'Avatar' still packs power in some territories

Disney’s 3D fantasy “Alice in Wonderland” continued to make headway at the international B.O. over the March 12-14 weekend, entering its second stanza, with $76 million at 6,621 screens in 48 territories, good for 65% of the international market.

The film’s overseas cume grew to $221 million over the weekend, making it the all-time highest soph sesh earner for a first-quarter release. Pic’s worldwide total stands at $430 million.

“Alice” also saw a sizable boost from 3D revenue, totaling $152 million, which accounted for 70% of its overseas take.

Holdover markets ruled the kingdom for “Alice,” accounting for $71.5 million of the total weekend take.

The U.K. was top “Wonderland” turf, as the film grossed $10.8 million on 755 screens in that territory, down just 33% in its second sesh. The Tim Burton-directed pic nearly doubled the gross of Disney’s “Pirates of the Caribbean: The Curse of the Black Pearl” over the same 10-day period in 2003.

Russia followed with $10.6 million on 576 screens, dropping 25%, while in Italy, the film was down 20% for a weekend take of $9.3 million down 730 rabbit holes. Pic has grossed a total $32.2 million in Blighty, making it the most profitable market for “Alice,” and $28.7 million in Russia.

Meanwhile, in Germany, “Alice” slipped a mere 2% with a gross of $7.1 million on 486 screens, cuming $16.4 million. The film should overtake Burton’s previous highest grosser, “Planet of the Apes,” in the coming weeks.

“Alice” debuted in smaller markets, including Benelux, Finland and Ukraine, contributing an additional $4.5 million for the weekend with key overseas territories still to come. Pic will bow in France on March 24, followed by China two days later, and in Japan on April 17.

Despite “Alice’s” overseas domination, 20th Century Fox’s 3D conqueror “Avatar” maintained its stronghold on the international front with $17 million at 4,000 screens in 69 markets. Overseas cume is $1.91 billion.

In Japan, where “Alice” hasn’t open yet, “Avatar” was down 12% in its 12th frame, enough to make it the film’s top market, with $3.1 million on 450 screens and an overall take of $155.8 million.

The film continued to capture German auds in its 13th frame with $2.2 million on 422 screens for a cume of $146.1 million, while Chinese auds shelled out $1.9 million at 550. China ranks as the film’s top market, with a high-flying $188 million.

Paramount’s Martin Scorsese-helmed thriller “Shutter Island” also performed well in holdover frames, earning $19.2 million with top launches in 18 territories, including the U.K., Brazil and Argentina.

In Blighty, “Shutter,” starring Leonardo DiCaprio, grossed $3.5 million at 417 screens. Pic outperformed Scorsese’s “The Aviator” by 89% and scored a 22% improvement on DiCaprio’s “Blood Diamond.”

“Shutter” debuted in the top spot in Brazil with $1.1 million at 158 screens, while in Argentina, the film grossed $322,000 at 44 screens.

France ranked as the pic’s top holdover market, scaring up $2.9 million on 553 screens, down 37% from last weekend, with a cume of $17.3 million in its third frame.

Opening day-and-date with its U.S. bow was Universal’s release of its Iraq War-themed actioner “Green Zone,” which took in $9.7 million on 1,562 screens in 14 territories. Pic’s worldwide cume reached $24.2 million. Top market was the U.K., with $3.3 million at 419 screens, behind “Alice” and “Shutter Island,” respectively.

Australia also saw strong results for the political thriller where it grossed $1.9 million on 212 screens, while “Green Zone” bowed in the top spot in Spain — another non-“Alice” territory — with $1.7 million at 306.

Pic opened with lackluster results Stateside, earning $14.5 million, and should face a similar uphill battle among overseas auds given its subject matter. “Green Zone” is set to launch in an additional 48 territories over the next few months, including Germany, Austria and Switzerland next weekend.

Emilio Mayorga in Barcelona, Mark Schilling in Tokyo, Clifford Coonan in Beijing, Andrew Horn in Berlin, Lauren Seligman in Paris and Nick Vivarelli in Rome contributed to this report.

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