Holdover week outperforms bow of 'Titans'

The international B.O. was a mixed bag of disappointing launches and healthy holdovers during the April 23-25 weekend as Warner Bros.’ “Clash of the Titans” fell flat in Japan, trumped by fellow 3D pic “Alice in Wonderland.”

Despite an intense media blitz, “Clash,” debuted with a minimal $3.1 million on 479 screens compared with “Alice’s” holdover $10.2 million take on 853. “Alice” dropped 29% in its soph sesh, boosting its cume to $37.4 million as Disney’s highest-grossing first-week release in the territory. Japan reps a significant 3D gain for both films.

Meanwhile, “Clash” took in less than half its opening gross from the 26% of its screens that were 3D. The lighter take could mean more 3D screens went to “Alice” in its second weekend. “Alice” opened in Japan with 3D earnings repping 65%-70% on 249 3D-equipped screens; the following weekend saw a considerably larger 3D share for the pic, repping 82% of its weekend box office.

Total overseas earnings for “Alice” reached a boffo $548.5 million, making it the third-highest international grosser for the Mouse House. Last weekend’s $26.7 million gross on 7,233 screens in 54 territories gave “Alice” enough steam to surpass Disney/Pixar’s “Finding Nemo,” which cumed $528.2 million in 2003.

Other notable territories for “Alice” included Brazil, opening with $5.7 million on 649 screens, as well as Spain, which dropped 40% in its soph sesh with $6 million on 638. The film repped 45% of the territory’s total B.O., and its overall gross has clocked in at $18 million. It took just five Spanish Imax locations to nab $227,030.

“Clash” grabbed the top spot in several markets, such as Mexico, Italy and Germany.

In Mexico, the swords-and-sandals 3D epic grossed $3.7 million on 1,364 screens, of which 280 were 3D. The format also helped “Clash” hold on to the No. 1 spot in both Italy and Germany, with $2.4 million and $1.4 million, respectively. Pic will face a similar battle for 3D runs on May 21 when “Clash” debuts in Brazil, going head-to-head with “Alice” in its second week.

Lionsgate’s superhero comedy “Kick-Ass” had trouble gaining traction among overseas auds last weekend, expanding to territories like Germany and Austria.

Typically, fanboy pics face tough crowds in those markets, where “Kick-Ass” failed to hit $1 million in either territory.

Co-distributed by Universal, the laffer has cumed $21.4 million in territories where U distributes, including the U.K. and Australia, while non-U markets have earned $11.2 million. The film’s overall international take stands at $32.5 million.

Gaining speed in holdover frames was 20th Century Fox’s madcap romantic comedy “Date Night,” dropping only 12% with $7.5 million on 3,120 screens in 48 markets.

The comedy, starring Steve Carell and Tina Fey, had a hard time getting laughs when it launched April 9, earning a muted $7 million on 1,616 screens in 34 territories. Since then, Fox has expanded the film to key markets like the U.K., Germany and Russia for a cume of $29.1 million as of April 26.

Debuting in Blighty, “Date Night” wooed $1.9 million on 384 screens, followed by Australia, where in its third frame, the pic grossed $1.2 million on 276.

Another continued player was Paramount and DreamWorks Animations’ 3D toon “How to Train Your Dragon,” which, in its sixth frame, scored $10.2 million on 6,671 screens in 60 territories for an international cume of $193.1 million. Worldwide, “Dragon” has fired up $373.1 million.

France came in as the toon’s top territory, holding steady in subsequent frames for a weekend take of $3 million on 811. “Dragon’s” cume reached a healthy $18.3 million in that market.

Even top holders face a stiff challenge this weekend as Par kicks off summer a little early with its tentpole sequel “Iron Man 2” bowing in 54 territories. The film launches more than a week before the Stateside bow, starting with France on April 28, and followed by Australia and Russia a day later. Blighty and Italy get the pic April 30.

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

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