Hoppers holds are -37% stateside, and -17% abroad and was the top non-local movie opening in Japan ($2.4M), Hong Kong (best for an original animated pic since 2017’s Coco), Singapore (best opening for a Disney and Pixar original animated pic since 2016’s Moana) and Vietnam. The Japanese opening repped the second highest bow for an original animated film post Covid. The second frame overseas hold is stronger than the second weekend declines of Zootopia (-18%) and Wreck-It Ralph (-23%).
Overall, Hoppers was the top non-local movie in all major European markets (except Netherlands) as well as Asian and Latin American markets. Great holds include the major markets of Germany (+38%), Mexico (-3%), Italy (-13%), Korea (-26%), Brazil (-27%), France (-31%), Spain (-37%) and UK (-37%). Other second weekend spikes include Switzerland (+67%), Belgium (+44%), Netherlands (+17%), Sweden (+10%), Ecuador (+4%), Denmark (+3%), Czechia (+2%), Portugal (+1%) and Chile (+1%).
That second weekend domestic hold is on par with Inside Out (-34%) and Elemental (-38%).
Updated foreign cumes are UK ($10.1M), Mexico ($7.6M), Germany ($7.3M), France ($6.1M), Spain ($4.8M), Italy ($3.9M), Korea ($3.6M), Brazil ($3.5M), Japan ($2.4M) and Poland ($2M).
Next weekend Hoppers springs into China, Saudia Arabia, UAE, Israel, Malaysia and Taiwan. Australia timed to vacations is March 26.
Upcoming releases are March 18 in France, Brazil on March 19, Spain on April 10, and Korea on May 27.
Other shoutouts:
While Paramount/Spyglass’ Scream 7 crossed $100M on Friday in North America, around the globe it’s now the highest grossing installment in the franchise with $176.9M, ahead of the original Scream’s reported $173M. Global weekend $17.7M ($8.3M domestic, $9.4M abroad from 55 markets, a weekend decline of -41% and a running cume of $70.4M surpassing the lifetime gross of Scream VI ($66.4M).
Top four market weekends were France ($1.3M third frame, 440 theaters, No. 4, -41%, cume of $8.5M), Germany ($980K third frame, 499 locations, No. 3, -20%, $5.1M cume), Mexico ($953K third weekend at 843 theaters, No. 3, -34%, cume of $6.5M) and Brazil’s third weekend of $844K at 706 sites, -45%, No. 2 and cume of $5.6M).
Sony’s GOAT took in $13.8M global ($9.1M offshore) in weekend 5 taking its foreign to $72.2M in 53 markets (14,400+ screens) and North American cume to $90.6M. China delivered $3.3M over 2 days while the animated pic opened to No. 1 in Australia with $3.2M (including previews). Top market cumes: UK ($17.2 million), France ($5.5 million), Mexico ($5.3 million), Spain ($4.3 million), and Germany ($4.0 million). GOAT trots next into Korea (April 17) and Saudi Arabia (April 23).
Also holding steady and leading China’s box office is racecar movie Pegasus 3 in weekend 4 with $11.2M and a running cume of $615.8M.
Sony Pictures International’s Torrente Presidente ruled Spain with $8M at No. 1. The sixth installment in the Santiago Segura starring and directed franchise takes the series to $104.5 million. The opening is 86% above Torrente 5: Operación Eurovegas and the highest for a local language title in Spain since Torrente 4 in 2011. The pic follows José Luis Torrente as he mounts a campaign to become President of Spain.
And we can’t forget Focus Features’ 8x Oscar nominated Hamnet which appropriately grosses past the century mark ($100.6M) on Oscar Sunday. $1.87 global weekend with $1.67M of that from offshore with a $56K opening at 19 screens in Hong Kong. Among holdovers, Italy added $300K in its sixth weekend with a running cume of $4.1M, higher than The Brutalist, Belfast, Sinners and The Favourite. Spain saw a weekend 4 of $152K and running cume of $8.4M, ahead of Conclave. Other achievements for Hamnet: It’s the fifth biggest global B.O. for a female directed Oscar nominated movie (behind Barbie, The Piano, Zero Dark Thirty and Lost in Translation). It’s also filmmaker Chloe Zhao’s second biggest movie at the global B.O. behind Eternals ($402M). Hamnet’s $75.2M foreign box office is the No. 4 biggest International box office for a female directed Academy Award Nominated film of all-time (behind Barbie, The Piano and Lost in Translation), and it’s also Zhao’s second at the foreign B.O. behind Eternals ($237.1M). In the UK alone, the pic’s $25.3m gross (£18.7M) was the best for a BAFTA Best Picture nominee, surpassing Sinners ($22.2M).
