a $15.9M mouthful. The pride’s overseas cume is estimated at $997.9M for $1,508.5M worldwide through Sunday.
Johnson and Statham also nabbed their best bows outside the main F&F franchise. Both are sizable overseas draws, and each excels in China where the series runs high on octane.
The social scores weren't stellar, with an 8.6 on Maoyan and a 6.4 on Douban. However, some recent pics with similar notes have done upwards of 2x opening business. Hobbs & Shaw is currently tracking ahead of Fast 6, The Meg, Rampage and Skyscraper in China and has clear runway ahead. The franchise is a big draw in the Middle Kingdom while Johnson and Statham also have keen bases. The China debut was slightly lower than running estimates throughout the frame (see below), but is nevertheless a brawny performance.
Breakdowns on this week's films above and more have been updated below (NB: we are waiting on Angel Has Fallen figures although comScore puts it at $8.4M this weekend).
Further updates on Sunday.
The Dwayne Johnson/Jason Statham-starrer is the first action film in the market since Spider-Man: Far From Home debuted in late June ($35.5M opening day with previews included). With the $4.96M (RMB 35.2M) from Thursday's midnights, the running come is $39.5M.
Mexico was the key new hub with a No. The film is tracking 207% ahead of The Wolf Of Wall Street. 1 bow at $2.4M to give QT his best-ever launch in the market.
Pre-weekend estimates we were hearing were in the $80M-$100M range, and H&S now looks on track to beat those with a $112M+ start.
Rounding out the Top 5 markets after China through Saturday are: Japan ($24.9M), UK ($21.2M), Korea ($20.7M) and Russia ($17.9M)
In the meantime, next weekend includes anticipated Indian pic Saaho and the debut of Chinese smash Ne Zha in the UK (as well as North America). While play-through continues, the Venice Film Festival gets underway this week and folks will be holding their collective breath for It: Chapter Two beginning September 4 overseas.
This would see TLK become only the 9th movie ever to cross that threshold, and the 4th from the Mouse. Through Monday, the international tally on the Jon Favreau-directed return to Simba should top $1B.
When it debuted in early August, H&S became Universal’s 5th highest global opening ever (behind F8, Jurassic World, F7 and Fifty Shades Of Grey). It was also the biggest 2019 worldwide debut outside the Disney or superhero realm, and the 3rd best global start for the F&F series, behind the two previous titles.
We'll have more updates throughout the weekend.” />
1 slot on this frame's international and global charts. Overall this weekend, the take was $120.4M in 68 markets for a $441.2M overseas cume and $588.9M worldwide to give H&S the No.
This is all before Scandinavia opens. Next in Forky’s sights is Despicable Me 3 ($1.035B). Disney/Pixar's Toy Story 4 has now grossed $1.031B globally, hopping past Zootopia ($1.024B) and Finding Dory ($1.029B) to become the No. 6 animated release of all time.
Strong holds this weekend included Finland (-20%), Israel (-31%), Japan (-36%), Australia (-37%), Spain (-38%), India (-39%), Brazil (-39%), Taiwan (-46%) and Argentina (-48%).
(F7 opened on a Sunday.) The David Leitch-directed spinoff shot to an estimated $102M debut in China, setting records for the best August opening of all time; the 2nd biggest Hollywood start in 2019 (behind Avengers: Endgame); the 3rd highest FSS opening of 2019; and the 2nd best FSS launch in the franchise, coming in behind just The Fate Of The Furious which still holds the record as biggest FSS opening weekend of all time in China at RMB 1.3B.
Spider-Man: Far From Home (SNY): $1.5M intl weekend (60 markets); $736M intl cume ($1.116B global)
The full China debut projection is slightly lower than where we saw it yesterday, but would still set market benchmarks as the biggest August opening weekend ever; the 2nd best start of 2019, behind only Avengers: Endgame; and the 3rd highest FSS opening of 2019 — behind local smash The Wandering Earth (RMB 1.2B) and Endgame (RMB 1.18B), but ahead of current local hit Ne Zha (RMB 625M).
It has topped Pulp Fiction globally, now sitting behind Django Unchained and Inglourious Basterds, and with more play ahead. The offshore cume on the Sony/Bona title is now $116.6M for $239.8M worldwide. Quentin Tarantino’s hot August nights continued this weekend as his love letter to 1969 LA added another $28M from 12,000+ screens in 55 markets.
Rocketman (PAR): $1.7M intl weekend (Japan only); $93.5M intl cume ($189.7M global)
The Secret Life Of Pets 2 (UNI): $4.9M intl weekend (41 markets); $255.7M intl cume ($413.2M global)
1 in the market (that movie has now grossed an estimated $633M, overtaking Endgame locally, and will be released domestically by WellGo USA on August 29). H&S, which comes to China weeks after it debuted elsewhere, also has bragging rights to ending local animated powerhouse Ne Zha’s 28-day run at No.

Tarantino’s ‘Hollywood’ Has Bountiful $54M Overseas Weekend, Tops ‘Django’ In Debuts; ‘Hobbs & Shaw’ Muscles In On $437M WW – International Box Office

The Sony/Bona film is rolling out through September and is coming off a terrific world premiere at the Cannes Film Festival, while strong reviews and the marquee pairing of stars and director are resonating. There were No. 1s in 28 markets for Hollywood this frame, led by the UK’s 5-day opening of $8.9M (+76% on Django).
Spider-Man: Far From Home (SNY): $3.1M intl weekend (64 markets); $733M intl cume ($1.109B global)
2 highest grossing film of all time, behind Avengers: Endgame. In Europe and Latin America, the Jon Favreau-directed redo of the animated classic is the highest grossing Disney Live Action film ever. In Brazil, TLK is now the No.
Elsewhere, Fox Searchlight’s horror pic Ready Or Not will hit some smaller hubs while Lionsgate’s Angel Has Fallen hits the UK and a smattering of other hubs. Next weekend’s big curiosity will be the debut of Hobbs & Shaw in China; depending on how the market goes, the spinoff is eyeing a potential $700M+ global finish.
Italy joins the pride next weekend and will be the final market to release.
Japan saw just a 4% drop and has $15.6M in the food bowl. France had a 36% drop and has grossed $10.6M to date. Germany is the top market in this week’s reporting at $19M. There were no new hubs in the frame which was led by Mexico; the market jumped 48% to cume $10.3M so far. Another $9.7M to the dogs this session lifts Illumination/Universal’s sequel to $243.6M overseas and $400.7M globally.
Late last week, Disney/Pixar’s Toy Story 4 put a Forky in the $1B worldwide box office milestone. The current session was good for $8.6M in 36 markets with international now at $592.2M and global reaching $1,016.6M.
The drop from last session was 38% with $33.8M more in the offshore coffers which currently total $939.1M. Disney’s The Lion King moved up the charts to become the No. It is also the No. 2 release of 2019 domestically, overseas and worldwide. 9 movie of all time globally with $1,435.2M through Sunday. The $1B international milestone should hit soon.
The Top 5 markets so fare are Japan ($22.8M), UK ($19.6M), Russia ($16.8M), Mexico ($15.6M) and Korea ($15M).
The Top 5 are currently Japan ($81.8M), UK ($76.7M), Mexico ($71.9M), Brazil ($32.5M) and China ($29.1M).
6 with $1.2M at 490. The latter landed No. The UK and France were the majors to go digging this weekend with the former bowing to No. The international cume is now $10.7M. Mexico is on September 13 and Brazil on November 7. 4 with $1.4M at 550 locations. There are several majors to come, with Latin America expected to see the best performances. After a small early rollout last weekend, Paramount’s Dora added $6.6M in 24 markets this session.
Yesterday (UNI): $1.2M intl weekend (27 markets); $56.9M intl cume ($128.6M global)
In other news, Disney’s The Lion King is now the No. An additional $33.8M came from 54 offshore markets (-38%) where the cume is now $939.1M for $1,435.2M global. 9 movie of all time worldwide, having passed Avengers: Age Of Ultron this weekend.
2 local movie of 2019 in the market)” /> Padre No Hay Más Que Uno (SNY): $900K intl weekend (Spain only); $7.6M intl cume (No.
The Top 5 markets to date are: China ($120.3M), UK ($81.1M), France ($67.7M), Brazil ($64M) and Mexico ($50.5M).
1 with $2.8M. CBS Films’ Scary Stories To Tell In The Dark had a solid Mexico opening at No. Elsewhere, Universal’s domestic champ Good Boys debuted in 13 international markets for $2.1M. The UK was the only major to release this session.
It was No. 2 in Brazil, Argentina and Colombia. In Latin America, TLK is the biggest industry film by admissions, holding the No. 1 position in Chile, Peru, Ecuador, Costa Rica, Bolivia, Uruguay, Paraguay and Venezuela this session.
This weekend was worth $19.2M, led by China’s $10M and where local movies are currently dominating. 1 for $4.1M. After early rollout, the Sony Pictures Animation title is now nesting with $30M from 29 offshore markets. Fast-burn Russia opened at No. The well-reviewed sequel is flapping its wings, however, versus the last picture.
Breakdowns on this week's films above and more have been updated below.
Overall, notable drops were seen in Belgium (-1%), Netherlands (-11%), Japan (-15%), Chile (-19%), Israel (-20%), Germany (-23%), Switzerland (-29%), France (-32%), Sweden (-35%) and Brazil (-35%)
Also a major pairing at the box office, the Dwayne Johnson/Jason Statham-fronted Fast & Furious Presents: Hobbs & Shaw continued to strut its stuff this weekend, pumping up another $45.7M. That lifts the offshore cume for Universal's spinoff to $303.3M and global to $437M. This is before they bring the brawn to China on August 23.
The cume is now $1.109B. Sony’s having a mighty fine weekend overall, however. Along with the record Hollywood bows, Spider-Man: Far From Home tops Skyfall today to become the studio’s biggest film ever worldwide.
As we noted on Friday, Korea is the new standout here with a $15M opening. The drop in holdovers was 48%, besting those of the three previous F&F movies. Korea doesn’t typically index at the high end on an F&F title, but with this weekend the market jumps into the Top 5 so far. Despite competition from two strong local holdovers, H&S secured the biggest screen count of the F&F series and, with a holiday in the mix, came in above all previous entries.
1 in Belgium (where it is the 2nd biggest movie ever) as well as No. In the Netherlands, The Lion King is now the highest grossing film ever (when excluding the re-release of Titanic). 2s in the UK, Denmark, France, Germany, Norway and Sweden. Regionally in the Middle East, the film is now the 3rd biggest grosser of all time. This means that Disney has the Top 3 all-time releases, along with Aladdin and Endgame. Lion King’s European weekend saw it maintain No.
Crawl (PAR): $3.2M intl weekend (28 markets); $25.1M intl cume ($63.7M global)
1s in 28 opening markets this session, led by the UK’s 5-day total of $8.9M (+76% on Django). Anecdotally, in the southern town of Aix-en-Provence, the movie is playing in two of the three main cinemas — one is hosting the dubbed version, and the other has the English-language original, with French subtitles. There were No. France started with $6.9M which is on par with Django. Tarantino excels here, particularly as he has such strong ties to the Cannes Film Festival where Hollywood world premiered. On Thursday this week (a holiday that typically draws folks to other pastimes) the subtitled seances were SRO from early evening.
The full weekend was $45.7M in 67 markets. With a franchise record in Korea this weekend, Universal spinoff Hobbs & Shaw pumped up its international cume to $303.3M for $437M global. That’s a 48% drop from the holdover hubs, besting the dips of The Fate Of The Furious (-56%), Furious 7 (-49%) and Fast & Furious 6 (-56%) in comparable markets and at the same stage of play.
Hong Kong and Taiwan, where Bona is releasing the Sony title, are at $1.2M and $1.1M, respectively. Russia’s cume rose to $13.3M after another $3M weekend. Australia grossed $4.4M (68% over Django), and Spain bowed to $3.6M. In Germany, the weekend (including previews) was $5.6M.
In top holds, Netherlands led with 10% down, followed by Japan (-23%), Colombia (-23%), Belgium (-25%) and France (-28%).
At historic rates, that means Hollywood is already Tarantino's 5th biggest grosser worldwide. The debut hubs landed 30% higher than Django Unchained at today’s rates. Offshore markets to come include Mexico, Japan, Italy and Korea. Russia had bowed to a record QT score while the 46 new markets this session combined to give the director the best launch of his career. They also topped Leonardo DiCaprio/Margot Robbie-starrer The Wolf Of Wall Street by 19%. No confirmation yet on China. Quentin Tarantino’s love letter to 1969 came in tops at the international box office this weekend, enjoying a $53.7M second frame. The international cume is now $66.2M for a global running tally of $180.5M. This, in effect, was the official opening as last week’s Russia, Taiwan and Hong Kong acted as a teaser.
Word of mouth and mid-week business has been better there with 4.5 stars on Kids UK PostTrak, and 4 stars on Parents UK PostTrak. In the UK, where the birds first took flight, the local cume is $4.3M.
Korea instantly leap-frogged into the Top 5 markets so far. Depending on how things go, H&S is looking at a $700M+ global final. This is all before China gets in on the action/banter fest next Friday (August 23). 1 launch was above The Fate Of The Furious (+51%), Furious 7 (+89%) and Fast 6 (+193%). This is the best start for the series which doesn’t typically overindex in the market. Benefiting from a holiday in Korea, the opening there was a terrific $15M. The No. The Middle Kingdom loves the franchise, and Johnson and Statham, but it’s a fickle place in a fickle time; we'll know more later this week.
Germany was the last market to go, opening this weekend with $2.2M in the No. 3 slot. This was not expected to be an overindexing market, but does have three weeks of school holidays ahead.
*Good Boys (UNI): $2.1M intl weekend (13 markets); $2.1M intl cume ($23.1M global)
There are more markets to come on the game-to-big screen transfer including Spain, Mexico, Australia, Italy, Germany, Brazil and France — all through mid-October.
Overall, the $19.4M this weekend lifts the sequel’s overseas cume to $30.2M. Homegrown juggernaut Ne Zha is still leading play in the Middle Kingdom, now with an estimated cume of $594M as it looks to knock Avengers: Endgame out of the No. In China, the late-summer local additions continue to rule the roost, not leaving too much room for Sony’s The Angry Birds Movie 2 which did $10M there. 2 slot for the year.
That includes 46 new hubs where the Leonardo DiCaprio/Brad Pitt-starrer came in 30% higher than Django Unchained to log the director's best offshore opening ever, at current rates. UPDATE, WRITETHRU: Quentin Tarantino’s Once Upon A Time… In Hollywood is having some hot August nights at the international box office with $53.7M from 49 markets this session. Added to the QT record debut in Russia last weekend, the overseas cume on the ode to 1969 is now $66.2M for $180.5M global.
In local titles, Akshay Kumar-starrer Mission Mangal made about $10.6M through Saturday after kicking off with the star's career-best first day, according to reports out of India. We will update with a full weekend estimate when the numbers become available.

Richard Williams Dies: Animator For ‘Who Framed Roger Rabbit’ Was 86

Survivors include his daughter, Natasha Sutton Williams, and five other children.
Williams later wrote a book, The Animator's Survival Kit and was animating and writing until he died.
His work on the live action animation Who Framed Roger Rabbit, which had humans and cartoon characters co-existing, was a huge commercial success. Born in Toronto, Williams moved to the UK in the 1950s. Williams handled supervision of the animation sequences, creating the film versions of Roger Rabbit and his wife, Jessica.
Williams won two Oscars for the film, in the special academy award category and for special effects.
A triple Oscar and triple BAFTA winner, Williams also did two of the Pink Panther films and Casino Royale.
He passed at his home in Bristol, UK on Friday at age 86. Richard Williams, an Academy Award-winning animator best known for his work on Who Framed Roger Rabbit, has died.
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His first film, The Little Island, was released in 1958 and won a BAFTA, while his animated adaptation of Charles Dickens' A Christmas Carol in 1971 was his first Oscar.

‘Hobbs & Shaw’ Pumps Up $333M Global; ‘Toy Story 4’ Nears $1B WW; Tarantino’s ‘Hollywood’ Stars In Russia – International Box Office

In the Top 5, the UK is followed by Mexico ($71.8M), Japan ($71.1M), Brazil ($32.4M) and China ($29.1M).
Europe saw some of the lead holds overall. Rounding out the Top 5 cumes behind the UK are Russia ($14M), Japan ($13.9M), India ($13.8M) and Mexico ($13M). The best holdover hub was the UK where the gross is now $15.6M after a 40% drop.
It is the No. 2 release of 2019 domestically ($473.1M), internationally ($861.5M) and globally. 12 film ever on the overall worldwide chart and the No. The Lion King, meanwhile, has now surpassed Beauty And The Beast as the highest-grossing Disney live-action release of all time with $1.335B globally.
Italy was also new at $2.6M from 411, at No. 1 and on par with Fallout. 1 start in line with Mission: Impossible – Fallout. As for this current session, France led with $6.9M at 809 sites for a No.
*The Art Of Racing In The Rain (DIS/FOX): $1.1M intl weekend (12 markets); $1.1M intl cume ($9.2M global)
By way of comparison, although it was coming off a record opening during Easter 2017, the latter film dipped by 60% in its second offshore frame. Overall, H&S is tracking in line with Fast & Furious 6 and about 40% off of Furious 7 and The Fate Of The Furious.
Next weekend adds another 12 hubs including Mexico. CBS Films’ Scary Stories To Tell In The Dark began spinning its tale in 30 overseas markets including a mix of South East Asia, Latin America and Europe, for $4M. Taiwan led play with $600K.
Korea bows on Wednesday.
Holds were good in France (-27%/$7.3M cume), Japan (-24%/$10.8M cume), Germany (-20%/$17.9M cume) Netherlands (+5%/$5M cume).
Breakdowns on the films above and more are being updated below.
Mexico had a good start of $5.1M from 906 locations to come in 18% ahead of Zootopia. Also new was Spain with $2.45M from 403 and in line with Ralph Breaks The Internet. Illumination/Universal’s sequel purred for another $15.4M in 49 markets this session, taking offshore kibbles to $221.2M and global to $377.8M.
Coverage on the film is wide here where Tarantino excels. Later in the month will see Mexico and Japan, followed by Italy and Korea in September. Hollywood world premiered to great acclaim at the Cannes Film Festival in May and the rest of France gets its first look at the movie beginning this Wednesday (and with a national holiday on Thursday). Also on deck this week are the UK, Australia, Brazil, Germany and Spain. It is expected that OUATIH will get a China date, although this has not yet been confirmed.
Crawl (PAR): $2.3M intl weekend (28 markets); $20.6M intl cume ($58.7M global)
1. Despite a big holiday travel weekend, France was the best opener at $6.9M for No. H&S added five new markets this session, which are tracking about 30% ahead of Mission: Impossible – Fallout combined. The UK is currently the lead H&S hub at $15.6M with a good 40% drop from the debut.
Padre No Hay Mas Que Uno (SNY): $1.3M intl weekend (Spain only); $5.1M Spain cume
There are still markets to come including Germany and Scandinavia. That’s after a $9.7M international frame in 36 markets for a $570.4M overseas tally so far. Forky and pals are getting ever closer to the $1B worldwide mark, coming out of this weekend with $990M accumulated at the global box office.
Sony/Bona’s Once Upon A Time… Russia is the first overseas major to debut and did so in a big way with a $7.7M No. This is the best opening of all time for director Quentin Tarantino, doing three times Django Unchained as well as 22% above Sony’s Spectre and 154% over Leonardo DiCaprio-starrer The Wolf Of Wall Street. In Hollywood crossed the $100M mark domestically this weekend as offshore rollout begins. 1 start.
Aladdin (DIS): $2.8M intl weekend (25 markets); $682.5M intl cume ($1,035.3M global)
The film is tracking in line with Fast & Furious 6 and, as expected, is running behind the last two movies in the main franchise. After rocking its debut last session, Universal’s spinoff dropped by 43% for a $60.8M sophomore frame in 66 markets. There is open play ahead, and China on deck for August 23. The series of films, as well as Johnson and Statham, are powerhouses in the market where the duo traveled last week. The international total is now $224.1M with $332.6M worldwide.
Still to come is Italy on August 21. The Top 5 markets are China ($120M), UK ($73.9M), France ($61.4M), Brazil ($60.4M) and Mexico ($49M).
The Asia Pacific cume is now an estimated $287M, led by China’s $120M; the movie has received an extension there. Within APAC, strong holds included Singapore (-9%), Taiwan (-26%) and Australia (-35%).
2 start of $9.3M to set it up nicely for the local Obon holiday. This frame brought Japan to the pride with a No. That takes the offshore cume to $861.5M and global to $1,334.6M. Disney’s The Lion King continues to roar overseas with a $51.4M 5th weekend.
It opens in Germany this week and also has Scandinavia to come. 8 animated movie ever worldwide. TS4 has become the No. The studio’s Toy Story 4 is nearing the $1B global threshold with a cume through Sunday of $990M.
(*Denotes New)
If that holds, Ne Zha would overtake Avengers: Endgame to become the No. 1 slot at the international box office for the weekend. The local estimated gross is $512M with Maoyan predicting a $671M finish. In the latter, juggernaut animated title Ne Zha did an estimated $68M this session to score the No. Still to come on the David Leitch-helmed Hobbs & Shaw are Korea on August 14 and China on August 23. 2 movie of the year in the Middle Kingdom.
Paramount’s Dora And The Lost City Of Gold traveled to its first 11 markets for a $2.5M start that was led by Russia’s $878K. Rollout will continue through October.
The European region fell by just 31% with strong holds in several markets including Sweden (+5%), Netherlands (-11%), UK (-15%), Germany (-25%), France (-37%), Israel (-42%) and Spain (-43%). Overall, the drop from last weekend for the big cat was just 40%. The UK, Germany and Netherlands were among No. The estimated regional cume is now $400M, making The Lion King the 3rd highest grossing Disney-branded live action film ever in Europe. 1 holds in the session.
Also new, Disney/Fox’s The Art Of Racing In The Rain padded into 12 markets for $1.1M, led by Brazil at $300K. This one also rolls out throughout the next few months.
Yesterday (UNI): $1.9M intl weekend (26 markets); $54.4M intl cume ($124.9M global)
Refresh for latest…: Universal’s Fast & Furious Presents: Hobbs & Shaw put another $60.8M in the tank during its second frame at the international box office. The Dwayne Johnson/Jason Statham-starrer pumped up its overseas cume to $224.1M in 66 markets through Sunday, and global to $332.6M. The drop in markets that opened last weekend was a solid 43%.
*Dora And The Lost City Of Gold (PAR): $2.5M intl weekend (11 markets); $2.5M intl cume ($19.5M global)
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Spider-Man: Far From Home (SNY): $5.3M intl weekend (67 markets); $726M intl cume ($1.09B global)
In Latin America, TS4 is the No. 8 globally) with a local total of $73.8M. 2 animated title of all time (overall it is No. The weekend dipped by just 27%, even rising by 20% in the UK where TS4 has become the No. 1 animated release ever with a regional $196M.
The Sony/Bona title is Tarantino’s biggest launch of all time in the market, tripling Django Unchained. 1 opening in Russia. In Hollywood which scored a $7.7M No. Rollout continues through the next several weeks. A handful of new titles made staggered debuts overseas this weekend, including Quentin Tarantino’s Once Upon A Time…
It is also the 5th highest grossing film in Mexico. In Brazil, Peru and Colombia, TLK is the 3rd highest grossing film ever. 1s in Brazil, Peru, Argentina and Venezuela. As for Latin America, the total there is now $174M with continuing No.

Pierce Brosnan Joining Will Ferrell & Rachel McAdams In Netflix Pic ‘Eurovision’

The 64th edition of Eurovision had its finale in Tel Aviv, Israel in May this year, the winner being The Netherlands with the song "Arcade", performed by Duncan Laurence. Former contestants ABBA (winner in 1974 for Sweden) and Céline Dion (winner in 1988 for Switzerland) launched successful worldwide careers after their wins at “The Eurovision Song Contest.” This year 41 countries competed for the prize. The first contest was held in Switzerland in 1956 with seven West European nations participating. This year, Madonna made a much anticipated performance at Eurovision.
Brosnan will star as Erick Erickssong, Lars' father and the most handsome man in Iceland in the feature which is being written by Ferrell and Andrew Steele. The pic is currently in production in the UK and Iceland.
The pic reunites Dobkin with Wedding Crashers thespians Will Ferrell and Rachel McAdams, all of whom have been previously announced, who'll play struggling Icelandic musicians Lars Erickssong and Sigrit Ericksdottir. EXCLUSIVE: David Dobkin's Netflix comedy Eurovision about the famed global singing competition has added Pierce Brosnan.
Ferrell, Jessica Elbaum and Chris Henchy of Gary Sanchez Productions are producing with Adam McKay serving as EP.
Brosnan is repped by CAA, Viewpoint and Hansen, Jacobson, Teller, Hoberman, Newman & Warren.” />
Brosnan is also a producer with such pics as The November Man (as EP), The Matador (as producer) and The Thomas Crown Affair (as producer). He has starred in the $1 billion-grossing Mamma Mia franchise and starred as James Bond 007 in the pics Goldeneye, Tomorrow Never Dies, The World Is Not Enough and Die Another Day, all four which racked up close to $1.5 billion at the WW box office. Brosnan was nominated for two Golden Globes for The Matador as Best Actor in a Comedy/Musical and Nancy Astor in the miniseries/made for TV movie Supporting Actor category. In total, Brosnan's canon has racked up over $4.1 billion at the global B.O.

Cat & Mouse: ‘The Lion King’s $963M WW Through Sunday Pushes Disney To Record $7.67B Global B.O.; 1st Studio To Pass $5B Overseas – International Box Office

The Top 5 overseas markets to date are China ($2.4.7M), Korea ($58M), UK ($38.2M), Mexico ($30.6M) and Japan ($26.4M).
1 ever release in Argentina, No. TS4 is the No. In Latin America, where Woody and the gang have really excelled, the region’s total is $190.2M. 2 in Mexico, Chile and Colombia and No. 3 in Bolivia.
5 with $2.6M amid strong competition. And, still to come are such biggies as France, Korea, Spain and Mexico. Germany had a good hold (-33%) in its 5th weekend for $14.4M to date; Netherlands and Belgium also posted increases well into their runs. Illumination/Universal’s sequel padded into Japan this weekend, landing No. Latin America saw strength this session: Argentina was up 32% and Brazil dipped by just 22%. The full weekend in 48 markets was worth $7.2M for an offshore cume of $178.3M and a global total of $332M, far off from its predecessor but profitable nonetheless.
This lifts the offshore cume to $611.9M and global to $962.7M. The Jon Favreau-directed film will become The Mouse’s 4th movie to pass $1B this year when it gets there early this week. The mighty roar continued at the international box office for Disney’s CGI/live-action remake of its animated classic with a $142.8M weekend in 53 material markets. 5 global release of 2019 (currently behind its own Aladdin and Sony/Marvel’s Spider-Man: Far From Home which is the only non-Dis title to the mark this year). It is already the No.
Behind China, the Top 5 is rounded out by the UK ($45.1M), Brazil ($42.1M), France ($40.1M) and Mexico ($37.1M).
Ma (UNI): $300K intl weekend (9 markets); $15.1M intl cume ($60.5M global)
Globally, Lion King has grossed $50M in IMAX. The gross there is $114.8M. Note that Japan and Italy are still to come for the Big Cat. 1 position due to local competition). Directed by Jon Favreau, The Lion King is still led by China (where it debuted early, but has not maintained the No.
Overseas, Disney has become the first studio to cross $5B in a single year with an estimated $5.09B to date. UPDATE, writethru: Disney’s The Lion King roared through its third weekend at the international box office, lapping up $142.8M from 53 offshore markets, and bringing the overseas total to $611.9M with worldwide at $962.7M through Sunday. In doing so, it also helped push Disney to a new all-time yearly global box office record of $7.67B, surpassing the studio’s previous record of $7.61B in 2016. These figures do not include Fox titles.
The Top 5 markets are: Mexico ($70.7M), UK ($64.9M), Japan ($51M); Brazil ($31.4M) and China ($29.1M).
In new China play, Enlight Pictures’ Ne Zha topped $100M in its debut, following strong previews and rising steadily throughout the weekend. It took in $7.7M from IMAX on 618 screens and is the format’s biggest animated opening and the best for July in the Middle Kingdom.
Rocketman (PAR): $491K intl weekend (28 markets); $89.7M intl cume ($184.63M)
In the meantime, breakdowns on the films above and more have been updated below. Next week, we'll be talking about Universal's Fast & Furious Presents: Hobbs & Shaw which starts offshore rollout on Wednesday.
Annabelle Comes Home (WB): $3.7M intl weekend (78 markets); $137.7M intl cume ($207.4M global)
There are still five months left in 2019. In 2018, the studio's full-year gross was $7.325B. When all is rolled up, with Maleficent: Mistress Of Evil, Frozen 2 and Star Wars: The Rise Of Skywalker still to come pre-2020, it's Disney's world. Disney gets to the records with the aid of three other movies that have topped $1B in 2019: Avengers: Endgame ($2.793B WW/$1.937B international), Captain Marvel ($1.128B/$701.4M) and last week’s crosser, Aladdin ($1.010B/$663.8M).
There’s still gas in that magic carpet as Disney’s Aladdin added $7.2M this international weekend from 33 material markets. Aladdin passed the $1B mark at the worldwide box office on Friday as it continues its surprising run, undaunted by critical reaction. The offshore total is now $663.8M for $1,009.7M global.
The estimated regional cume is now $123M with the movie already the highest grossing Disney-branded live-action release in Brazil, Mexico, Chile, Colombia, Peru, Central America, Trinidad, Uruguay and Paraguay. In Latin America, the dip was 39% and all holds were No. Argentina, at -16%, leads the drops, along with Peru (-21%), Brazil (-30%), Chile (-34%) and Colombia (-37%). 1.
The only hub where it is not still stalking the top of the charts is China, although the gross there is $114.8M to lead all offshore play. Two local titles have dominated the Middle Kingdom in what’s been a rough summer for homegrown fare there. TLK posted a 45% drop in like-for-like markets across the 3rd frame, suggesting we are not seeing frontloading.
After crossing the $1B mark at the worldwide box office earlier this week, Sony/Marvel’s Spidey sequel caught another $21M in its web in 67 markets during the 5th offshore frame. The international total is now $692.4M for $1.03B global. The Jon Watts/Tom Holland reteam is the biggest of the franchise both overseas and globally, and is Sony’s 2nd biggest worldwide release ever with leader Skyfall in its sights.
Crawl (PAR): $3.4M intl weekend (30 markets); $14.4M intl cume ($45.9M global)
Still to come are Japan and Italy in August.
Avengers: Endgame (DIS): $200K intl weekend (15 markets); $1,936.6M intl cume ($2.793B global)” />
The Hustle (UNI): $1.4M intl weekend (15 markets); $59.5M intl cume ($94.9M global)
1 in nearly all of its markets abroad, is now the No. A 45% dip from such a strong debut last weekend suggests the movie is not frontloaded. It will get to the $1B mark early this week, and should soon be joined by Toy Story 4 which is at $917.9M global through Sunday after a slight 28% drop overseas and with some markets increasing from the previous session. 5 release of the year globally. Coming off the current frame, The Lion King, which held No.
That’s notable in France where the fourquel went up 8% while Portugal (+12%) and Belgium (+9%) also saw increases. In Europe, the dip was a slight 8% despite a new heatwave. In the latter, the movie is now the 3rd biggest animated title ever. The Netherlands was even with last weekend, Spain dipped 3%, Italy 7% and the UK just 14%. There were no new openings this session for Forky with a drop of just 28% overseas.
Elsewhere, Sony/Marvel’s Spider-Man: Far From Home, which also crossed $1B worldwide this week, added $21M in the overseas frame to bring its international cume brushing up against $700M and the global total to $1.03B.
Despite all the competition in overseas markets, Jasmine, Ali and the Blue Genie saw a minimal 23% drop versus last weekend. There were also three markets that rode higher than the previous session: Belgium (+6%), France (+3%) and Spain (+1%).
Yesterday (UNI): $3.6M intl weekend (34 markets); $46.3M intl cume ($109.6M global)
Behind those two, the Top 5 is rounded out by China ($53.3M), UK ($45.5M) and Mexico ($32.5M).
The film will soon pass Shrek globally to become the No. 11 animated release ever, and Pixar’s 5th outing within the group. That lifts its international playdate to $522.3M for $917.9M worldwide. In what’s likely to be Disney’s next $1B global grosser after The Lion King gets there in the next few days, Pixar’s TS4 picked up another $19.4M in 40 material markets this session.
The Dead Don’t Die (UNI): $300K intl weekend (12 markets); $6.7M intl cume ($13.3M global)
Hong Kong just opened, with $2M, to pace above both The Jungle Book and Aladdin. Outside China, TLK remained the top draw in all markets. Strong holds included Malaysia (-33%), Singapore (-35%), Vietnam (-42%) and Australia (-45%). In Asia Pacific, the cume is now an estimated $236M.
1 release. Europe as a region dropped by just 41% and The Lion King remained as the No. It’s Disney’s world in Europe where the studio has the Top 4 movies of the year. Also, in the Netherlands, TLK has become the fastest movie ever to reach 1M admissions. The estimated regional cume is now $252M, making The Lion King the 2nd biggest release of 2019. Strong holds included Switzerland (+10%), Portugal (-16%), Spain (-27%), Israel (-29%), France (-32%), Netherlands (-32%), Germany (-39%) and UK (-41%).
Elsewhere, Japan continues to excel, now at $101.3M to date while Korea has rubbed the lamp to $84.6M, becoming the No. 11 release of all time in the market, including local titles.

‘Dangerous Liaisons’ Remake Lands At Starz; Harriet Warner To Write, Colin Callender’s Playground Entertainment & Tony Krantz’ Flame Ventures To Produce

He will exec produce alongside Krantz and Callender, who previously worked together on NBC and Sky co-pro Dracula, Bethan Jones (Sherlock) and Scott Huff (The Spanish Princess). Coline Abert (Les Revenants), James Dormer (Medici) and Rita Kalnejais (Babyteeth) will also write for the series. However, while Hampton will be an exec producer on this version, he will not be involved in a writing capacity.
He added, “Tony Krantz and I are excited to be making this with Starz and Lionsgate who have fully embraced Harriet’s bold vision for this rich period drama which has at its core young people in love in a complex world of promiscuity, ambition, and status anxiety – a world where the gap between rich and poor is greater than ever. This could just as easily be a story of modern day America as 18th Century Paris.”
EXCLUSIVE: Starz has ordered a reboot of Pierre Choderlos de Laclos’ classic 18th Century novel Les Liaisons Dangereuses (Dangerous Liaisons). The premium network has handed the series, from Colin Callender’s Playground Entertainment and Tony Krantz’ Flame Ventures, an eight-part order.
It will be available via Starz in the U.S. and Canada as well as on the Starzplay international streaming service via the Apple TV app in Europe and Latin America. The eight episode season will also be available locally on Starzplay in the UK via Prime Video Channels and Virgin Media, in Germany and France via Prime Video Channels and in Spain via Vodafone and Orange TV.
Hampton was initially involved in the latest small screen remake, which was formerly in development at British public broadcaster the BBC back in 2013. Dangerous Liaisons was previously adapted into a movie starring starring Glenn Close, John Malkovich and Michelle Pfeiffer in 1988, by Christopher Hampton from his own play.
Senior Vice Presidents of Original Programming Kathryn Tyus-Adair and Karen Bailey are the Starz executives in charge of production. It is the latest adaptation for Playground, which recently scored a remake of F Scott Fitzgerald’s Tender Is The Night with Hulu and All Creatures Great and Small for Viacom’s Channel 5 in the UK, while 24 exec producer Krantz (left) is currently working on Netflix crime action drama Wu Assassins.
Deadline understands that it will be a “sweeping, sexy and expensive” take on the books and is set to shoot in the Czech Republic. The BBC is no longer involved.
Dormer is represented by Casarotto, Ramsay & Associates and Kalnejais is represented by 42.” /> Warner is represented by Casarotto, Ramsay & Associates and Gang, Tyre, Ramer & Brown. Abert is represented by United Agents.
The series will tell the origin story of the early years of both characters when they meet as passionate young lovers in the slums of 18th century Paris. It will be told from the perspective of Merteuil, informed by her line from the novel, “Born to avenge my sex and conquer yours, I have succeeded in inventing strategies for doing so that before me had never been conceived.” It explores the world of the French aristocracy shortly before the French revolution. The story, which was first published in 1782, follows the Marquise de Merteuil and the Vicomte de Valmont, two narcissistic rivals and ex-lovers who use seduction to control and exploit others.
The tale of seduction, betrayal and revenge is being written and showrun by Harriet Warner, the showrunner of TNT’s forthcoming drama Tell Me Your Secrets, who has also worked on The Alienist and long-running BBC drama Call The Midwife.
Callender (right) told Deadline, “In Harriet Warner’s brilliantly re-imagined world of Dangerous Liaisons the character of Merteuil is placed center stage as a woman quietly challenging the status quo of sexual politics, holding others to account, particularly for the abuse of sexual power and male privilege. In the wake of the #MeToo movement, a story about the claiming of female power in a world where women are objects of male domination feels strikingly timely and powerfully relevant.”

Netflix Misses Q2 Subscriber Forecasts, Hits Revenue Target, Beats On Earnings; Stock Dives 13% After Hours

"We don’t believe competition was a factor since there wasn’t a material change in the competitive landscape during Q2, and competitive intensity and our penetration is varied across regions (while our over-forecast was in every region). "Our missed forecast was across all regions, but slightly more so in regions with price increases," the company explained in its quarterly letter to shareholders.
The interview will be posted on YouTube at 3PM PT.” /> Hastings, Chief Content Officer Ted Sarandos and other executives are set to gather for a video interview about the results.
In prior quarters with over-forecasts, we’ve found that the underlying long-term growth was not affected and staying focused on the fundamentals of our business served us well." "Rather, we think Q2’s content slate drove less growth in paid net adds than we anticipated. Additionally, Q1 was so large for us (9.6 million net adds), there may have been more pull-forward effect than we realized.
It delivered 2.7 million new subscribers, well short of its own forecast for 5 million and the 5.5 million it added in the same period of 2018. subscriber growth, notably, was flat. The streaming giant now has 151.6 million subscribers around the world. U.S.
is the most popular, and the streaming company has managed to continue growing its subscriber base despite several hikes. The $13 subscription plan in the U.S. In the second quarter, the company upped prices in the UK, Switzerland, Greece and Western Europe. Debate has continued among analysts and company observers about the ceiling for subscription prices.
Netflix undershot its own guidance for net added subscriptions in the second quarter, blaming its content slate and other variables rather than new competition or U.S. price hikes.
Shares plunged more than 13% in after-hours trading after the results were released.
Revenue for the April-to-June quarter came in on target at $4.9 billion, up 26% from the same period a year ago. Earnings per share of 60 cents exceeded the company's own guidance of 55 cents, and Wall Street analysts' consensus expectation of 56 cents a share.
U.S. As far as the third-quarter, which includes Stranger Things 3, the company said it expects to add 7 million new subscribers, far better than the 6.1 million it added in the third quarter of 2018. "Consumers around the world continue to move from linear television to internet entertainment at a remarkable rate," the letter emphasized. subscriber levels, it said, will "return to more typical growth" in the third quarter, it added.
Overall Netflix sentiment on Wall Street has remained largely upbeat in 2019. The company has been viewed as well-protected even as Disney revealed its own streaming launch at just $7 a month; NBCUniversal and WarnerMedia took rights back to The Office and Friends; and Apple prepped Apple TV+.

‘Grantchester’ To Return To ITV & PBS Masterpiece For Season 5

Grantchester will start shooting this summer in Cambridgeshire, UK, with further casting news set to be announced.
this weekend after airing in the UK at the start of the year. The fourth season of the Kudos-produced drama is set to air in the U.S.
The series will be executive produced for Kudos by Kingsman-Lloyd and writer-creator Daisy Coulam. The executive producer for Masterpiece is Rebecca Eaton at WGBH Boston. Series five will be produced by Richard Cookson and directed by Gordon Anderson, Christiana Ebohon and Rob Evans.” />
Grantchester is coming back for a fifth season after British broadcaster ITV and PBS Masterpiece renewed the quaint drama. Stars Robson Green and Tom Brittney will return, although James Norton will not.
Kudos executive producer Emma Kingsman-Lloyd said: “We are very excited that Grantchester is returning for a fifth series. The audience has taken the pairing of Robson Green and Tom Brittney to their hearts and we are delighted to be able to continue the story of Geordie and Will with Masterpiece and ITV.”
Season 5 will pick up in Cambridge in 1957, a year after the current fourth season in which Prime Minister Harold MacMillan told the British people that they had “never had it so good.” For many of the residents of Grantchester, it really will feel like they’re in a delightful new Eden, but for all the talk of paradise on earth and faith-in-action, Geordie (Green) knows that trouble is never far away.

‘Spider-Man: Far From Home’ Snares $580M Global In First 10 Days, Nears $400M Offshore – International Box Office

France’s Wednesday debut of $2.5M ($3.7M cume through Thursday) is 37% over Homecoming and Germany’s $1M Thursday ($1.7M cume including previews) is 27% ahead of the previous picture.
The cume through Thursday is $2.1M. Taiwan notably debuted on Wednesday to $1.25M, 41% over Homecoming and scoring the second highest total for a standalone superhero.
Through Thursday, China leads all play at $136.8M. The film will surpass Captain Marvel this weekend in the Middle Kingdom, although it is facing competition from local opener The White Storm 2. Not included is the Friday estimate which lifts the local cume to $144.7M. That's the first local title to gain any traction in what has been a dismal few weeks for Chinese movies as at least three potential hits were abruptly pulled from schedules.
1 position for the weekend. In China, the arrival of a new local film (and there haven’t been many of those this summer) was a draw for audiences and screens, putting The White Storm 2 in the No. The current cume in the Middle Kingdom is $167.4M which makes FFH the No. However, vacations start tomorrow and Spidey should have good pull during the week before The Lion Kings strides in on Friday. 2 superhero movie of the year.
Meanwhile, Disney/Pixar's Toy Story 4 is now the highest grossing animated movie ever in Latin America, notably overtaking Coco in Mexico with a massive $60.1M. The global total is currently $921.7M with $600.9M from international. Disney's Aladdin saw big increases in some markets this frame, after it passed $900M on Friday worldwide. Japan and Germany have not opened yet. The global cume after a $43.1M 3rd overseas weekend is now $650M including $343.4M abroad.
Men In Black: International (SNY): $3.7M intl weekend (65 markets); $172.5M intl cume ($244.5M global)

The Top 5 markets after China are rounded out by Korea ($33.8M), UK ($17.8M), Mexico ($13.9M) and Australia ($11.9M).
This was the 3rd weekend outing for the toys, and they added $43.1M in 45 material markets for an international cume of $343.4M. Worldwide, the fourquel is at $650M.
Notable holds elsewhere included Uruguay (+149%), Netherlands (+4%), Israel (-16%), Australia (-17%), Belgium (-17%), Brazil (-27%), France (-35%) and Spain (-37%).
The Top 5 through yesterday is rounded out by Japan ($12.9M), Korea ($12M — Korea's Friday estimate brings it up to $16.8M), the UK ($7.2M) and Hong Kong ($6.6M).
The overseas cume is now $84.6M, and the worldwide total is $134.8M. In 69 offshore markets, New Line/Warner Bros’ doll took in an additional $20.4M across the sophomore session.  
Behind Endgame, FFH is now the 2nd biggest studio movie of 2019 in the Middle Kingdom. In China, FFH now counts $167.4M after a roughly 69% drop from opening as new local title, The White Storm 2: Drug Lords, came out to play in the top spot.
Given the percentage increases on FFH versus 2017’s Homecoming (+46%) and this year's Captain Marvel (+15%), the film also looks like it played more broadly and got extra overlap business from Avengers fans than it might have otherwise — particularly since this is the first Marvel title to release post Endgame.
The To 5 markets are now Japan ($79.2M), Korea ($66.9M), China ($53.3M), UK ($43.8) and Mexico ($32.3M).
The international box office cume is now $395M. Spider-Man fans swung up to multiplexes in 66 offshore markets to see Far From Home this session, pulling a tidy $238M into Sony’s web.
Spider-Man will shed screens when Simba gets to the Middle Kingdom, but has another clear-runway frame ahead elsewhere. Next weekend, Disney's The Lion King takes pride of place in China, bowing there July 12 ahead of most of the rest of international (and domestic) the following session.
In Latin America, Mexico and Brazil snared the best July opening days ever with $3M (+30% on SMH) and $2.2M (+21%) respectively.
The offshore cume to date is now $20.1M for $57M global. Seven new markets opened on Universal and Danny Boyle’s music fantasy this weekend, adding $7.9M across a total 35.
There are still several major markets on deck including Germany, China, Brazil, Mexico, Russia, Korea, Italy and Japan.
The strength of Toy Story 4 (and the Copa America match) in Latin America somewhat dampened Spidey’s trip there, but Mexico toppled Sony’s all-time record for biggest opening with $13.9M, and Spain had a good start with what should continue to be strong weekday play.
The offshore total is now $121.7M for $262.5M global. The full international weekend was $22.4M in 54 markets.

Avengers: Endgame (DIS): $1.3M intl weekend (40 markets); $1,924.6M intl cume ($2,772.5M global)

 Behind China, the Top 5 markets are made up of Korea ($33.8M), UK ($17.8M), Mexico ($13.9M) and Australia ($11.9M).
Offshore this weekend, FFH took $14.1M from 1,017 screens. This is also Sony's best IMAX start. In IMAX, FFH snared $29.1M globally in the frame to become the format's best July bow ever (not including last weekend's already record-breaking openings in China, Japan and Hong Kong). The IMAX cume through Sunday is $14.1M international and $44M worldwide. Records were set for the Spider-Man franchise in a number of markets including Mexico, India, Korea, Malaysia, Belgium, Israel and Denmark.
2 this session behind Spidey. In the UK, TS4 is the 3rd biggest movie of the year at $44.8M and held No.
Russia launched to $2.8M, 30% ahead of SMH; the UAE topped it by 33% with $1.1M on opening day.
After getting off to a great early start in China last weekend (as well as Japan and Hong Kong), phase 2 of international rollout began on Monday in Australia and carried on through to Spain which bowed on Friday. The launch outside of the three original markets came in higher than pre-opening projections, as European vacation Spidey played well throughout.
John Wick: Chapter 3 – Parabellum (LGF): $1.8M intl weekend (69 markets); $146M intl cume ($311.3M global)
The Middle East bowed to $7.8M total, led by UAE with $3.1M.
Well-reviewed, sporting an Avengers: Endgame halo and swinging in after a series of recent underperformers, FFH shattered Sony’s all-time opening records in 35 markets including Korea, Brazil, Mexico, Argentina, India, Indonesia, Taiwan and Vietnam.
The Douban score on the sequel is a 7.1 with Maoyan at a good 9, but Hollywood animation rarely over-indexes in the Middle Kingdom. Illumination/Universal’s Pets 2 opened in China this weekend, landing in the wake of Spider-Man and local pic The White Storm 2 with $11M from 21,310 theaters.

Breakdowns on this week's films above and more have been updated below.
Rocketman (PAR): $1.5M intl weekend (44 markets); $84.7M intl cume ($174M global)
The Top 5 markets to date, before Japan and Germany even get a look-in, are Mexico ($60.1M), UK ($44.8M), China ($27.6M), Brazil ($22M) and Korea ($20.4M).
France bowed to $1.33M at 398 locations and in 4th place while Spain opened at No. 3 with $1M from 373 locations and tracking above Baby Driver and Best Exotic Marigold Hotel.
1 animated title of all time. Folks are feeling the love for Forky, particularly in Latin America where Disney/Pixar’s TS4 has become the biggest animated movie ever for the region. There are long weekend holidays ahead in Brazil and Argentina which will keep the midweek robust. In Mexico, it has grossed $60.1M, topping previous champ Coco to be the No.
France, which benefitted from one day of the annual Fête du Cinéma promotion, was the best starter at $8.3M for the 3rd biggest opening of the year. 1s for a regional total of $48.2M, which is 45% ahead of Homecoming. Germany, which doesn’t typically lean into younger skewing capes & spandex pics made $5.5M and Spain grabbed $4.8M.     Western Europe hubs were all No.

As we’ve seen recently, there were weekend increases in some markets. This time around they include Denmark (+64%), Sweden (+34%), Germany (+11%) and Netherlands (+11%) while small drops were see in Belgium (-9%), Japan (-21%), Australia (-28%), Hong Kong (-29%), Spain (-33%), Korea (-36%) and France (-38%)
Italy is the final market to join the adventure and gets swingin’ this coming Wednesday.
Spain releases today while Italy goes July 10.” />
The former had a strong No. Hong Kong grossed $792K on 55 screens to land No. In Germany, Annabelle did $1.4M on 395 screens to rank No. 1 with $1.6M on 420 screens to surpass all other Conjuring titles save The Nun. 3 and about on par with Annabelle: Creation. 2 and roughly even with The Nun. Openings included in Italy, Germany and Hong Kong.
The current weekend was worth $238M from all overseas markets combined. The full global cume through today is estimated at $580M including $395M at the international box office. SUNDAY UPDATE, writethru After rolling out in China, Japan and Hong Kong last weekend and then adding most of the world throughout this week, Sony/Marvel's Spider-Man: Far From Home continues to spread the arachnomania.
In the like-for-likes and at today's exchange rates, the webslinger is running 15% ahead of his fellow Avenger, Captain Marvel, and 46% over his previous solo outing, Spider-Man: Homecoming. The reteam for director Jon Watts and star Tom Holland is now playing in 66 offshore hubs and was No. 1 this weekend in 63 of those.
Along with this week's firecracker domestic debut, the global running total is now $310M, getting there in just seven days and as the film is on its way to around $575M worldwide through Sunday. PREVIOUS, FRIDAY: As its trajectory continues to swing higher, Sony/Marvel’s Spider-Man: Far From Home has grossed $218.5M from the international box office through Thursday.
More markets are on deck with France, the UK and Spain this week and Japan in September.
Regionally, FFH made $78.7M in Asia with all new openings landing at No. Other notable starts include: India ($7.9M), Taiwan ($6.2M), Philippines ($5.7M) and Malaysia ($4.9M). This was a franchise record in the region where Indonesia kicked off to $9.6M, making it the 4th biggest bow ever. 1.
The UK in its sophomore session dropped by just 25% to lift the cume to $7M. Holds in Australia (-30%) and the Netherlands (+9%) were also great with respective cubes of $5M and $965K.
There are still five majors to come throughout the summer. Russia leads all play at $23.8M followed by the UK with $23M. Holds on the thriftily-budgeted follow-up this session were good in places like Germany (-27%/$5.8M cume), Australia (-20%/$7.8M cume) and more.
Despite some concerns going into Korea in the wake of Homecoming’s overperformance there, the FFH launch was terrific with the 4th biggest ever for a Hollywood movie at $33.8M.

Seven weekends in and Aladdin is still granting wishes. The Will Smith-starrer had on Friday crossed the nine-century mark. With another $16.2M in 55 material markets this session, the surprise of the summer has cumed $600.9M internationally and $921.7M global.
As it enters the second frame, each of those remain in the Top 5 grossing hubs so far, while Korea, the UK, France, Russia, Germany, Mexico and Brazil, among others, have come into the web during the week. The Jon Watts-directed sequel got going early in China, Japan and Hong Kong last weekend. Tracking is significantly above Spider-Man: Homecoming.
The former now has $17.3M in the backpack and the latter $8.7M. Holds in Japan (-44%) and Hong Kong (-38%) were good.  
Mexico leads all play with $12.1M after two frames, followed by Indonesia ($8M), India ($4.3M), Brazil ($4.2M) and Russia ($3.4M).
As mentioned above, FFH broke Sony’s all-time opening records in 35 markets. They are: Argentina, Bahrain, Bolivia, Brazil, Cambodia, Central America, Chile, Colombia, Djibouti, Dominican Republic, Ecuador, Egypt, Iceland, India, Indonesia, Israel, Kuwait, Malaysia, Mexico, Oman, Pakistan, Paraguay, Philippines, Qatar, Saudi Arabia, Singapore, South Africa, South Korea, Taiwan, Thailand, Trinidad & Tobago, Turkey, United Arab Emirates, Uruguay, and Vietnam.
India opened to $1.8M which is the top launch day for a non-holiday Thursday and 33% ahead of Homecoming.
In the mid-week, South East Asia opened 46% ahead of Spider-Man: Homecoming with Philippines, Indonesia, Malaysia, Singapore and Thailand making $5.2M in their debuts. The cume across those markets is $9.2M through Thursday.
Also notable, 4DX has done 1.3M admissions and $15.6M in box office gross at 644 locations in 64 markets since opening.

‘Toy Story 4’ Buzzes To $38M Overseas Through Friday; Has Eyes On $110M+ Opening Weekend

2, but they have again switched places today. On Friday, Disney’s Aladdin moved back up the chart to No. As for Asia, Korea put TS4 in the top spot on Thursday with the best opening day ever for Disney/Pixar. The running estimated cume in Korea is $5.5M through Saturday (today’s figures are not included in the international cume above). Indonesia on Friday delivered the biggest opening day ever for Disney/Pixar and the 2nd best ever for animation behind Despicable Me 3. 1 with TS4 at No.
2 in terms of box office, behind only Avengers: Endgame. The fourquel is out in 49 markets repping 64% of the overseas footprint. Mexico is leading all play at $6.4M through yesterday with Brazil next at $5M and the UK at $3.9M. Mexico on Friday grabbed the biggest opening day ever for animation and the No. To get a sense of how well Latin America is leaning in, Brazil welcomed a new record on Thursday with Toy Story 4 roping $2.7M for the best opening day ever on an animated movie. In Argentina, TS4 drew the industry’s all-time biggest opening day in admissions, and was No. 4 industry start of all time.
That would land it slightly above pre-weekend industry projections, with great starts in Latin America and despite soft — if not unexpected — results out of China (more on China below). Through Friday, Disney/Pixar’s Toy Story 4 put $38.3M in the piggy bank, for a likely $110M+ opening frame at the international box office.
The China cume through Saturday (not reflected in the international total above) is estimated at around $8.4M. Woody and Forky are in 2nd place in the Middle Kingdom, as we expected would be the case since they have competition from Hayao Miyazaki’s Oscar-winning 2001 film Spirited Away which is just getting its first theatrical release there. However, TS4 jumped by over 100% on Saturday over Friday with matinees kicking in and as Spirited Away skews to an older demo. Pixar movies in China, outside Coco, have been slower to gain traction versus Disney’s other brands. The social scores in China are high with a 9.2 on Maoyan and Tao Piao Piao and a 9 on Douban.
More recent overseas comparisons include Incredibles 2, likewise a fresh entry many years following the previous title, with a key difference being that TS4 is a 4th film rather than a second installment. Incredibles 2 in like-for-like markets and at today’s rates opened last summer to $115M. Finding Dory in summer 2016 opened to $90M abroad in like-for-like markets and at today’s exchanges. This Toy Story is still unfolding overseas with Italy, France, Japan and Germany on deck in the coming weeks. Franchise-wise, it trends big in both Japan and the UK with the last one clearing well above $100M at final in each of those.
The Top 10 markets through Friday are Mexico ($6.4M), Brazil ($5M), UK, ($3.9M), Argentina ($3.1M), China ($2.7M), Korea ($2.4M), Australia ($1.8M), Colombia ($1.3M) and Peru ($1.2M).
(Also of note in the UK, Paramount's Rocketman has surpassed £20M, becoming the only non-Disney title to do so this year as well as the highest-grossing British film of 2019.) In Europe, Spain scored the biggest animation opening day of 2019 yesterday and the UK saw the best non-holiday Friday ever for animation.
We'll have a full update on Sunday.” />

STX Shows Off Chadwick Boseman-Starrer ’21 Bridges’, Dave Bautista’s ‘My Spy’ & More – CineEurope

This is Jennifer Lopez's reteam with STX after Second Act and sees her as the head of a group of savvy former strip club employees who band together to turn the tables on their Wall Street clients. There was also a Hustlers exclusive sneak. Lorene Scafaria directs with STX releasing September 13 domestically and in the UK.
Several scenes were on display today for the August 23 release. The latter got the most extensive look-in with a video introduction from Bautista who winked that the movie has it all, including an "immensely sexy, super-buff and undeniably charismatic lead." In April, Bautista had told CinemaCon attendees this was the first time he was "fully hands on as a producer." The Peter Segal-helmed pic, which also stars Kristen Schaal and Big Little Lies' Chloe Coleman, follows a hardened CIA operative who has been sent to surveil the family of a precocious 9-year-old girl.
Butler starts filming next week what he said would be an "epic, exciting and emotional" ride. Also appearing in a taped message was Gerard Butler as he heads off to shoot Greenland, the disaster thriller that Ric Roman Waugh is directing.
STXinternational today made its second-ever appearance on stage at CineEurope, repped by John Friedberg and Llewellyn Radley who were respectively promoted to President of International and Managing Director, UK & EVP International earlier this year. The pair presented a roster of upcoming titles that includes Chadwick Boseman-starrer 21 Bridges, horror thriller Countdown, the Jennifer Lopez-fronted Hustlers and Dave Bautista action comedy My Spy.
and UK October 25 via STX. Justin Dec wrote and directs the movie which releases in the U.S. Countdown, about an evil app that informs people of the exact moment they will die, was presented in a first-look trailer.
Among titles on the 2020/21 slate that also got a shoutout today were Black Bear Pictures collaborations I Care A Lot, The Friend and The Marsh King's Daughter as well as Allison Williams-starrer Horizon Line and the Chris Pine-fronted Violence Of Action.” />
An exclusive trailer was shown for the Russo brothers-produced pic about a disgraced NYPD detective who, after being thrust into a manhunt for a cop killer, is given a shot at redemption amid a citywide lockdown. Crime thriller 21 Bridges, from director Brian Kirk, releases domestically via STX on September 27 and begins in some overseas markets this month.

‘Men In Black: International’ Zaps $74M Overseas; ‘Aladdin’ Tops $700M WW – International Box Office

Overall holds in Europe are solid. Russia has grossed $20.4M. The UK is still the lead market with $21M after a 31% drop in weekend 4 and with Aladdin still providing stiff competition.
1 with $3.5M and 15% bigger than X-Men: Apocalypse, so there's that. Indonesia opened to No. Dropping 74% in like-for-like markets this session, the flameout X-Men title added $24.2M overseas for a $152.5M cume. Globally, the Disney/Fox movie is at $204.3M.
1, grossing $1.8M. Latin America chimed in with $8.3M. Mexico was a No. 1 start at $3.9M, while Brazil also opened at No.
The Dead Don’t Die (UNI): $700K intl weekend (5 markets); $3.1M intl cume
As noted above, Sony’s responsibly-budgeted fourthquel was within the pre-opening range seen by the industry, though falling at the low end with $73.7M in 56 overseas markets.
Last weekend’s dud Dark Phoenix dropped by over 70% to cume $152.5M offshore and $204.3M worldwide.
Avengers: Endgame (DIS): $2.1M intl weekend (45 markets); $1.912B intl cume
China added just $10M through the week and weekend to come $55.4M thus far. Japan is on deck next weekend. Behind it are Mexico ($8.3M), France ($7.7M), UK ($7.5M) and Korea ($6.3M) to round out the Top 5.
Lionsgate’s threequel now has an international cume of $127.5M, contracting a further $6.2M in 87 offshore markets this session. The global tally is $276.1M.
2 bow. Japan had a $3.5M No. South East Asian hubs were solid with the full Asia region totaling $45.5M which is 25% above Teenage Mutant Ninja Turtles and on par with MIB3. China ($26.3M) and Korea ($4.9M and distributed by Lotte) underperformed off poor word of mouth.
The overseas cume is now $67M for a global total of $133.1M. Paramount’s Elton John pic roped and tied $8.5M in 55 markets this weekend including six new openings. Australia has now grossed $9.9M with France at $4.4M, Germany at $4M and Brazil $2.7M to round out the Top 5. The last major to open will be Japan on August 23. The Dexter Fletcher-helmed musical fantasy added the UAE for $140K at 50 locations while Taiwan delivered $116K from 85 in the debut session. The best hold was in the UK with another $1.9M for $24.3M to date after four weekends.
A Dog’s Journey (UNI): $300K intl weekend (11 markets); $8.5M intl cume ($40.2M incl non-Uni markets)
Overall, the past few weeks haven’t been much to write home about from overseas for studio tentpole sequels, and audiences are agreeing with critics for the most part. Part of the idea with this fourthquel was that it would stir nostalgia for some while bringing in new audiences to the franchise who wouldn't have seen one of the original trio on the big screen. Folks are likely saving up for their playdate with Toy Story 4 next weekend while Sony will come swinging back with Spider-Man: Far From Home the following frame. Awareness was high, but the movie wasn't overwhelmingly a first-choice.
The Top 5 markets are China ($51.7M), UK ($38.3M), Korea ($38.1M), Japan ($32.6M) and Mexico ($29.6M).
Korea bows this week. The Top 5 so far are UK ($12.5M), Germany ($9.8M), Australia ($9.7M), Russia ($7.5M) and Mexico ($7.2M).

Global P&A was an estimated $120M with luxury promo partners bringing in $75M. As Anthony has detailed, Sony’s exposure on what it says is a $110M budgeted pic is 50%. In some markets, the F Gary Gray-helmed Chris Hemsworth/Tessa Thompson-starrer is drawing family audiences with pick-up on Saturday. Industry finance sources tell us a final worldwide box office of about $300M will trigger ancillaries for a break-even result. That number could be on the cards, but will be close.
1 for now). Latin America saw a 32% slide (Brazil is another market where both Dis and Sony are calling No. Across the region, Aladdin has overtaken the lifetimes of Oz, Cinderella, Jungle Book and Dumbo.
Still to come over the summer are Belgium, Netherlands and Italy.
Avengers: Endgame has now grossed $2.743B globally.
Breakdowns on the films above and more are being updated below.
In the meantime, erstwhile Men In Black star Will Smith’s genie continues granting wishes for Disney. Another $47.5M in 55 markets this weekend lifts the offshore cume to $461.4M and the global total to $724.8M through Sunday. It held No. 1s in 20 markets and has already grossed $33M in Japan through the second frame.
Refresh for latest…: Sony’s Men In Black: International performed in line with pre-weekend industry projections, landing $73.7M at the international box office. Added to domestic’s fizzle, the global launch crossed the century mark with $102.2M. Offshore tracking is on par with Teenage Mutant Ninja Turtles and 19% behind Men In Black 3 in like-for-likes and at current exchange rates.
Illumination/Universal’s animated animals woofed down $8.5M in 34 markets this session as the film continues its slow rollout. The offshore cume is $62.5M for $154.6M to date. The top starts among new hubs this frame were Indonesia ($451K/250 screens) and India ($372K/756/No. 2).
Aladdin has topped the lifetimes of the above cited films as well as Maleficent in the region. Asia Pacific dipped 31% regionally with notable holds in Japan (-7%), Korea (-9%), Vietnam (-29%) and India (-31%).
Those appearances helped. Members of the new-look MIB team did significant globetrotting, with stops in London, Paris, Russia and Beijing.
China has now grossed $123.2M to lead all markets while Japan has made $20M. Rounding out the Top 5 are Mexico ($9.3M), UK ($8.1M) and Indonesia ($7.8M).
That lifts the offshore come to $461.4M for a $724.8M global take so far. This frame, the genie dropped just 34% and was No. 1 in the UK which should shake out tomorrow). 1 in 20 markets (both Sony and Dis are calling No. Overseas audiences are still along for the magic carpet ride as Disney’s Aladdin posted $47.5M in 55 markets this (4th) weekend.
Next weekend notably adds Australia while China goes to the dogs on July 5 with a possible easing of competition if local title The Eight Hundred sees its release postponed.
In IMAX, MIB4 rounded up $8.3M globally, of which $5.6M is from 960 offshore screens.
Ma (UNI): $2.3M intl weekend (36 markets); $11.4M intl cume
MORE…” />
There were No. Reviews aggregator Douban gave it a 5.8 while ticketing platform Maoyan chimed in with a 7.4. Poor word of mouth and social scores led to a $26.3M three-day bow. MIB4 is presented by Columbia Pictures with co-financing from Middle Kingdom behemoth Tencent and previous MIB partner Hemisphere Media Capital. The start there, however, is below the $30M most were seeing pre-release. 1s in 36 out of 56 markets, including China which led all play.
1 bows were in Russia ($5.1M), the UK ($3.4M, though we hear this may be close for the top spot), Australia ($2.6M) and France ($2.5M). Other notable No.
Pokemon Detective Pikachu (WB): $3.4M intl weekend (72 markets); $279.5M intl cume
Europe as a region dipped by 40% with great holds in Finland (-2%), Denmark (-27%), Netherlands (-31%), UK (-32%), Germany (-35%), Poland (-36%) and Israel (-38%) Aladdin has already surpassed the lifetime cumes of Oz: The Great And Powerful, Cinderella and Dumbo in Europe.
Spain is still to open, bowing this coming weekend.
Warner Bros/Legendary’s monsters scared up another $14.1M in 79 offshore markets for a running come of $254.8M internationally. Worldwide, they are at $339.5M.

Can ‘Men In Black: International’ Travel To $100M+ Worldwide Opening?

($89.5M opening in like-for-like markets) and Pokémon Detective Pikachu ($98.6M). Think recent titles like Shazam! Previous MIB pics aren’t the best comps given the years in between and the cast change-up. Better are those that resonate tonally, towards the fun.
Through Friday, the film will be in 56 markets repping 92% of its offshore footprint and excluding Indonesia, Netherlands, Italy and some smaller hubs will go later. The big question being: Will the comedy translate abroad? Sony releases MIB 4 around the world beginning today, notably in France and Korea.
Focus Features' Cannes Film Festival opener, Jim Jarmusch's Dead Don't Die, is expected to bring in $2M at 550 locations. Pic currently has a 52% RT Score.
She is joined by her Thor: Ragnarok co-star Chris Hemsworth. There’s a nostalgia factor here for the Men In Black franchise, while MIB4 is looking to bring in a younger generation that never saw the originals in a theater. Some of the better reviews have recognized that the film should have been called 'Woman in Black' as new lead Tessa Thompson is the most winning factor in the movie per positive reviews. Men in Black: International is a popcorn movie, definitely not one for reviewers who are wishing that their minds were erased from seeing the movie at 32% Rotten. The attempt here of course is that Men in Black: International can work off their Ragnarok chemistry, duh. The new-adventure MIB looks to marry the things we’re used to from the series, like aliens hiding in plain sight on Earth, with the chemistry of two new leads. Despite hunk Hemsworth in the movie, we hear stateside tracking is skewing heavily male.
Currently, industry estimates are now at $30M in U.S. at 3,500 sites. Total global launch is between $100M-$115M. China should match the U.S. doesn't fall lower as tracking for fanboy IP has been greatly over-inflated in recent weeks. Previews start at 4PM in the U.S. MIB 4 will also play in Imax. opening and hopefully U.S. With sequelitis in full swing at the domestic box office before Disney/Pixar's Toy Story 4 changes that course, Sony is plotting for its responsibly-budgeted reboot of Men in Black: International to carry the load exactly there — overseas. Canada at 4,200 theaters and $70M-$85M overseas.
Despite the $110M-production cost being floated out there, we hear the net before P&A cost on Men in Black: International is actually under $100M (per those with knowledge of the budget, not studio sources). Already working in the pic's P&A favor is $75M through a number of largely high-end promotional partners like Lexus cars and Paul Smith suits. We hear co-finance partners Hemisphere and Tencent are each in for just under 18% each, helping with limiting Sony's risk.
For one of its TV spots, Sony went meta, including a scene of Hemsworth’s Agent H fighting an alien with a tiny hammer. The main duo were further in Paris and Russia, and this past Sunday hit Beijing, grabbing lots of local press coverage. Also in London with him were Thompson, Gray, Nanjiani, Walter Parkes and Laurie MacDonald. And he’s not above leaning into that. Overseas promotion for the movie included a Sony junket in Bali and an appearance by Hemsworth on the UK’s Graham Norton Show. Hemsworth is so well-known for playing Thor that in China, fans call him “Chuige” or Hammer Man, per local reports. Thompson went to Brazil for ComicCon.
It could do more in over-indexing to African American audiences. The last movie, starring Samuel L. Jackson (who here reprises his role as John Shaft), opened to $21.7M and legged out to $70.3M stateside. Previews start at 6pm at 2,800 locations. Warners sold overseas to Netflix on this $35M estimated production which brings together all the Shafts from the 1971 and 2000 versions. New Line's Shaft is expected to do between $17M-$18M at 2,950 theaters.
Other key hubs on the threequel included Japan, Russia, the UK and Germany. The markets have shifted greatly in the intervening years with only MIB 3 releasing in China where it did over $77M just as the box office was beginning its upward trend. The growing Asian markets should lean in on this one.
Amazon's Late Night after notching the best specialty theater average of the year to date last weekend of $61,5K is eyeing $4M-$5M at 2.050 theaters.
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Of course, because of Smith, the Men In Black movies have historically been solid grossers overseas with the first making $338.7M (to domestic's $250.6M) and the third, MIB 3, doing $445M in 2012 (to U.S./Canda's $179M). Because Men in Black: International does not star the original franchise's Will Smith and Tommy Lee Jones, grosses, will of course be lower with the latest's 3-day opening well below the previous MIB 3 3-day high of $54.6M (that pic launched over Memorial Day). The middle film, 2002’s Men In Black II, was the lowest of the trio abroad $251.4M (but $190.4M domestic) (all figures unadjusted). Men in Black 1 and 2 opened over 5-day Independence Day holidays in 1997 and 2002.

Sky News Issues Tongue-In-Cheek Promo On Trump UK Visit

Britain's Sky TV is touting President Donald Trump's Monday visit to the UK like a Roland Emmerich film.
A visit with the Queen and Princes Charles and Harry are on tap, as is a state dinner featuring six glasses at each setting and plates precisely 18-inches apart.
It's a very tricky visit, fraught with diplomacy and etiquette pitfalls, as when Trump made the mistake of turning back on the Queen and walking in front of her while inspecting the Windsor Castle guard on his last visit.
Watch the promo to see how the UK is bracing itself.
The cheeky promo for Trump's UK visit is both a reminder that he's coming and a reflection of the mixed feelings some have exhibited in London about the visit. Crowds of protestors and a very special floating device are expected to highlight the action when Trump arrives.″ />

‘Godzilla: King Of The Monsters’ ’$130M Overseas Bow Is #1, But Not Royal; ‘Aladdin’ Still A Prince & ‘Rocketman’ A Madman Across The Water – International Box Office

*Ma (UNI): $2.8M intl weekend (31 markets)
"Seeing a giant sea monster fight other giant creatures as the key moments in a picture lacks the audience's ability to have an emotional journey tied to the central character," notes another source. The "who-is-this-film-for?" question indeed has some folks scratching their heads.
In Europe, the UK has grossed $2.5M in three days while France is at $1.8M also after three. Germany in two days has made $1.3M and Russia $1.1M.
The UK in its second weekend grabbed another $3.2M from 720 to cume a captain fantastic $15.3M.
2. On Friday, Mexico opened to $1.2M from 2,668 screens, ranking No. The opening day is over Godzilla by 25% and on par with Kong: Skull Island.
The Top 5 so far are China ($39.4M), the UK ($24.2M), Mexico ($19.2M), Korea ($15.2M) and Italy ($12.7M).
Japan took in an estimated $8.4M on over 600 screens, ranking No. 1 and surpassing all comps including Godzilla and Skull Island.
A Dog’s Journey (UNI/var): $700K intl weekend (16 UNI markets); $36.8M intl cume (including non-UNI hubs)
Europe is not crushing on the creature feature in early play, however, and the revised projected weekend at the international box office now looks closer to $150M than the $170M-$190M the industry saw ahead of the session. Latin America is still to weigh in. 1s in several. Openings in Asia (outside Korea) are so far, and predictably, the best results with No. In like-for-like markets, but unadjusted for exchange rate fluctuation, 2014's Godzilla bowed to $140M. PREVIOUS, FRIDAY UPDATE: Warner Bros/Legendary’s Godzilla: King Of The Monsters started thrashing about overseas on Wednesday, taking $12.7M from approximately 16,500 screens in 51 markets through Thursday.
A total 75 markets will be open through today. The latter should lean in, but Godzilla, Mothra, Rodan and the three-headed King Ghidorah have stiff competition in the family-friendly market from holdover Aladdin. An additional 24 markets open today, that includes China and Japan, as well as Latin America.
The full weekend estimate there is $70M, the low end of the pre-opening range. China led, but while it looked critic-proof at the beginning with a 9 on Maoyan, the social scores dropped throughout the weekend and that figure is now an 8.5. The growing SE Asia hubs certainly performed the best, and I hear WB is happy with those. Some had this one at potentially upwards of $200M if the emerging markets and China had really popped — our early estimate, based on a combination of industry sources, was $170M-$190M before we downgraded to $150M and then $130M yesterday.
But there was a wrench thrown in the works by the Cannes Film Festival which last week gave Bong Joon-ho the country’s first Palme d’Or with Parasite. The movie was made for Asia, including majors China and Japan as well as the emerging hubs. Although Korea isn’t a big monster consumer, it is a key market. Godzilla did $2.2M there. The win was followed by a hero’s welcome for Bong and a simply massive turnout at local turnstiles, which resulted in $24.5M through Sunday per Kobiz estimates.
1. India opened to an estimated $2.5M from 1,721 screens, ranking No. There’s not much space left in this market which has a Salman Khan movie opening for the Eid-al-fitr holiday this week.
The mash made $31.4M on Friday in 75 markets for an offshore cume through yesterday of $48.2M. SATURDAY UPDATE: Much as it is domestically, Warner Bros/Legendary’s Godzilla: King Of The Monsters is sinking overseas versus earlier industry estimates with an opening weekend now on either side of $130M at the international box office. The 2014 Godzilla bowed to $140M in like-for-like overseas markets at unadjusted rates.
New Zealand notably delivered a huge No. 1 at $911K from 111 sites.
That’s better by 116% on the 2014 Godzilla, but just on par with Skull Island. Predictably, the top result was in China with an estimated $70M (RMB 480M).
Last time around, with the 2014 Godzilla, the UK bowed to nearly $11M and France was at $5.7M. Latin America couldn’t really be bothered by the King what with a big family movie out in the form of Aladdin, and Europe was meh on the monsters. They are sharply down this time around (UK $4.4M/France $2.6M). Some of the extra contributing factors here include the wonderful weather, distractions from the Champions League football final and hot competition from Aladdin and Rocketman (see below).
In Vietnam, the gross was $401K on 710 screens for No. India debuted to an estimated $543K from 1,721 screens, ranking No. That’s ahead of nearly all comps, including Godzilla but not Kong: Skull Island which had special status in the market as it partially shot there. 1 and 66% of the Top 5 titles on Friday. 1.
Avengers: Endgame has now risen to $2.713B, and with Aladdin helped push Disney past the $5B worldwide mark with $5.147B to date. Including Fox’s 2019 grosses to date, those totals rise to $1.841B domestic, $4.284B international and $6.125M global. Of that, $1.638B is from domestic and $3.509B is from overseas.
New to the household was Russia with $11.6M from 1,863 locations and including previews. 2 and has now grossed $14.4M. The Chris Renaud-helmed sequel had 52% of the market. During a holiday week, the UK came in a No.
Brightburn (SNY): $1.4M intl weekend (51 markets); $10.5M intl cume
On a like-for-like basis for all markets in release, this weekend's result is on par with the similarly R-rated A Star Is Born, and just 6% below The Greatest Showman and 28% below La La Land. That brings the total to $31.2M in 40 offhshore markets. After his early UK bow last weekend, the madman across the water has made $19.2M this session.
Parasite is at $8.7M through Friday and is still topping the local box office by a mile (also over Aladdin at No. 2). One market where Godzilla is perhaps more irate than usual has to be Korea in which he’s being pummeled by Cannes Palme d’Or winner Parasite. The running cume for the monsters is $752K through the first two days (Wednesday and Thursday) there. This is a market that doesn’t typically overindex on Hollywood creature features, however, and the Parasite phenomenon was not foreseeable. 4 on Friday with an estimated cume of about $1M. Per Kobiz today, the movie was No.
Taiwan on Wednesday was the next best start at $704K from 320 screens with a 73% share of the Top 5 films and surpassing Skull Island by 22%. In two days, Godzilla has grasped $1.2M.
Australia was the top grosser this weekend for this Dexter Fletcher-helmed musical fantasy with $3.9M from 310 locations. France came in next with $1.8M at 472. Germany was worth $1.5M from 523.
1. Malaysia made $2.2M from 653 screens to rank No. 1 and coming in 7% ahead of the previous Godzilla movie. 2 with $3.5M from 727 screens. 1 by a large margin and topping all comps. Indonesia ended up with the monster movie at No. Taiwan fared better at $4.1M to land No. Thailand posted $2.3M on 705 screens, ranking a dominant No.
The IMAX China network delivered $9.4M of the offshore total. There was $22.7M from 1,400 screens worldwide for the 5th highest global IMAX bow ever. Of that, $14.6M is from overseas for the 2nd highest WB international IMAX opening weekend ever. In IMAX, the news appears rosier.
Elsewhere, John Wick: Chapter 3 – Parabellum is closing in on $100M overseas.
The UK was just dismal at $4.4M from 981 screens. It’s only on par with The Meg. 2 per WB that’s way lower than Godzilla. Even at No.
The Hustle (UNI/var): $1.8M intl weekend (32 UNI markets); $40.8M intl cume (including non-UNI hubs)
Overall, the Lionsgate movie added $12.7M offshore for an international cume of $95.9M and a global tally of $221.7M.
Legendary contends King Of The Monsters’ net cost before P&A is $170M, but as Anthony has reported, we’ve heard from others the number is just under $185M. Second unit work was done in Mexico. King Of The Monsters was largely shot between 2017 and 2018 in Atlanta with tax credits. The 2014 Godzilla made an estimated $52M-plus in profit on $529M global box office and after all post theatrical streams off combined global P&A and production costs just under$300M. Warner Bros. is on the hook for 25% as they wanted to share in any potential spoils of the franchise. Toho has Japan. Legendary East is handling China, where we understand the movie does not have co-pro status so the return is about 25%.
Thailand on Thursday gave the monsters a No. 1 start with $550K from 705 for 8% ahead of the previous Godzilla and 15% over Skull Island.
There is extra competition in the UK, not only from Aladdin, but also Rocketman and The Secret Life Of Pets 2 (plus fantastic weather and a major football match tonight). Another issue is the staying power of Disney's Aladdin which is expected to be No. That’s not a major surprise since the region leans into family fare, but Europe is also meh on the monsters. 4 bow. Regardless, Godzilla is anything but king there with a No. 1 throughout Latin America when full-weekend estimates are tallied on Sunday.
The questions surrounding the movie are: who is it for? In like-for-like markets it did not meet 2014’s Godzilla. Despite fan fervor, it isn’t pulling in general audiences, however, to be fair, it also suffered from a lot of competing factors. There's time before Godzilla Vs Kong thunders in next March — and maybe more global audiences will be goosed by the big ape — but this movie's start was ignominious. The lowdown is that this is the No. 1 movie overseas, but met with difficulty caused by factors that we outlined above. and how does the IP ignite a fresh audience?
The UK bowed on a non-traditional Wednesday where he generated an estimated $837K on 490 screens (two-day cume is $1.5M). The launch score is 8% above Kong: Skull Island but still relegates the movie to No. 4 amid strong competition (Aladdin, Rocketman, Secret Life Of Pets 2) and under sunny skies. Elsewhere, the King is beating its main comps of Godzilla and Kong: Skull Island in some markets.
1 after two days; Thailand is still dominating at No. Elsewhere in Asia, Indonesia has a $2.2M cume after three days and is running a close No. 1 with $1M, also after two days; and Hong Kong is at $523K from Thursday and Friday. 1; Malaysia has $1.1M at No. 2; Taiwan has cumed $1.9M after three days at No.
Breakdowns on the above films and more have been updated below.
Including previews, the running cume is $806K. The beast ranked No. 3 in Germany on Thursday with an estimated $569K from 852 screens for 33% over Skull Island.
More to come on Sunday…
Illumination/Universal’s menagerie made a further $17.2M overseas in what is a slow rollout for the sequel. The international cume is now $28.4M after two frames that include only the UK and Russia as majors.
We’ll have a full update on Sunday. Below is a look at the individual markets that opened on Friday as well as the cumes in those that bowed Wednesday and Thursday.
Smaller markets were strong against comps as the pic is poised to wag its tail through many more overseas hubs through the summer.
3 after two days. 2) and in New Zealand where it is expected to be the No. Australia has taken $696K at No. 1 film this weekend. Rocketman has blasted off both there (at No.
The international cume is now $260.9M. Disney's Aladdin showed great staying power, holding No. Globally, the Genie is at $446M to surpass the lifetime of Dumbo. 1 in 32 markets and grossing $78.3M across 54 (and before Japan hops on the magic carpet). It's doing better than the industry expected. Looking at that competitive landscape and how the rest of this week's other movies fared.
Spain was the new opener for the assassin this weekend with a No. 2 debut at $769K for +195% on John Wick 2.
2 position. Indonesia had a $585K start on Wednesday from 727 screens for the No. The launch doubled Godzilla and Skull Island, as well as San Andreas. The running two-day tally is $1.5M.
SUNDAY UPDATE, writethru: Warner Bros/Legendary's Godzilla: King Of The Monsters has come in with a $130M opening weekend launch at the international box office. As we noted yesterday, this is far lower than what the industry was seeing ahead of the debut. The 2014 Godzilla opened to $140M in like-for-like markets (unadjusted) and that brings up a host of questions. The continuation of Legendary's modern monster series is the No. 1 movie overseas, but the King's bow is not royal.
Japan has risen to $23.7M. China has kept up apace with the movie at No. 4 amid a lot of competition this weekend, and with a cume of $90.4M.
But, perhaps this film played too much to the folks who wanted to see three-headed monsters thrashing about. The question becomes how to draw in the general audiences. This was indeed a competitive weekend, fair enough. Marrying Godzilla to King Kong next year may be a better sell. The budgets are high, but there is a school of thought that suggests if you're going to deliver to the core audience, you need those costly VFX. Still, is it worth revisiting this IP quite so soon?
The midweeks were strong with Monday-Thursday conjuring $66M for 61% of the initial weekend.
France launched at No. 2 with $507K from 613 screens (including previews) and has a two-day total of $1.3M.
That lifts the international cume to $1.898B and global to $2.713B Still in the game, Disney/Marvel’s series-ender added $8.6M this weekend offshore.
We'll be back with more throughout the weekend.” />
1 start that’s over Incredibles 2 by 41%. The full weekend was worth $17.2M in nine markets. Illumination/Universal's The Secret Life Of Pets 2, after bowing in the UK last weekend, added eight markets this frame, including Russia where it kicked off at $11.6M for a No.
Legs will be an issue for the beast as we are fully in the summer season. Next weekend sees Fox/Disney’s Dark Phoenix release day-and-date everywhere save Japan, while The Secret Life Of Pets 2 expands somewhat in Europe and Latin America and Bollywood icon Salman Khan has his latest, Bharat, on Wednesday. Warners has Annabelle Comes Home in late June then will really get going again with It: Chapter 2 and Joker in the fall. Then comes Sony’s Men In Black: International, followed by Disney/Pixar’s Toy Story 4 and Sony’s Spider-Man: Far From Home — all before Dis’ The Lion King roars into action mid-July.
Not included in the above total is the early China flash from today which Legendary East has coming in at an estimated $18M (RMB 124.5M). The movie is a solid No. China has the Children’s Day holiday on Saturday which could help boost play. 1 in the Middle Kingdom and has a combined $21.8M (RMB 150.9M) including sneaks through Friday. The figures are above 2014's Godzilla (+94%). Nevertheless, the opening weekend now looks closer to $70M for the three-day.
The Warner Bros release, which also depends on its partners in China (Legendary East) and Japan (Toho) and which is produced by Legendary, tumbled off initial projections to land a $130M international opening. That’s a big number either way, but we watched as those estimates fell through the weekend.
Either way, it’s the No. But the budget and expectations, as well as how it sets up Godzilla Vs Kong, have left some industry insiders scratching their heads. 1 movie internationally this weekend, and with $130M overall, including $70M in China, it’s nothing to sniff at. Let’s look at the individual markets.
The Top 5 at this point are those two, followed by the UK ($16.1M), Mexico ($11.2M) and Germany ($11M).
Paramount's Elton John biopic Rocketman added 39 markets this session to tune up $19.2M. The musical fantasy that blasted off in Cannes a few weeks ago is currently running on par with the similarly-rated A Star Is Born. 1, 2 and 3 spots depending on the market. That brings the overseas cume to $31.2M. Openings were mostly in the Nos.
The little yellow sleuth is still pulling in overseas markets with an extra $14.6M on 10,319 screens in 73 markets. The overseas running cume is now $261.5M and the worldwide total is $392.1M.
Russia bowed Thursday to $574K from 2,982 screens, ranking No. That's on par with Skull Island. 2.
Dated for March 2020, the movie is the fourth chapter of Legendary’s modern monster series. Certainly core fans are looking forward to it, but some of the criticism surrounding the current film is a lack of connection to the human characters in favor of epic fight scenes. But even Kong: Skull Island was a well-reviewed pic with major stars that didn’t crack $600M worldwide on a reported $185M production budget. So what happens to Godzilla Vs Kong? Here’s hoping the story appeals to more general audiences.
Asia Pacific dipped overall by 35%, with strong holds in Korea (-11%), Indonesia (-16%), Hong Kong (-17%), New Zealand (-21%), Philippines (-23%), Australia (-26%), Taiwan (-32%), Singapore (-32%), Malaysia (-35%), Vietnam (-38%), Thailand (-43%) and China (-49%).
While it appears that creature feature fans — and those who have warmed to this particular giant beast in the past — are keen on the film, general moviegoers aren’t making a beeline. One international distribution source suggests folks may feel like this is a rehash. Posits this person, “What’s the difference between this one and the 2014 movie in people’s minds?” So what’s happening here and why were the pre-weekend estimates so off?
The Top 5 cumes so far are the UK ($10.2M), Australia ($7.5M), Russia ($7M), Germany ($6.7M) and Mexico ($5.9M).
Aladdin is No. Latin America remained keen on the Genie with a 26% overall drop. 1 again in each of the region’s markets.
1 debut with $255K from 76; and Italy is a No. Malaysia has cumed $630K through two days at No. 3 start on Thursday with $307K from 378; Hong Kong also had a No. 2 Thursday launch with $190K on 486 — the latter bested Skull Island by 14% and has a cume with previews of $216K. 1; Australia gave the pic a No.
Elsewhere in Asia, and although it is not a major monster market, Korea is just head-over-heels for Bong Joon-ho’s Cannes Palme d’Or winner Parasite with over $17M through Saturday versus Godzilla’s $1.67M, per local reporting outfit Kobiz. The monsters are in 3rd position behind that film and Aladdin's hold.
Not included in the total above is the Saturday flash estimate from Legendary East which is an estimated $30M (RMB 210M). We are seeing a potential $67M-$70M launch for the three-day. As noted yesterday, China is coming in softer than projected. Today was the Children's Day holiday, and the Sunday drop is expected to be steep. That lifts the Middle Kingdom’s running cume to $48M through Saturday.
The Michael Dougherty-directed mash kicked off in the Middle Kingdom with a solid 9 score on ticketing platform Maoyan, but has dipped to an 8.8 today. The swing on this movie was always about China, although we understand the recoup in the market will be the standard 25%. Japan, which has a discount ticket day tomorrow, will also be key to play.
Russia, which went largely to the dogs of Pets 2, made $2.5M for a No. 3 start.
France’s cume is $2.6M from 613 screens at No. Mexico’s opening ranked No. 2. 2 with $4.6M.
Globally, the Genie is at $446M to surpass the lifetime of Dumbo. The international cume is now $260.9M. 1 in 32 markets overseas and grossing $78.3M across 54 this weekend (and before Japan hops on the magic carpet). To some surprise, Disney’s Aladdin has had great staying power, holding to No.
Impressive holds were in such markets as Poland (+21%), Denmark (+17%), Belgium (+7%), France (+2%), Germany (+2%), Netherlands (-8%), Austria (-13%), South Africa (-17%), Portugal (-20%), UK (-26%), Switzerland (-27%) and Sweden (-28%). 1 in Austria, Belgium, Denmark, Finland, France, Germany, Hungary, Iceland, Italy, Netherlands, Norway, South Africa, Spain, Sweden, Switzerland, UAE and UK. Regionally, Europe dipped 34% and was still No.
The film was built for the Asian markets, and the bulk of international promotion was done in China and Japan. 1s, as expected. Japan, Godzilla's home market, bowed to $2.2M on Friday on over 600 screens (via WB’s partners at Toho) to rank No. 1 and outperform all comps including +37% over the previous Godzilla. Many of the smaller and more emerging SE Asia hubs are giving off No.

Cult British Comedy ‘Peep Show’ In Development At FX With Karey Dornetto Writing Gender Reversal Remake

It’s at FX Networks and it will be written by top comedy brain Karey Dornetto,” wrote Bain, who is also behind Demi Moore-feature comedy Corporate Animals. It’s a great question – and it’s one I’ll shortly have the answer to, because there is a script in development for a U.S. “People sometimes ask if I look at my earlier work differently now – whether my shows would have been better if they had been more diverse. Peep Show with two female leads. What would Peep Show have been like with women as the two leads? Sam Bain, who created the series with Jesse Armstrong (Succession), revealed the development in a self-penned article in The Guardian about diversity.
It is the latest attempt after Starz attempted a remake in 2016, while Fox took a run at a pilot, starring The Big Bang Theory’s Johnny Galecki, in 2005 and Spike gave it a chance in 2008.
The dysfunctional pair share a flat in London, having met at University. It followed the lives of Mark Corrigan, a socially awkward loan manager, played by Mitchell, and Jeremy Usborne, a juvenile slacker and unemployed musician, played by Webb. Peep Show, which is shot through the point of view of the first-person, ran between 2003 and 2015, making it C4’s longest ever running comedy. The show, which also starred Oscar-winning actress Olivia Colman, Isy Suttie and Matt King, was a critical hit in the UK, where it won a raft of awards.” />
Portlandia and Superstore writer and co-exec producer Karey Dornetto is writing the adaptation.
Cult British comedy Peep Show is getting another chance at a U.S. adaptation with a script in development at FX. The series, which ran for nine seasons on Channel 4, is getting a gender role reversal with the two leads – played by David Mitchell and Robert Webb in the UK original – set to be played by women.

‘Aladdin’ Takes Princely $207M Global Bow; ‘Rocketman’ Blasts Off In UK – International Box Office

A Dog’s Journey (UNI): $1.3M intl weekend (14 markets); $5.7M intl cume ($31.6M including non-Uni markets)
We are coming into a crowded corridor, though musicals do tend to be leggy, and we’ll take a closer look at prospects and follow the rollout over the coming days and weeks. Along with the U.S., the yellow brick road leads to Australia, France, Germany, Spain, Italy and Latin America. Rocketman's terrific reviews after that showstopping Cannes premiere, along with early Oscar buzz for star Taron Egerton who does all of his own singing, and a just-released soundtrack album will stoke interest among the John faithful and more. Rocketman heads to another 39 markets this coming weekend. Korea and Russia bow June 6 and Japan goes August 23.
That puts $110M between it and Avatar for the all-time record. If Endgame falls short, a re-release could certainly get them there, but it remains to be seen which way Disney chooses to go. A final still will be close for the heroes and the Na'vi. With a further $15.3M, Disney/Marvel’s Endgame brings its cume to $1.879B internationally and $2.678B worldwide.
Overseas, there was significant Saturday-Sunday uptick from the early midweek bows which indicates family support for the Guy Ritchie-directed Will Smith-starrer and as offshore audiences also like it better than critics. In North America, the film has performed above expectations, with strong audience response.
And, Lionsgate’s John Wick: Chapter 3 – Parabellum, in its sophomore session, beat the worldwide gross of John Wick: Chapter 2 with $181.5M after 10 days in release.
The ultimate best markets on those films was a mix of China, Japan, UK, Mexico and India. In like-for-like opening comps and at today’s rates, The Jungle Book bowed to $160M abroad, Maleficent did $107M and Cinderella $85M.
2 for the day. On Saturday, the Pets popped into Russia for previews which were $900K and had the movie at No. The No. This is down from the original’s bow by about half, although this was an intensely crowded weekend in the market. Also in a one-market-only debut, Illumination/Universal’s sequel to the $875M worldwide grossing 2016 original, kicked off in the UK with $4.1M at 613 locations. 3 start is 16% ahead of Hotel Transylvania 2 and in line with Kung Fu Panda 2 as it heads into holiday play.
The movie was No. 1 in all of Latin America — and is tracking above both The Jungle Book and Cinderella. That’s a relief to Disney since Korea and the South East Asian markets were a concern coming into the session while China is always a swing. Strong performance in the region was expected given how it leans into family fare. What's surprising here is that all of Asia also bowed at No. 1.
Elsewhere in Asia, Aladdin was No. Australia and India had been expected to do solid business and did deliver, but there was worry over Korea and the South East hubs. 2 in India and Vietnam. 1 everywhere with Saturday/Sunday uplift from the early midweeks. However, the first weekend points to word of mouth momentum and in Indonesia, Aladdin is the top Disney Live Action title to date (excluding the Marvel/Lucasfilm pics). Using the same comps, it’s No. The opening weekend exceeded the whole run of Maleficent in Indonesia and India and all of Cinderella in Taiwan, Korea and India.
UPDATE, writethru: Disney's live-action take on the classic 1992 animated Aladdin rode to a $121M start at the international box office this weekend, coming in right at the top end of industry predictions with a better-than-expected debut in some Asian markets. The global three-day opening is $207.1M.
The UK has a bank holiday this weekend that leads into half-term school breaks and sets up nice play. It is, however, tracking ahead of both Maleficent and Cinderella across the region. 1s everywhere as John Wick: Chapter 3 was big in Germany as expected. As noted above, the UK and Italy were tops with $8.4M and $6.6M, respectively. Europe was the only place that Aladdin didn’t take No.
The campaign was extended further around the country with #NeverOrdinary Devil Wings Murals, using the costume wings form the movie across London, Brighton, Birmingham, Edinburgh and Cardiff. Ahead of the London premiere, Egerton and co-star Jamie Bell appeared on The Graham Norton Show as well. The team further collaborated with influencers to create a #NeverOrdinary campaign that included working with Instagram photographer Linda Blacker to style and snap LGBTQ and body-positive influencers in 70s-inspired dress.
On vacation, he meets old farm dog Rooster who has a few lessons to impart as voiced by Harrison Ford in his first animated appearance. The household critters are again directed by Chris Renaud with lead dog Max voiced by Patton Oswalt as he deals with new realities after his owner has a baby. The pair had attendees at CinemaCon in stitches recently in Vegas. Tiffany Haddish plays fearless Shih Tzu Daisy who shows up to teach Kevin Hart’s Snowball he’s not quite the most adorable creature on the block.
In IMAX, the worldwide bow is $15M with $6.9M from 996 international screens. With $121M overseas for $207.1M global (for the three-day), the Will Smith-starrer is off to a good start, notably over-performing domestically and seeing a strong launch in Asia. Disney’s live-action Aladdin performed at the top end of industry projections we were seeing ahead of the weekend.
It's important to note that Rocketman takes a different, R-rated warts-and-all approach to the story of the former Reggie Dwight whereas the PG-13 Bo Rhap downplayed much of the homosexual nature of the story of Freddie Mercury and steered from being an all-in biopic in an effort to appeal to the masses.
In Taiwan, Korea and India, it’s better than all of Cinderella. In both Indonesia and India, Aladdin’s maiden voyage has already topped the entire run of Maleficent.
As for Europe, Abu and friends are tracking above both Maleficent and Cinderella. The UK and Italy were tops there with $8.4M and $6.6M, respectively. Spain served up the 2nd best start of 2019 and in the UAE and Jordan (where Smith trekked during a promotional tour) Aladdin flew to the best Ramadan opening of all time.
Elsewhere, Avengers: Endgame, which has ended its run in China, now has an international cume of $1.879B and a global tally of $2.678B (that's $110M from Avatar).
2. JW3 dominated with $3.5M on 547 screens in its debut. Austria and Belgium also outdid JW2 by 40% and 32%, respectively. In local currency, that’s 29% bigger than JW2. France opened 81% bigger than the last movie with $2.2M at 329 sites and ranking No. Germany, which has been fervent about the series, was one market where Aladdin didn't make off with No. 1.
Brightburn (Sony): $4.5M intl weekend (50 markets); $7.8M intl cume
The Guy Ritchie-helmed Aladdin is in 54 material markets this session, with Japan joining on June 7 in what looks to be a nicely teed-up date. Smith is a star there, though he hasn’t had a major film in the Middle Kingdom in several years. There, word of mouth and social scores helped the movie despite there being no star-studded premiere and a concern younger audiences might have less interest given the rest of the cast outside Smith does not have a big following in the market. All play so far is led by China with $18.7M which is also at the top of the local range we saw ahead of the opening.
As for dating, Russia is up next on May 30 with Italy going the same time as domestic (June 7). The domestic bow-wow was tracking at about $63M as of May 16 when Anthony D’Alessandro noted Uni will bet on the longer leg potential of Pets 2 given the flood of event pics in the late May corridor.
Word of mouth could help momentum continue there, although Godzilla: King Of The Monsters had its first previews this weekend and is expected to stomp all over the next frame. Notably in China, the Maoyan score went up through the weekend, reaching 9.1 (reviews aggregator Douban is giving it a lower 7.8). The gross for the three-day in the Middle Kingdom is $18.7M, near the top of the range where we saw it ahead of opening.
The overseas running cume is now $236.8M for $352.9M global. China’s 3rd weekend lifted to $84.4M, with the movie No. Another $24.3M for the miniature sleuth came from 17,225 screens in 72 markets this session. 2 behind Aladdin. Japan after four frames now has $21.2M, dropping just 25% from last weekend.
Paramount also partnered with Spotify to create a playable masthead in a guitar-hero style game, but using a piano. In March, tastemakers, press and influencers were among the first audiences to see 15 minutes of footage at Abbey Road studios. John’s beloved football club, Watford FC, partnered to celebrate Rocketman with a tribute in-stadium sing-a-long with over 20,000 fans. There was also a motion take over at Waterloo, the UK’s busiest train station, with a large floor piano that allowed commuters to play along to the title song with the help of visual aids on a large branded screen.
Breakdowns on the films above and more have been updated below.
Internationally, the sophomore session was good for $24.8M in 74 markets. The cume offshore, where Lionsgate works with local distribution partners, is $74.4M through today. After its franchise-best start last weekend, Lionsgate’s threequel this frame topped the total worldwide gross of its predecessor, John Wick: Chapter 2, with $181.5M global from just 10 days.
The tracking had not been as strong, but ultimately the weekend provided “exactly the kind of experience you want: people come find it, they have a good time, then tell other people.” Cathleen Taff, Disney’s President of Theatrical Distribution, Franchise Management and Business & Audience Insights, tells us word of mouth helped in those markets where the property has different notoriety compared to the studio's other characters.
The Top 5 markets this launch session are China ($18.7M), Mexico ($9.2M), UK ($8.4M), Italy ($6.6M) and Korea ($6.5M).
Regionally, the grosses are an all-time industry high of $1.11B in Asia-Pacific; $505M in Europe where it is the No. 5 movie ever; and $246M in Latin America, also the all-time industry high. Endgame ended its run in China with $629.1M and in the UK has now passed $110M.
The Dead Don’t Die (UNI): $500K intl weekend (2 markets); $1.9M intl cume” />
Paramount’s Elton John musical/fantasy biopic strutted its electric boots into the UK this weekend, playing to the homefield advantage and grossing $6.4M to rank No. There will be a desire on this film to comp to box office phenom Bohemian Rhapsody (which also opened early in the UK), but caution should be exercised — even though Rocketman is directed by Dexter Fletcher who completed Bo Rhap after Bryan Singer was fired from that picture. 2 behind Aladdin. On 1,284 screens, the debut is bigger than the similarly-rated R-rated A Star Is Born.
1s across the board with Aladdin tracking ahead of both Jungle Book and Cinderella, and very close to Maleficent. Brazil’s bow came in above all comps (+92% on Jungle Book/+55% on Cinderella/+35% on Maleficent). Family-friendly Latin America gave Genie No. Mexico leads the region with an estimated $9.2M for three days, 121% ahead of Cinderella, 52% ahead of Jungle Book and 3% behind Maleficent, making it the second highest ever May opening weekend there.
Next up are Spain and Norway this coming weekend. Leading all play is the UK with $7.9M, followed by Russia ($6.4M), Australia ($5.9M), Mexico ($4.4M) and Taiwan ($3.9M).
Behind China are the UK ($110.9M), Korea ($103.9M), Brazil ($81.6M) and Mexico ($75.6M) to round out the Top 5.
2 behind Aladdin with a (captain) fantastic $6.4M from 1,284 screens. Fresh off its powerful Cannes debut, the Dexter Fletcher-helmed story came in at No. There will be long legs and a long overseas trajectory on both Rocketman and Pets 2 which rollout across the summer. Also in the UK, Illumination/Universal’s The Secret Life Of Pets 2 bounded into theaters in its first offshore bow with $4.1M. Turning back to the UK, this was a crowded pre-holiday session that included the launch of Paramount's Elton John musical/fantasy biopic Rocketman. That tops last year's debut of A Star Is Born which similarly carries a 15-and-over age rating.
The marketing presented Rocketman as a cultural moment celebrating a true British icon. From early on, the campaign aimed to establish the film as bold and emotional. Back to the UK. Getting the word out, there were 14 local print covers in support of Rocketman including GQ, Daily Mail Weekend, Attitude, The Sunday Times Culture, Guardian Weekend and Observer Magazine. This was the widest ever for any Paramount release, as well as the widest release ever for a film with a 15-and-over certificate.
In Italy Aladdin grabbed the 2nd best opening weekend of 2019, behind only Avengers: Endgame, and was 17% ahead of Maleficent. Elsewhere, Aladdin also posted the second highest opening weekend to date in 2019 in Spain, and was the best Ramadan bow ever in the UAE and Jordan.
Pets 2 will stretch into more of overseas through June including Australia, Germany and Brazil. Notably, these Pets are getting a July 5 launch in China, bringing a Hollywood title into what is typically a blackout period. There are July debuts in Japan, Korea and France with Spain and Mexico in August.
Those two hubs lead all play, followed by the UK ($13.6M), Mexico ($10.4M) and Germany ($9.5M).
The Hustle (UNI): $3.5M intl weekend (31 markets); $31.1M intl cume

‘Humans’: AMC & Channel 4 Cancel Kudos-Produced Sci-Fi Drama After Three Seasons

The Humans cast and crew were and are the best and we wouldn’t have got a second season without their talent and dedication, let alone a third. The pair wrote, “Sadly, there won’t be a fourth season of Humans. We got to make the show we wanted to make, for 24 episodes. We can’t name anyone without naming everyone, and that would mean we’d have to do this in an even smaller front – so here’s to every last actor, director, writer, producer, exec, commissioner, DoP, editor, composer, crew member and the unfailingly generous Swedish team behind the original version.” They supported the show brilliantly and above all – let us make three seasons. We’re gutted, of course, but we were so lucky. In this age of unprecedented choice and competition, we can have no complaints. Channel 4 and AMC were the perfect partners.
Season three of the show launched in the U.S.  It is set one year after the dawn of consciousness, where a decimated and oppressed synth population fights to survive in a world that hates and fears them. last June and in the UK the month before that.
Thanks for watching,” they added.” /> DM us Elon. Last year, exec producer Emma Kingsman-Lloyd told Deadline that there was no end in sight for the drama, which ended with a surprise. The pair admitted that they “know we left some threads hanging”. If there’s anyone out there with a few million quid and an interest in AI stories, we’re all ears. “That was the way we always wrote the show. Maybe one day we’ll get a chance to pick them back up.
The worst thing about this is that we can’t keep the story going for the people that love it,” they noted. “Thank you so much for the messages, support, podcasts, bespoke mugs and for never setting up a petition to make us redo something. It means more than anything to see the show resonating with you like it did. The pair added that the last word has to go to the show’s fans.
The news came via a blog posted to social media by creators and writers Jonathan Brackley and Sam Vincent.
The Gemma Chan-fronted series has been cancelled after its third season. AMC and Channel 4 sci-fi drama Humans is coming to an end.

‘La Llorona’ Conjures $30M Overseas Bow; ‘Shazam!’ & ‘Dumbo’ cross $300M WW – International Box Office

France grossed $2.1M on 254 screens to rank No. 2, on par with a number of comps and over Lights Out (+20%) and A Quiet Pladce (%39%). Colombia was the next best start at $2.4M and ahead of all comps except Annabelle.
added another $22M to cross the $200M mark overseas and $300M globally. Widely for non horror fans, this weekend was all about holdovers. Notably, WB/New Line/DC’s Shazam! Families also leant an ear to Disney’s Dumbo, pushing the expensive little pachyderm above both those same milestones.
Korea also got a bump, up 70% as anticipation for Endgame swells. Europe dropped 37% regionally with a great +25% hold in Spain and slight eases elsewhere. Latin America had a 12% drop, increasing in Chile by 2% and dipping just 14% in Brazil.
In Lat Am, Dumbo dropped just 12% with strong holds in Colombia (+28%), Argentina (+20%), Peru (+5%), Chile (-3%), Brazil (-19%) and Mexico (-35%).
3 with $3M at 8,992 locations. The international cume is now $48.5M. Paramount’s animated amusement admitted another $10.9M worth of visitors in 56 markets. That includes a debut in China where the start was No.
Mexico leads all play at $5.3M while Europe and parts of Asia had decent starts; Brazil was slightly soft with the market dominated by family fare (Shazam!, Dumbo) and the faith-based Breakthrough. In many countries, the Easter weekend is bracketed by days off on the Friday and/or Monday, and Llorona, with its Catholic iconography, tapped into that. 1 in the region where it is tracking above The Conjuring (+11%), Halloween (+30%), A Quiet Place (+60%) and Lights Out (+95%). Latin America leans into horror and this film, with Mexican folklore at its center, was No.
Little (UNI): $1.4M intl weekend (13 markets); $4.8M intl cume
The Top 5 markets are the UK ($27.9M), China ($21.8M), Mexico ($20.2M), Spain ($14M) and France ($12.2M).
Breakdowns on this week's films have been updated below.
Within the rest of Europe, holds were good for the holiday including in Denmark (-5%), Spain (-12%), Portugal (-24%) and France (-46%). Also in the family sphere, Disney’s Dumbo added $13.7M from 55 material markets. Belgium is a big fan of the pachyderm, maintaining No. The offshore cume is now $206.6M for $307.9M worldwide. 1 for the fourth straight weekend.
France led the weekend play and has now grossed $6.1M. Korea is the final market to release, way down the line in August.
1 spot while Mexico dipped to No. 3. The UK took back the No. Brazil in the 3rd frame dropped just 21% to stay No. Australia held the No. 1 slot on a very quiet weekend and Spain increased 2% in the 3rd session. Colombia also saw a sizable increase, up 34%. 1 and gross $11.4M to date.
Spain brought in $1.7M on 330 screens, ranking No. 1, also topping most comps. 3, but above most comps including 34% over Annabelle. Indonesia scared up $1.6M on 654 screens at No.
8 all-time superhero movie, passing The Dark Knight Rises. With a global cume of $1.09B through Sunday, Carol Danvers now fronts the No. Ahead of the worldwide reckoning with Thanos that begins Wednesday offshore, Disney/Marvel’s Captain Marvel put a couple new notches on her belt.
Of that, $9.5M was from India where the movie is No. Foxstar’s Indian pic Kalank, a romance drama set during the 1940s partition and from Karan Johar’s Dharma Productions, opened to $10.4M in two markets offshore. Alia Bhatt, Varun Dhawan and Aditya Roy Kapoor star in the title by director Abhishek Varman.” /> 1 this weekend.
Here are the Top 5 grossers: China ($153.6M), the UK ($49.7M), Korea ($45.1M), Brazil ($37.9M) and Mexico ($33.2M).
UPDATE, writethru: Warner Bros/New Line’s James Wan-produced horror pic The Curse Of La Llorona haunted cinemas in 71 overseas markets this frame, opening to $30M at the international box office. Along with domestic, the global bow is $56.5M.
Too bad it didn’t release in the latter this weekend which could have used the jolt. The thriftily-priced $9M La Llorona still has Japan and the UK to come. There’s been lovely weather there, but the lack of a major opener also is showing impact. Right now, it looks like the current session in Britain could be the first four-day Easter weekend this century to gross under £10M.
Of course, next weekend will be a different story amid the thunderous arrival of Avengers: Endgame. Cinemas in London, Leicester, the Midlands, Bristol and many more are already selling out shows. Highlighting the anticipation for Endgame, even China was quiet this frame, led by the continuing play of P Storm ($113M cume), and as pre-sales on the MCU pic have surged past $60M.
8 biggest superhero of all time. In the 7th weekend, Disney/Marvel’s Captain Marvel picked up $6.5M from 49 material markets. The offshore total is now $689.5M with $1,089.5M worldwide where Carol Danvers is the No.
The UK and Japan are still to come along with a handful of markets as the movie looks to act as counterprogramming to Thanos and crew.
Pet Sematary (PAR): $5.5M intl weekend (58 markets); $46.1M intl cume
The best overall play was Mexico at $5.3M on 2,600 screens with a 32% share of the Top 5 titles. It outperformed nearly all comps there including Insidious: The Last Key (+36%), The Conjuring (+61%), A Quiet Place (+101%), Pet Sematary (+158%) and Lights Out (+185%).
Bohemian Rhapsody (FOX): $500K intl weekend (20 markets); $685.6M intl cume
Breakthrough (FOX/DIS): $2.8M intl weekend (20 markets/+28% in Brazil); $5.9M cume
Elsewhere, Voltage’s teen drama After had another good weekend, grossing $9.5M in 38 markets for a $25.4M overseas cume, per comScore. Lionsgate/Millennium's Hellboy meanwhile picked up just $3.4M in 40 hubs, also per comScore.
Also new this session were the Netherlands ($328K/135 sites) and Hong Kong ($264K/40).
In Europe, the Middle East and Africa, it’s on par with The Conjuring, A Quiet Place and Lights Out. In Asia, it’s the No. 1 movie, coming in more than double Pet Sematary and Halloween.
Across Asia-Pacific, strong holds include New Zealand (+30%), Singapore (+19%), Hong Kong (-4%) and Australia (-9%).
The release topped Ant-Man by 9% and is on par with Guardians Of The Galaxy. 4, but No. Japan opened this session with $2M on 723 screens at No. 1 for a U.S. movie.
How To Train Your Dragon: The Hidden World (UNI): $700K intl weekend (37 markets); $355.4M intl cume
Playing on about 16,000 screens in 80 markets, the Zachary Levi-starrer has now grossed $201.5M abroad and $322.8M globally. Warner’s family friendly superhero added another $22M with school breaks and the Easter holiday helping fuel the box office.
Us (UNI): $1.7M intl weekend (58 markets); $75.3M intl cume
The Top 10 markets are China ($43.5M), the UK ($15.4M), Mexico ($14.2M), Brazil ($11.4M) and Australia ($9.8M).
1 in the Latin American region, tapping into the Easter holiday and Mexican folklore. The Michael Chaves-directed horror pic, which is not directly connected to the Conjuring universe as it doesn’t involve paranormal investigators, the Warrens, opened in 71 overseas markets to $30M on 13,262 screens. The top film internationally in a largely holdover weekend ahead of next frame’s Avengers: Endgame was No. As noted above, it bested a handful of comps in the region.
Greta (UNI): $500K intl weekend (2 markets); $3M intl cume ($1.5M Universal)
Boy Erased (UNI): $200K intl weekend (8 markets); $4.6M intl cume
2), India ($1.1M/1,032/No. Korea ($1.3M/620 screens/No. 3), Italy ($863K/314 screens/No. movie), Russia ($1.1M/1,758/No. 4) round out the Top 10. 3) and Brazil ($796K/350/No. 1 U.S.

‘Game Of Thrones’ Flies To New Series High With Final Season Debut Viewership

Back almost two years after Season 7 premiered, Sunday's "Winterfell" Season 8 debut snared 17.4 million viewers for the premium cabler on-air and HBOGo and HBO Now
Just on linear, the first of the six-episode Season 8 run rose 12% over that Season 7 premiere. Again, just on linear, last night's episode took a dip of 7% next to the Season 7 finale, with that carriage dispute with Dish likely a not insignificant factor on the margins.
The end of the penultimate season of Game of Thrones was the best the HBO blockbuster had ever done with viewers, but last night's final season opener just put that record on ice.
As this morning also shows around the water cooler, on social media and otherwise, it  probably didn't hurt that the table setting David Nutter directed and Dave Hill penned Winterfell Season 8 debut was one of the best episodes of the series so far, at least in my opinion.
The long wait and Emmy victories between the penultimate season and the eighth and final season has clearly deepened and broadened GoT's culture relevance and overall appeal.
An all-time best for any HBO series, the record breaker of last night's season opener was also way up from the previous season opener record holder of Season 7’s "Dragonstone" of July 16, 2017. Even with a brief leak on DirecTV Now earlier on Sunday and the lon-going lack of HBO on Dish now,  that’s up 4% from the Season 7 "The Dragon and the Wolf" ender of August 27, 2017 once all the premium cabler's linear and digital platforms are added up.
From the live same day results to the delayed viewing to come on DVRs and more, the real game here could be how high will it go on the path to finding a new occupant on the Iron Throne.” /> In fact, the real question may become not if Game of Thrones continues to reach new audience heights as it heads towards the May 19 series finale.
In fact, the premiere of Season 5 almost matched the Season 8 premiere with its April 12, 2015 airing.
A point that HBO will undoubtedly and rightly emphasis is the huge surge in digital participation that the Season 8 debt had. Reflecting the shifting habits of viewers in this Peak TV era, last night the best night ever that the now WarnerMedia-run premium cabler has ever had. Specifically, GoT was up almost 50% over the Season 7 ender and a whooping 97% over the Season 7 opener on HBOGo and HBO Now.
Add to that GoT shout outs in relation to the general election in Israel, Brexit chaos in the UK and Europe continuing and the WGA and the Association of Talent Agents going to war in Hollywood and the end of the show has spread across the cultural landscape in a way the small screen hasn't seen since the almost equally name checked  Breaking Bad wrapped up its five season run on September 29, 2013 – an eon ago in the fast changing TV environment. Over the last week or so the series and its return has become a constant touchstone and reference as the public release of the Mueller Report looms, Disney unveiled their streaming service strategy and launch date, and the Trump administration saw forced resignations and more firings over immigration policy.
Martin's writings actually debuted much later than the series had in past years. Weiss EP'd multiple Emmy winner based on George R.R. Rising almost weekly from episode-to-episode and year-to-year, Season 7 of the  David Benioff and D.B. Starting in Season 1 in 2011 and all the way to Season 6 in 2016, the Emilia Clarke, Peter Dinklage, Lena Headey and Kit Harington-led drama opened in late March or mid-April.

NBC Orders ‘Small Fortune’, Competition Show Based On UK Format

If players can control their nerves and avoid the slightest mistake, they will walk away with a big cash prize. To take home the ultimate "small fortune," teams that make it to the end must tackle one last teeny-tiny but epic game.
NBC has given a six-episode order to Small Fortune, a competition featuring "tiny challenges" that's based on an UK format that launched on ITV in February.
No premiere date is set for Small Fortune, which will be co-produced by Universal Television Alternative Studio and entertainment studio Youngest Media, which created and produced the UK format. Lucas Church and David Flynn will serve as executive producers for Youngest Media alongside Michael Binkow, who will serve as executive producer and showrunner for the series.” />
Small Fortune will see teams of three friends compete in the tiniest of challenges for a chance to win big money. From a shrunk-down Oval Office (“The Waste Wing”) to a mini Arc de Triomphe (“Arc de Wee-Omph”), each team must prove their skills on playing fields that have been squeezed down to the size of a dollhouse. The network said challenges will require considerable dexterity and intense focus because with games this small, there’s no room for error as the slightest miscalculation or tremble may result in elimination.

Fox Film Layoffs: Two More Marketing Execs Were Part Of Exodus

The swath of layoffs at 20th Century Fox Film last week after the studio's mega-merger with Disney officially took effect included Kieran Breen, who was president of International Marketing, and EVP Global Marketing Strategy Britta Gampper, Deadline has learned.
She joined Fox Germany in 1997 and transitioned to an international role in Los Angeles in 2000 where she helped build the international theatrical strategy team under Breen. Gampper exited after a 22-year career at Fox, most recently as EVP under Levine and Campbell.
They were part of the pink-slips on March 21 that hit the film division hard. In marketing alone, Fox president of Worldwide Marketing Pam Levine, her co-president Kevin Campbell and the division’s chief creative officer Tony Sella were all laid off as Fox's film assets were absorbed into Disney as part of the $71.3 billion acquisition.
Also among the Fox exits on that most difficult day on the Culver City lot: domestic distribution president Chris Aronson; international distribution head Andrew Cripps; consumer products chief Jim Fielding; EVP Corporate Communications Dan Berger; Heather Phillips, EVP and head of domestic publicity; Mike Dunn, president of product strategy and consumer business development; Bob Cohen, EVP Legal Affairs and EVP Fox Stage Productions; and Michelle Marks, SVP Media Promotions.
The pair's campaigns included for the likes of Avatar and the Star Wars, Alien, Planet of the Apes and X-Men franchises among others.” />
in 2006 to take the role of EVP International Marketing. He had joined fox as UK marketing director in 2000 and moved to L.A. UK native Breen had been responsible for strategy, research, media, digital, publicity, creative and promotions for all Fox, Fox Animation, Fox 2000, and Regency movies in all territories outside the U.S. He was promoted to President of International Marketing in 2014.