‘Jumanji’ Raises Game To $856M WW, $503M Overseas; ‘Greatest Showman’ Tops $150M – International Box Office

UPDATE, WRITETHRU: Jumanji: Welcome To The Jungle continues to prove it’s got Big Game. In its 7th weekend, Sony’s holiday-season holdover from director Jake Kasdan banged the drum across $500M overseas and $850M worldwide. Through Sunday, it’s captured $503.1M at the international box office and $855.7M globally, with a shot at $900M ahead.

The Dwayne Johnson-starrer rocked another $12.6M on 8,000 screens in 93 markets this weekend. That’s just a 32.5% drop from last session for the update on the 1995 classic. Whether the jungle juggernaut can get to $900M global is right now up for debate in some circles — it should be close. The movie is tapering down overseas, but has another two weeks before Black Panther pounces on worldwide turnstiles, and then has Japan on deck April 6 where the over/under could be around $10M. Then again, so much about this film’s play has been surprising. Says a rival distribution exec on the $900M milestone, “I didn’t think it would get this far, so why not?”

Related Story

Coronavirus: How Hollywood Is Navigating Uncharted Waters As Cases Spike In Korea & Italy Forcing Release Delays & WW Box Office Sees Possible $4B Loss Through March

Indeed, the powerhouse performance was great counterprogramming during the holidays and offered a lighter option to global moviegoers throughout and beyond. By a week after New Year’s Jumanji: Welcome To The Jungle had already doubled, and in some cases, tripled early international projections and has seen repeat business over its runaway successful run. The film has clicked in all the majors and done great numbers in the increasingly important Asian markets like Malaysia and Indonesia.

Even just the final week of 2017 (worldwide) helped propel Sony Pictures Entertainment to a $96M Q3 profit. Most of the box office will count towards Q4.

The weekend leader overall was Fox’s threequel Maze Runner: The Death Cure. Now out in 80 markets, it picked up No. 1s in 20 during the third session. The weekend was worth $35.2M with the Wes Ball-helmed pic currently outpacing Scorch Trials by 1% and the original Maze Runner by 25%. Its international total after three frames is $142.9M.

In another vein, Fox crowd-pleaser The Greatest Showman had a great showing this weekend and an impressive jump in the UK where it was up 9% to take the No. 1 spot in its 6th session. That included a special IMAX run. The cume there is a fantastic $31.3M. Overall, the crowd-pleasing showbiz origins story added $16.2M in 42 markets, including $7.4M in its China debut. The offshore cume is now $153M.

Also notable in China, Aamir Khan’s Secret Superstar reclaimed the top spot in its 3rd session with a comScore-reported $10.5M on a very quiet weekend. The Bollywood icon’s prowess in the market continues with the film now at $92M there alone. New to China was Happy Death Day, the first Blumhouse title ever to travel there. It got a Middle Kingdom look-in of $2.45M.

In other milestones, Disney/Pixar’s Coco is crossing $700M worldwide today and will reach $500M internationally this week. Japan is also a late-comer on this film which is due there March 16.

Breakdowns on the films above and more have been updated below.

HOLDOVERS/EXPANSIONS
MAZE RUNNER: THE DEATH CURE

The Wes Ball-helmed threequel saw a 45.5% drop in the third frame to find $35.2M in 80 markets. The offshore cume is now $142.9M. That sets it outpacing the last film, Scorch Trials, by 1% and the original Maze Runner by 25%, putting less distance between it and those movies after three sessions.

It’s seeing sustained play in Latin America and the smaller Asian markets, but in China had a 78% drop from opening amid the release of some new local titles and the continuation of Aamir Khan’s Secret Superstar. Fox stablemate The Greatest Showman also outran it in the Middle Kingdom this weekend. The $37M cume is well ahead of the lifetimes of the previous two movies, however.

There were No. 1s in 20 markets including some holdovers. The total screen count was 42,596 this frame. Mexico opened to $3.1M on 10,000 at No. 1 and Germany also took No. 1 with $2.53M. The top holds were the UK ($5.88M cume), Russia ($7.36M cume) and Indonesia ($4.9M cume).

Death Cure hits four new markets next weekend, including France which has typically been a top offshore hub on the series.

THE GREATEST SHOWMAN

The Hugh Jackman crowd-pleaser put another $16.2M under the big top this weekend on 19,173 screens in 42 markets. With a special IMAX run added in the UK, Fox’s showbiz origins movie jumped by 9% and impressively took the No. 1 spot in its 6th weekend. Australia also hopped to No. 1 in the 6th session with a drop of just 26%. The UK cume is $31.3M and in Oz it’s $20.3M.

Showman also took a bow in China with $7.4M including previews and a 7.7 rating on Douban. At historical rates, that’s 13% off of La La Land’s start last year. China has shown a fondness for musicals including La La and Coco recently. In 2012, Jackman-starrer Les Misérables was the No. 5 movie of the year. While Showman was the top Hollywood title of the weekend, the Middle Kingdom has a lot going on with new releases and what is likely to be a slow period ahead of Spring Festival which kicks off on February 16. That’s the same day the show travels to Japan.

JUMANJI: WELCOME TO THE JUNGLE

Sony’s jungle juggernaut has been the surprise of the post-holiday season as it keeps drumming away at milestones. This weekend, it reclaimed No. 1 domestically, and overseas it has crossed $500M for a rockin’ $855.7M worldwide. The offshore frame was worth $12.6M in 93 markets to lift the total to $501.3M.

The drop was 32.5% from last weekend. The game still has play in it, and two weeks before Black Panther pounces. Can it get to $900M? It looks to be close, but within reach. Japan is still to come to round out the international play and the over/under there looks to be about $10M, although it could surprise as it has elsewhere.

The Top 5 markets are China ($74.6M), the UK ($47.9M), Australia ($36.3M), France ($27.1M) and Russia ($24.9M).

COCO

Coco has become Pixar’s 7th film in its history to cross $700M at the worldwide box office. With $700.9M to date, it’s also the 6th Disney release of 2017 to hit the milestone. The offshore total after adding $11.6M this session is $496.3M. In Korea, Coco has bragging rights to the No. 4 Disney/Pixar movie ever and the No. 2 Pixar title.

New this weekend were Sweden and Norway, both with No. 1 starts. In Latin America, the Day of the Dead-themed musical held a number of No. 1s and rose 4% in Chile. France and Spain were off by just 27% and 29%, respectively.

With awards momentum and Japan still on deck March 16, we’ll be hearing more from Miguel. The Top 5 markets are China ($183.5M), Mexico ($57.8M), France ($32M), Korea ($22.5M) and Spain ($20M). The UK, which recently opened, is at $14.2M in 6th position and has school breaks ahead which should help pump it up.

THE POST

Handled by Amblin Partners and Universal International overseas, Steven Spielberg’s drama spread into 12 new markets this session for a total of 46. The weekend printed $11M to lift the cume to $40.2M ($9.7M for Uni). In highlights, Italy (Leone Film Group) opened No. 1 ahead of newcomer Death Cure, and France was the top holdover play at $2.1M for a $6.15M cume and staying power at No. 2. Uni is releasing in France and also in Argentina where The Post opened to $351K at 81 dates. The cast is a big draw there with great play in upscale markets to comp ahead of Spotlight, Argo, The Big Short, Sully and The Iron Lady. Still to come are Poland, Germany, Russia, Korea and Japan among others.

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

Fox Searchlight’s Frances McDormand-starrer posted another $8.1M in 30 markets and on 3,192 screens. Word of mouth is fueling play, notably in the UK with a 26% drop and a $12.7M cume. Also holding strong are Germany which rose 9% from last session to take $2.5M to date and Australia which fell by just 17% and has cumed $6.27M so far. In France, the dip was 24% for $3.65M so far (a screening attended in Aix-en-Provence on Saturday night was SRO — after three weeks).

Japan and Russia were new to multi-BAFTA and Oscar nominated story of Mildred Hayes with great bows of $773K on 127 and $735K on 362, respectively. The offshore cume is now $46M and there are still 28 markets and lots of awards heat to come.

DARKEST HOUR

Focus/Working Title’s WWII drama crossed $100M earlier this week worldwide and this weekend lifted to $114.8M. Released by Universal, the Gary Oldman-starrer picked up another $7.4M in the offshore session for a strong $66M to date in 55 markets.

There were eight additional hubs this session including Sweden at $191K on 78 screens and Turkey at $50K on 53. In holds, the UK is tenacious at No. 2 in its 4th weekend for a $26.15M cume off a 30% drop. France ($4.6M/-22%), Italy ($4.25M/-44%), Australia ($4.14M/-27%) and Germany ($2.3M/-16%) round out the current Top 5. Japan bows March 30.

DEN OF THIEVES

STXinternational’s Gerard Butler-starrer opened in 13 international territories this weekend for a total 31 to date. The directorial debut of London Has Fallen’s Christian Gudegast added $6.5M from 2,291 locations to cume $9.1M so far offshore. The heist pic set a new milestone for STX in the UK where this is the first of the new operation’s films to open bigger than £1M. The haul there was $1.5M at 421 dates, 97% ahead of John Wick, 72% ahead of End Of Watch and 54% ahead of Contraband.

Germany, Austria and German-speaking Switzerland culled $1.4M at 393 including $1.05M in Germany, 31% behind John Wick, 100% ahead of End Of Watch and 146% ahead of Contraband.

Australia picked up $1.07M at 189 locations, also topping comps. The Middle East region was good for $1.6M at 450 with $790K out of the UAE. Eastern Europe play has lifted to $1.16M at 245. Upcoming key markets include France and Mexico later this month.

INSIDIOUS: THE LAST KEY

Sony/Blumhouse’s chiller unlocked another $6.3M from 3,600+ screens in 56 markets, to hit $90M overseas. Korea debuted to $2.7M to set a new franchise record for biggest opening in the market. Australia, the final major, releases next weekend. The Top plays are Indonesia ($9.1M), Mexico ($8.4M), Russia ($7.1M), the UK ($7M) and France ($4.9M).

WONDER

Lionsgate’s family sleeper put another $5.7M in the school bag this weekend from 53 markets. The overseas total is now $146.5M for $277.5M worldwide. Germany stayed rapt with Wonder this session, dropping just 1% from last and cuming $4.4M after two weeks. In Israel, Wonder is now Lionsgate’s biggest release ever with $4.6M. China has risen to $24.1M after three weeks. It’s the No. 2 market on the movie. Brazil leads at $28M, Italy is in 3rd at $14M and Australia ($9.8M) and Mexico ($8.9M) round out the Top 5. Sweden and Norway are still to come.

FERDINAND
Blue Sky’s Ferdinand kicked up another $5.57M in 41 markets to hit $187M at the international box office. There were no new markets in play. China is the top hold at $1.3M for $22.48M to date. France saw an 18% drop for $16.26M after seven sessions; Brazil was down 37% for $12M; and Germany dipped 13% to cume $7.9M.

THE SHAPE OF WATER

Guillermo del Toro added to his awards haul on Saturday night, scooping the DGA prize for this fairy tale. The Fox Searchlight Oscar nominee put another $4.4M in the tank from 2,307 screens in 23 markets including a handful of new plays. In Mexico, this is del Toro’s biggest movie ever at $11.6M. It was No. 2 in its 4th session. Brazil bowed to $881K on 179 screens at No. 3; Chile took $238K on 67; Central America opened No. 2 with $234K on 120; and Hong Kong on 18 screens started off at $232K. The early international is $19.6M with Finland on deck next session.

PHANTOM THREAD

Paul Thomas Anderson’s drama stitched another $3.1M this session to lift the Focus title to $3.2M in 21 markets. Major debuts included the UK, Spain and Germany. In the former, the Daniel Day-Lewis pic bowed to $964K at 195 dates for No. 10, ahead of Nocturnal Animals, Carol, Inherent Vice and There Will Be Blood. Spain likewise opened above PTA’s There Will Be Blood with $544K at 147. It also topped Carol and Focus’ Nocturnal Animals. Germany is PTA’s best opening ever with $387K at 15, also besting Carol and Jackie. In Greece, PTA and Day-Lewis had their top starts with $328K at 50. There are several majors to come on the Oscar nominee including France, Russia, Brazil, Italy, Mexico and Korea.

MISC UPDATED CUMES/NOTABLE

Downsizing (PAR): $3.8M intl weekend (37 markets; No. 4 start in Russia); $25.6M intl cume
12 Strong (LGF): $2.9M intl weekend (37 markets); $8.7M intl cume
Star Wars: The Last Jedi (DIS): $2.8M intl weekend (28 markets/Oz tops Titanic in local currency/No. 3 release ever); $706M intl cume
My Little Pony: The Movie (LGF): $2.7M intl weekend (China only); $33.7M intl cume
Happy Death Day (UNI): $2.45M intl weekend (China only); $62.1M intl cume
Molly’s Game (S/A): $1.9M intl weekend; $22.9M intl cume
Call Me By Your Name (SNY): $1.8M intl weekend (28 markets); $9.1M intl cume
I, Tonya (S/A): $1.6M intl weekend ($3.6M Oz cume after 2 frames); $4.55M intl cume
All The Money In The World (STXi): $1.6M intl weekend (48 markets); $19.3M intl cume
Geostorm (WB): $882K intl weekend (Japan only); $184.8M intl cume
Pitch Perfect 3 (UNI): $800K intl weekend (29 markets); $78.6M intl cume

NEW LOCAL-LANGUAGE

Notable among the newcomers this session is France’s Les Tuches 3 (The Magic Tuche) with a massive $14.3M start at home. Directed by Olivier Baroux, this is the latest in the rags-to-riches fish-out-of-water comedy series about a family that wins the lottery. Testament to the strength of French comedy locally, the France debut alone puts the Tuches in 3rd position at the international box office this weekend. These sorts of comedies rarely travel beyond neighboring markets, but continue to spawn sequels and remakes. Now they’re also going to be rewarded by the industry’s highest honor. The decree came down from the Académie des Arts et Techniques du Cinéma last week that a César du Public will henceforth be attributed to the film with the best box office performance in the previous year — and that pretty much guarantees it’ll be a comedy. But unless Les Tuches 3 can pull in more than 4.53 admissions between now and the end of the month, the inaugural prize will go to Dany Boon’s Raid Dingue which was released in 2017. On the same weekend as the César ceremony, hitmaker Boon’s latest, La Ch’tite Famille opens across the country, and possibly on the way to its own César du Public next year.