But 'Robin Hood' lies in wait in key territories next week

With a week of international play already under its belt, Paramount and Marvel Entertainment’s “Iron Man 2″ continues to rocket overseas, taking in an additional $57.2 million on 10,774 screens in 61 territories during the May 7-9 weekend for an international cume of $194 million.

Par added a week of playtime for “Iron Man 2″ before Universal’s May 12 overseas rollout of “Robin Hood,” which screened as the opening-night pic at the Cannes Film Festival, with simultaneous debuts in key European markets, including France and Russia, where the film is expected to open strong.

Still, with holdover potential in several international territories, “Iron Man 2″ should continue to reap solid figures.

Last weekend, the “Iron Man” redux launched in China, repping the film’s top market, with $7.3 million on some 3,000 screens. The comicbook sequel had no problem outperforming its predecessor in that territory, where the original cumed $12.9 million in 2008.

Germany also repped a solid launch for the latest “Iron Man,” earning $3.3 million, approximately 15% ahead of the original pic. Local distrib Concorde has the pic in both Germany and Austria.

The “Iron” grip held firm to the No. 1 spot in top holdover territories the U.K. and South Korea. In Blighty, “Iron Man 2″ took in $4.9 million on 426 screens, down 53% in its soph sesh. Pic has cumed $23 million, compared with the first film’s total gross of $33.8 million. South Korea saw an additional $4.7 million take on 834, slipping 57%, for a cume of $22 million.

In Gaul, where “Robin Hood” also is set to preem, “Iron Man 2″ fell just 55% in its soph sesh, finishing No. 2 in that territory just behind local laffer “Camping 2″ ($4.3 million). “Iron” mined $4 million on 655 screens, bringing its total to $13.8 million.

Thanks to higher 3D ticket prices, the frame’s 3D holdover pics, led by Disney’s “Alice in Wonderland” and Warner Bros.’ “Clash of the Titans,” continue to fare best against 2D “Iron Man 2.”

Top three territories for “Alice” — Japan, Brazil and Spain — repped 80% of the film’s $12.5 million weekend gross.

Boosted by Japan’s Golden Week holiday frame, “Alice” held on to the top spot in that territory for the fourth consecutive week, earning $5 million for an overall $89 million. “Alice” has already surpassed Disney’s last two “Pirates of the Caribbean” installments in Japan.

The 3D fantasy strong-armed “Iron Man 2″ in Brazil and Spain, cuming $17.9 million and $24.8 million, respectively.

With the weekend total raising “Alice’s” international cume to $633 million as of Tuesday, the film now stands as the 10th highest-grossing pic overseas. “Alice’s” global total reached $964 million, making it the seventh-highest international earner, surpassing Disney’s “Pirates of the Caribbean: At World’s End,” with $961 million worldwide.

Warner’s “Clash” trailed “Alice” internationally, earning $8.3 million on 5,900 screens in 60 markets. The film’s 3D component repped a hefty 70% of the weekend take on approximately 51% of its total screen count. Overseas cume for the 3D epic stands at $295.4 million, of which 65% came from 3D-equipped screens.

Blighty ranks as “Clash’s” top territory, with $30 million, followed by Russia ($24.6 million) and China ($24.2 million).

Warner also repped one of the week’s top new entries, horror reboot “A Nightmare on Elm Street,” which debuted with $6.5 million on 1,250 screens in 10 territories.

Despite a chart-topping holdover performance from “Iron Man 2″ in the U.K., “Nightmare” still turned in $2.5 million on 354 screens. The scarer also saw top returns in Russia, where it grossed $3 million on 525, outranking, Warner Bros. and New Line’s “Friday the 13th” by 61%.

“Nightmare” will face tough competition in France next weekend, opening against “Robin Hood,” but should find an easier time in Mexico as the territory has no major tentpole releases. Pic is slated for release in Germany, South Korea and Australia on May 20.

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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