Burton's 'Bride' makes a home in second place

Clay stayed king at the foreign box office as UIP’s “Wallace and Gromit: The Curse of the Were-Rabbit” easily won its third straight weekend with $15.75 million at 3,782 playdates in 32 markets.

Underlining the attraction of family fare worldwide, “Tim Burton’s Corpse Bride” finished a respectable second with $9.4 million at more than 1,930 engagements in 19 countries.

The victory for “Gromit” — marked by strong holdover numbers — lifted the toon to a $63.7 million offshore cume and a worldwide total of nearly $108 million.

“Gromit” remained dominant on its U.K. home turf, with a 31% sophomore-session decline to $8 million at 502 locations for an impressive Blighty cume of $29 million. It easily topped a solid opening of UIP’s family comedy “Nanny McPhee” with $4.5 million at 423 and a moderate launch for “Corpse Bride” with $2 million at 403.

The second French frame for “Gromit” declined 26% to $2.15 million at 539 for a $5.4 million cume; the German soph sesh slid 29% to $1.48 million for a $4.2 million total.

“Gromit” also launched in first in Belgium with $427,000 at 86 screens in its first five days, 91% ahead of Aardman Animations’ “Chicken Run.”

“Tim Burton’s Corpse Bride,” which has cumed nearly $51 million Stateside, posted its best take in France with a winning $2.8 million at 410 playdates, 24% above “Howl’s Moving Castle.” “Bride” also took a first-place bouquet in Mexico with $1.67 million at 300 and came in second in Japan with $1.55 million at 366, finishing behind local entry “A Moment to Remember.”

Overall biz appeared respectable for a mid-autumn sesh, with results similar to the same frame of 2004, when “Shark Tale” led with $15.9 million, followed by “Collateral” with $7.1 million.

BVI’s “Flightplan” landed in third for the weekend with a solid $8.5 million at about 2,100 engagements in 21 markets. Best performance for the Jodie Foster vehicle came in the thriller’s German launch, with $3.8 million at 600, 30% above the opening for Foster’s “Panic Room.”

“Flightplan” also launched in first in Brazil with $550,000, 15% ahead of “Panic Room.” It won in Singapore with $475,000 at 30 sites, in Austria with $450,000, in Sweden with $330,00 at 50 and in Norway with $210,000 at 35.

Offshore cume for the Jodie Foster vehicle has hit $21.5 million, including $7.3 million from four weeks in Mexico. Worldwide cume is near $99 million.

Period drama “Pride and Prejudice” remained a decent attraction with $4 million at 989 playdates, including a first-place launch in Australia with $1.6 million at 221 — 20% bigger than “Shakespeare in Love.” Opening of the Keira Knightley romancer was battling for the third slot in Germany with “March of the Penguins” with $1.2 million at 282.

Offshore cume for UIP’s “Pride” has hit $29.6 million in eight territories, with $24.1 million of that from its U.K. home turf after six weeks.

UIP’s “The 40-Year-Old Virgin” continued to score foreign coin with $3.2 million at 1,470 engagements in 29 markets, lifting the offshore total to $39 million. Its third frame in Australia declined only 25% to $916,000 at 217 for an 18-day gross of $4.8 million.

Fox’s “Into the Blue” remained a moderate player in foreign markets, diving for $2 million at 704 sites for the weekend to boost offshore cume to $7.1 million. The Australian opening took in a modest $769,000 at 184.

Fox’s “In Her Shoes” kicked in a decent 20% soph-sesh decline in Australia to $995,000 at 391 and opened in New Zealand with $158,000 at 40. Distrib’s “Transporter 2” took in $1.4 million at 449, including a Spanish soph sesh of $735,000 at 275, down 39%.

Domestic winner “Doom” opened day-and-date in nine midsize territories for UIP with $1.3 million at 300 playdates. Highest takes came in Thailand with $327,000 at 55 and in Malaysia with $200,000 at 36.

UIP reported unimpressive results for openings of “Domino” in Japan — seventh place with $450,000 at 230 — and in Mexico — 12th place with $90,000 at 203.

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