Twentieth Century Fox’s “Avatar” held on to the top spot at the international B.O. over the Feb. 26-28 weekend in what may be the 3D giant’s last weekend to dominate overseas as Disney unleashed “Alice in Wonderland” day-and-date March 5.
“Avatar” earned $39.8 million at 6,626 screens in 70 territories, down just 25% in its 11th frame, for an international cume of $1.85 billion. With U.S. figures totaling $709.3 million as of March 2, “Avatar” has grossed a staggering $2.56 billion worldwide.
As of the Feb. 26-28 weekend, “Avatar” screened at 4,634 3D venues internationally, with worldwide 3D revenue tallying $1.36 billion as of Feb. 28, accounting for 75% of the film’s total global receipts.
“Avatar” will face rigid competish as “Alice” was launching in 41 key territories, including Australia, Italy and Germany, repping approximately 60% of the international market. More than half of the film’s estimated count will be on 3D-equipped screens.
“Alice” will also launch day-and-date in the U.K. despite earlier threatened boycotts from its three largest exhibs — Odeon, Vue and Cineworld — over Disney’s plan to shorten the film’s theatrical window.
In the U.K., “Avatar” grossed $3.6 million at 391 screens, enough to claim the top spot in its 11th frame. Overall cume in that territory has reached $140.5 million.
Top overseas market for “Avatar” was Germany, with $4.3 million at 498, followed by China, where the film grossed $4.2 million in its eighth frame at 792. “Avatar’s” German B.O. totals $139.7 million, while China becomes the film’s overall top earner with a cume of $177.3 million.
“Avatar” has claimed the No. 1 spot in Japan for 10 consecutive weeks, orbiting a total $140 million in that territory, slipping just 10% for a weekend gross of $4 million at 604 outposts.
Paramount’s Martin Scor-sese thriller “Shutter Island” matched top U.S. receipts with a solid overseas performance, grossing $19 million at 2,078 screens in 20 territories.
After a successful launch in Spain during the last weekend, overpowering “Avatar” with $3.4 million, “Shutter” debuted in France and Germany with mixed results.
In France, pic claimed the top spot with a gross of $6.8 million on 522 screens — the biggest opening for Scorsese in that territory, outperforming “Gangs of New York” by 65% and “The Departed” by 72%.
Meanwhile, German auds were less enthusiastic toward the Leonardo DiCaprio starrer, shelling out $3.4 million at 472, with “Avatar” still on top. Strong holdovers for the film were Australia and Spain — both in their soph sesh — where it earned $1.6 million and $2 million, respectively.
Fox’s other holdover, kidlit adaptation “Percy Jackson and the Olympians: The Lightning Thief” saw solid earnings internationally, grossing $19.5 million at 6,759 screens in 65 markets.
“Percy” debuted in Japan at the No. 2 spot behind “Avatar,” earning $4.1 million at 561. Pic should hold well in that territory, as Disney won’t release “Alice” there until April 17.
Other top markets for “Percy” included France, where it tallied $1.5 million on 547 screens in its third frame, and Spain, earning $1.4 million at 415 in its soph sesh. Disney also plans for a delayed rollout of “Alice” in both territories, allowing “Percy” a longer, unhampered run. “Percy” has cumed $8.8 million in France and $3.7 million in Spain.
Disney toon “The Princess and the Frog” drew $8.3 million at 3,203 screens in 36 markets, slipping 38% from last weekend, for a cume of $146 million.
“Princess” grossed impressive results in Gaul a week following school holidays, where it grossed $2.8 million at 700 in its fifth sesh. France’s cume totals $27.1 million, making it the toon’s overall leading territory.
In Australia, Warner Bros. launched its Oscar-nommed “The Blind Side” with $2.6 million at 221 screens, enough to claim the market’s No. 1 spot. Launch could prove encouraging for the football-themed pic, as overseas auds typically show lukewarm reactions to the pigskin sport. Warner will release “Blind Side” in the U.K. on March 12, five days after the Oscarcast.
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.