Angelina Jolie, an Oscar winner with a long track record appearing before the camera and working behind the scenes on movies, is back in the awards season conversation for her performance as Maria Callas in Pablo Larrain’s Netflix biopic about the Greek opera singer. Although “Maria” will get a limited theatrical release on Nov. 27 before streaming, its box-office take is unlikely to approach that of Jolie’s biggest live-action hits, which include a pair of “Maleficent” films and “Mr. & Mrs. Smith.”
Disney’s first live-action Maleficent film, starring Jolie as the evil fairy who curses Sleeping Beauty, earned $759.9 million worldwide in its 2014 release, while “Maleficent: Mistress of Evil” grossed $491.7 million globally five years later. “Mr. & Mrs. Smith,” released in 2005 at the height of the Brangelina tabloid frenzy, is close behind with $487.3 million worldwide.
Other notable hits include “Eternals,” a 2021 superhero movie that grossed $402.1 million globally. Jolie also did vocal work for the popular Kung Fu Panda animation franchise and scored her first and so far only Oscar for “Girl, Interrupted,” a 1999 drama starring Winona Ryder that grossed $48.4 million.
Tuesday, May 7, 2024
Broadway Begins Spring Crunch Shakeout, With One Announced Closing And Lower Attendance For Some Newcomers – Box Office https://t.co/QqWbf8yEd8
For the week ending May 5 – the first full week after the April 30 Tony nominations announcement – while overall box office was down about 7% for all shows and attendance off about 6% from the previous week, a good number of the newcomers were filling more than 90% of their seats.
An Enemy of the People, $1,048,286 (100%)
Cabaret at the Kit Kat Club, $1,920,289 (100%)
Hell’s Kitchen, $1,270,519 (100%)
The Outsiders, $894,176 (98%)
Stereophonic, $591,519 (98%)
Mary Jane, $467,047 (97%)
Mother Play, $551,925 (95%)
The Wiz, $1,458,478 (95)
Uncle Vanya, $998,040 (92%)
Illinoise, $684,393 (91%)
Appropriate $659,263 (88%)
The Great Gatsby, $1,049,784 (84%)
The Notebook, $673,430 (83%)
Water For Elephants, $1,010,054 (83%)
Lempicka, $275,049 (84%)
Suffs, $630,781 (81%)
Season to date, Broadway has grossed $1,467,169,372, with total attendance at 11,708,225.
All figures courtesy of The Broadway League. For complete box office listings, visit the League’s website.
Friday, September 2, 2022
Unlike just about every other summer, this summer there were no 9-figure-budgeted tentpole disasters, no event films that arrived stillborn at the cineplex. Which is all to say that the summer of 2022 can be understood as the Summer of (Almost) No Flops https://t.co/F57hpwYHRZ
In the underperformer department, that only leaves the late-inning Summer of Almost No Flops entry Bullet Train — the Brad Pitt–led ensemble action-comedy also featuring Bad Bunny, Joey King, Brian Tyree Henry, and Andrew Koji as train-bound assassins with competing agendas — which hit theaters August 5. It has grossed $174.9 million worldwide (versus its $100 million price tag and at least $50 million in prints and advertising-related costs) to just squeak into profitability, narrowly avoiding becoming its distributor Sony’s first money loser since Peter Rabbit 2 in June 2021. There’s no way to say Bullet Train didn’t come up financially short, but as Bock sees it, this is still no Pluto Nash.
“Yes, Sony was certainly expecting a lot more out of this film and it’s not going to pull any sort of Top Gun,” Bock says, referring to how the Tom Cruise sequel is now poised to potentially reclaim the top spot at the box office this weekend as newly released movies squeeze to a halt. “It’s not an outright bomb. Again, it’s in the gray zone. They at Sony have a deal with Netflix. So I’m sure it’ll be No. 1 on Netflix in a few weeks.”
Saturday, August 6, 2022
(To be clear, this wasn’t meant as a diss on Pitt but rather to question whether $30 million really is “disappointing” given his “star power,” per Variety’s spin.)
“Bullet Train,” a John Wick-ian romp with Brad Pitt in the aisle seat, arrived in theaters with a $30.1 million opening weekend. That’s enough to top the domestic box office, but it’s a middling result given “Bullet Train’s” $90 million price tag and Pitt’s star power. The Sony Pictures release will need to maintain momentum in the coming weeks as it tries to break even or turn a profit.
“A big film like this with lot of expectations should have had stronger debut,” says Jeff Bock, senior media analyst with Exhibitor Relations. “That said, there’s not a lot of competition in August, so ‘Bullet Train’ should have a good window to make its mark in the coming weeks.”
“Bullet Train” is trying to prove that an action flick that isn’t based on a well-known property can defy the odds and resonate with audiences. But part of the issue for the film is that critics weren’t on board. “Bullet Train” landed a mediocre 54% approval rating on review-aggregation website Rotten Tomatoes, with many reviewers faulting the movie for being overly derivative. Variety chief film critic Peter Debruge was mixed on “Bullet Train,” writing that “neither the characters nor the film they inhabit are particularly deep.”
International Box Office: Brad Pitt’s ‘Bullet Train’ Nets $32.4 Million, ‘Thor: Love and Thunder’ Nears $700 Million Mark https://t.co/fEgutJqiMx
“Bullet Train,” a hyperviolent action thriller with Brad Pitt providing the propulsion, racked up $32.4 million at the international box office.
The Sony Pictures release, which carries a hefty $90 million budget, has earned $62.5 million worldwide over its opening weekend. The studio says that those results indicate the film in on pace to match hits such as “Murder on the Orient Express” and “Kingsman: The Secret Service.” Pitt’s latest effort was available in 73% of the international market or more than 15,900 screens. It was the top-grossing global release of the weekend.
“Bullet Train,” a star-studded film about battling assassins, performed best in the U.K., where it had a 5-day total of $3.5 million, followed by France with $3.1 million and Mexico with $3 million. In addition to Pitt, “Bullet Train” stars Joey King, Aaron Taylor-Johnson, Brian Tyree Henry, Sandra Bullock and Bad Bunny.
Tom Cruise may have been dubbed “Hollywood’s Last Real Movie Star” by the New York Times, but Sony Pictures is betting big there’s at least one other leading man in Tinseltown who can pack theaters on the strength of his name alone.
The studio will test the power of Brad Pitt’s popular appeal as it opens “Bullet Train” in 4,300 North American theaters on Friday. The high-octane assassin thriller is projected to bring in $30 million or more in its box office debut, enough to lead domestic charts. It wouldn’t be a bad start in today’s fractured moviegoing landscape. But those projections are lower than independent box office experts were expecting for a high-profile thriller aimed at adult men.
The R-rated “Bullet Train” didn’t come cheap, so it’ll need to keep playing in theaters throughout the summer to justify its hefty price tag. Sony spent $90 million to produce the film, not including the many millions spent to promote it to the public.
— Gregory Ellwood - The Playlist 🎬 (@TheGregoryE) August 2, 2022
Opening day, Metacritic is at 49 with 47 critic reviews. It's 54% on RT with 162, 83% audience from 250+
Leitch's last 3 directorial efforts (FF Hoobs & Shaw, Deadpool 2, Atomic Blonde) had an ave. of 77% on RT. Bullet Train is right in Leitch's wheelhouse and has a a strong cast, it is a surprise that it lags by this much. But then Those Who Wish Me Dead was also right in Taylor Sheridan's wheelhouse, also with a strong cast, and it also lagged (62% on RT, 59 in Metacritic) his previous efforts as a director/ screenwriter (Wind River, Sicario). It did better with the audience (86% on RT) and this likely will as well. But the report above that leads in with Tom Cruise is lazy, tabloid-style writing trying to stir up Tom vs Brad. It's a given that every movie tests the stars' box office drawing power -- how they are able to draw in more people than would see it otherwise. Top Gun Maverick with 97% critics, 99% audience, PG-13, and a budget of $170M cannot be compared with Bullet Train on any level.No star can overcome the quality of the film and "pack in theaters on the strength of his name alone."
Bullet Train could be compared to Atomic Blonde (79% critics, 64% audience on RT) -- both R rated, both by Leitch. Atomic Blonde opened to $18M on a budget of $30M, eventually making $50M domestic, $100M worldwide. With 3X the budget, 3X the gross would seem to have been the target. Tom was a producer of Top Gun Maverick. He was paid $13M upfront but stands to make over $100M after its phenomenal success. Brad was paid $20M to star in Bullet Train. It looks like it was a good decision to have most of it upfront.
This Tom Cruise interview turned out to be genuinely wonderful. At one point he goes on a long monologue about his career, his early years, the MISSION: IMPOSSIBLE series, and why he wants to make these movies that I found quite revealing. Also: Lots of COLOR OF MONEY content! https://t.co/0sJwSMT0Bl
Eternals this weekend leapt over Dune and Black Widow in the 2021 worldwide box office rankings. It is currently just $3M behind No Time to Die in domestic and trails Shang Chi by $40M+ global.
If the film was better received, it would probably be in the $600M range, ahead of Venom and behind F9. All things considered, I think Marvel will be pleased and relieved with what Eternals has made.
#Eternals was off 50% from Thanksgiving at $3.9M in 5th wknd raising domestic #boxoffice to $156.5M with global heading to $400M+. Top overseas mkts:
Korea $26.8M UK $19.3M France $15.6M Mexico $14.9M Brazil $12.1M Australia $10.7M Japan $10.2M
In holdover play, Disney/Marvel’s Eternals had a $10.2M session in 49 markets. The offshore gross is now $217.8M for $368.4M worldwide. Overall, the drop was 57%. Notably in Italy, Eternals has become the highest grossing film of the pandemic (surpassing No Time To Die). The Top market to date is Korea ($26.4M), followed by UK ($18.7M), France ($14.9M), Mexico ($14.3M) and Brazil ($11.1M).
Mini Ikaris and Sersi take on… Marvel's Makkari and Thena! Watch their interview with Lauren Ridloff and Angelina Jolie and experience Marvel Studios’ #Eternals in cinemas now. pic.twitter.com/MOQunRhrPx
US/Canada $118.8M Korea $22M UK $14.3M France $11.5M Mexico $10.2M Brazil $7.8M Australia $7.8M Italy $7.5M Japan $6.8M Germany $6.6M Taiwan $6.4M Spain $5.5M HK $5.4M Russia $5.4M
US/Canada $71M Korea $14.4M UK $7.1M France $6.7M Mexico $5.7M Australia $5M Italy $4.6M Germany $4.3M Brazil $4.2M Taiwan $3.8M Japan $3.7M HK $3.4M Spain $3M
deadline
MALEFICENT: MISTRESS OF EVIL
In the 5th weekend, Disney’s sequel is still holding nicely, grossing $11.8M this frame for $353M overseas. Globally, $459M makes the sorceress the the No. 13 worldwide release of 2019, soon moving up to the 12th spot.
The original Maleficent did $382M internationally at current exchange rates, putting Mistress of Evil
$30M shy of that total. The film has already passed its predecessor in
China, France, Korea, Brazil, Russia, Philippines, Indonesia, Thailand,
Netherlands, Malaysia, Argentina, Poland and India.
Top 5 markets are China ($48.8M), Russia ($33M), Mexico ($23.6M), France ($19M) and Brazil ($18.5M).
Scott Mendelson
Walt Disney’s Maleficent: Mistress of Evil earned $1.187
million (-40%) to pass $100 million domestic, setting the stage for a
$4.86 million (-42%) fifth weekend and $105.653 million 31-day cume.
Presuming it has still earned 78% of its money overseas, the $185
million Angelina Jolie flick will end tomorrow night with around $465
million worldwide. That’s past the arbitrary 2.5x “break even” point. It
may not be a super smash, but it’ll eventually break even (and possibly
turn a profit) over the long haul as it makes its way to $500 million
global. Moreover, to the extent that the ten million (or more) Disney+
subscribers missed this one in theaters, it’ll be an A-level premiere
when it pops up on the streaming service next year.
deadline Meanwhile Maleficent:
Mistress Of Evil, which started off somewhat slowly a few weeks back,
crossed the $400M mark globally this frame, conjuring $430.3M to date.
This is the third Disney Live Action title to get to the benchmark this
year. The overseas cume after a $19.9M frame is $333M. The Angelina Jolie sequel has topped the original tile in 12 market including China, France, Korea, Russia, Indonesia and Poland.
Thursday, November 7, 2019
Mendelson makes interesting statistical comparisons. But I find some of his arguments less than convincing. I seriously doubt MMoE was advanced from May 2020 in order to get it to Disney+ faster. There is already an abundance of material for Disney+. But I could imagine that Eternals' release in November 2020 might have played a role since a 6-month gap between them would mean an overlap in their campaigns with both prominently featuring Angelina in fantasy roles. Disney has a lot more riding on Eternals which anchors phase 4 of the MCU and their first priority would be to protect it. When they announced the change in MMoE's release date in early March this year Angelina would have already been signed for Eternals. Her involvement was leaked in late March.
If they had gotten a truly competent director, the change in release date may not have mattered. As it is, Disney could have tweaked MMoE into a better film, crafted a more effective promotional campaign, and MMoE could have benefited from a summer release. The difference would be the gap between MMoE's eventual haul and M's $758M.
We'll have to wait til Frozen 2 is released to judge how well MMoE held. Its week to week hold has been good so far, down 32% (domestic) from the previous weekend, down 38% for the week -- a reflection of good word of mouth and its audience score. Mendelson points put that MMoE has already done better than Alice TTLG, Dumbo and Mary Poppins Returns. All had much lower audience scores of 48%, 50% and 66% respectively.
In a random Tuesday box office update, Walt Disney’s Maleficent: Mistress of Evil, starring Angelina Jolie, Elle Fanning and Michelle Pfeiffer,earned
$1.74 million yesterday, falling just 20% from last Tuesday and jumping
an absurd 106% from Monday. I don’t know if that’s a record
(non-holiday) Monday-to-Tuesday jump, but it’s almost certainly among
the very biggest. The Angelina Jolie flick has now earned $87.824
million as it remains on track for a $115 million domestic total. That’s
a sharp comedown from Maleficent’s $242 million domestic cume
in the summer of 2014, especially as this sequel cost about the same
($180 million) as its predecessor. It has earned just 22% of its global
total in North America. As such, Mistress of Evil should cross $315 million overseas and $400 million worldwide today.
Alice Through the Looking Glass ($299 million in 2016), Dumbo ($350 million in 2019) and Mary Poppins Returns ($349.5 million in 2018).
Oz: The Great and Powerful ($492 million in 2013) and Cinderella ($542
million in 2015).
Rio 2 ($131 million/$500 million worldwide in 2014)), Ready Player One ($137 million/$587 million in 2018), Transformers: The Last Knight ($130 million/$605 million in 2017) and Life of Pi ($125 million/$609 million in 2012)
Fate of the Furious earned
$226 million in North America in 2017, which is the lowest domestic
total for any Hollywood flick that earn on to earn even $900 million
worldwide, let alone its eventual $1.236 billion global cume. Fast & Furious Presents: Hobbs & Shaw earned
$758 million despite “just” $173 million domestic, the third-lowest
domestic total for a live-action $700 million-plus Hollywood release
after Pirates of the Caribbean: Dead Men Tell No Tales ($172 million out of $794 million in 2017) and 2012 ($166 million/$769 million in 2009).
The Last Samurai ($111 million domestic and $457 million worldwide in 2003), The Chronicles of Narnia: The Voyage of the Dawn Treader ($104 million/$415 million in 2010), The Mummy: Tomb of the Dragon Emperor ($102 million/$403 million in 2008), Pacific Rim ($101 million/$411 million in 2013) and Troy ($133 million/$497 million in 2004). And it should be noted that there has yet to be a fourth Mummy or Narnia flick while Pacific Rim: Uprising earned just $290 million worldwide in 2018.
Even if Mistress of Evil,
which I will argue was a better movie than its predecessor, won’t be a
blow-out hit, just breaking even is a qualified win for this one. That’s
both because it was (arguably) dropped into theaters this year instead
of May 2020 in order to get it onto Disney+ faster and because it shows
that the live-action Disney fairy tales can potentially justify sequels,
especially if they can keep the budgets in check. Moreover, even if
they lose a few bucks spending too much on Maleficent 2, they
still have a mega-budget theatrical offering to tout as a “big deal”
when that movie arrives on Disney+. And, yes, folks spending money on Maleficent: Mistress of Evil is folks not spending money on non-Disney movies.
If the goal is market share, then even a box office disaster like the (as of now) $145 million-grossing Terminator: Dark Fate (which
Fox/Disney is distributing outside of North America and China) helps
the Mouse House. Between October 17 and December 25, Disney had/will
have the second-biggest global grosser of the fall (between Joker and It Chapter Two), the two biggest global live-action flicks of the Thanksgiving season (Terminator: Dark Fate and Fox’s Ford v Ferrari, unless Doctor Sleep pulls a Conjuring for Warner Bros.), the biggest toon of Thanksgiving (Frozen II) and Christmas (Spies in Disguise) and presumably the biggest movie of the post-summer calendar (Star Wars: The Rise of Skywalker). At least for the end of 2019, Disney’s acquisition of Fox will allow it to totally control market share. Follow me on
Twitter.
Check out
my
website.
Still talking about cameras and still not mentioning it's star.
Variety
Among holdovers, Disney’s “Maleficent: Mistress of Evil”
brought in $40 million this weekend ... Though the first film earned a massive $500 million abroad,
“Maleficent 2” has already surpassed the lifetime tally of the original
in 11 markets, including China ($46.9 million), Russia ($28.2 million)
and France ($15.3 million).
------
Random
Break even per Deadline is $400M and MMoE should pass that within the coming week. MMoE is making just half of what M made in North America, but a far greater % (95% vs 70%) of the audience liked it. That is helping MMoE hold well and should boost ancillary revenues. Perhaps more important, strong audience goodwill means Disney has a more valuable franchise in its hands. Even before MMoE appears in Disney+ the numbers should already justify a sequel. If they decide to move forward with M3, they will hopefully have learned their lesson and not choose another unproven director. M was Robert Stromberg's first as a director. MMoE was Joachim Rønning's first on his own -- all his previous films were with his directing partner Espen Sandberg. A female director would be fitting for a female-led franchise.
After an international debut that was at the low end of expectations last week, Disney’s Maleficent: Mistress Of Evil had a good hold of -43% and with families turning up during the midweeks. The overseas weekend was worth $64.3M for an offshore cume of $228.1M and a global tally of $293.5M to date.
Europe held well with France down just 10%, the Netherlands -11%,
Poland and Russia off 35%, and the UK and Germany dipping 36%.
Asia/Pacific, excluding China, has grossed $98M regionally while China, which performed solidly in the midweeks, dipped 61% for a $42M cume through Sunday. Also of note, MMOE is now the all-time highest grossing Disney Live Action release in Thailand.
Latin America as an overall region dropped by just 37%, holding No. 1s
in Mexico, Brazil, Peru, Colombia, Ecuador, Central America, Venezuela
and Paraguay.
Overall, Maleficent 2, while not casting a mega-spell, has
passed the lifetime cume of the original in Indonesia, Thailand,
Argentina, Russia, India and China (unadjusted).
The Top 5 are China ($42M), Russia ($21.2M), Mexico ($15.1M), Brazil ($10.1M) and France ($9.9M).
I think the clip above captures the feel of MMoE better than the other clips and trailers they released which focused heavily on the dark scenes and didn't make it look like a fun fairy tale for the whole family. As Deadline pointed out, the film's marketing failed to effectively sell the film and show how it was different from the first. That may be among the issues a Disney employee alluded to in her tweet: "Regardless of how it does, I’m still v thrilled to watch this film that #AngelinaJolie worked & pushed so hard to mold into its best shape possible in spite of all the hardships & over bearing men." Angelina was very cool when asked why she wanted to work with Rønning at the London press con. She clarified it was Disney who was "very excited about Joachim." She added it is "always interesting to work with different directors and have a new take on a film, since our first director made a beautiful film and then to see with new fresh eyes." And with a shrug she quickly tossed the question over to the rest of the cast: "Does anybody else have thoughts on Joachim?" She made no comment about his work or her experience working with him. Linda Woolverton had praised Angelina, "She’s a really
multi-talented individual. She isn’t just all about being an actress.
She really brings so much to the table." Rønning described her as "Relentless." He is undoubtedly one of the "over bearing men" who caused her "hardships" and by the time the film was released, their relationship was so strained she did not want to stand beside him on any red carpet or public appearance. The general audience connected with MMoE's story and message which Woolverton said she and Angelina worked on together. With over 11K ratings, MMoE's audience score remains at 95% and is its source of strength. The critics on the other hand looked at the storytelling -- and felt it did not work enough to support the cast or the visuals. Angelina probably agreed. More verified accounts raved about OUATIH and Ad Astra than MMoE. If there is an M3, it will have a new director -- probably a female director -- not necessarily Angelina.
Actual global weekend box office is $155M vs $153M estimated. Both domestic and international came in $1M above their respective estimates -- a positive sign that good word of mouth is having an effect. Audience score has fluctuated between 96% and 95%. It has a higher number of ratings than The Addams Family or Gemini Man which both opened a week ahead -- an indication that people are eager to share their opinions.
MALEFICENT: MISTRESS OF EVIL
$36.94M Weekend (Actual)
3,790 Screens / $9,749 Avg.
Weekend 1 / New
$36.94M Total (North America)#Maleficent#MistressOfEvil#BoxOffice
An indication for optimism: the follow-up had a far stronger opening overseas, where it collected $117 million over the weekend,
pushing its global bounty to $153 million. Outside of the domestic
market, “Maleficent: Mistress of Evil” posted the biggest launch in
China with $22.4 million, marking a 15% increase in ticket sales from
the original. Another promising sign is the first movie earned $500
million internationally, twice what “Maleficent” made in the States. The
film ended its box office run with a mighty $758 million globally.
Box office watchers point out that “Maleficent: Mistress of Evil”
arrived on the big screen five years after the original, allowing
audience interest to diminish before the second entry premiered. The
sequel received poor reviews from critics, suggesting to moviegoers that
they might be better off waiting to see the film when it inevitably
hits Disney Plus, the studio’s forthcoming streaming service.
Although it received mostly negative critical sentiment, ticket
buyers who did show up on opening weekend were enthusiastic about
“Maleficent: Mistress of Evil,” and positive word of mouth could point
to a long life in theaters as Halloween nears. While “Maleficent 2”
holds a 40% Rotten Tomatoes average from movie reviewers, the PG movie
scored an A CinemaScore and a strong 96% average among moviegoers on
Rotten Tomatoes.
“We’re optimistic about the overall performance,” said Cathleen Taff,
Disney’s president of global distribution. “With great word of mouth,
audiences will gravitate to the film.”
Taff adds, “Given the competition in China with ‘Gemini Man’ and local projects, we’re ecstatic about the results there.”
“Disney has one of the deepest benches, to put it mildly,” Dergarabedian
said. “They have so many big films on the way. To me, it’s not always
about the opening weekend. What pays the bills is where you are at the
end of your run.”
‘Maleficent: Mistress Of Evil’ Conjures $117M Offshore Bow While ‘Joker’ Jabs At $500M Overseas & Lands $738M WW So Far – International Box Office https://t.co/wyDf4qrfMzpic.twitter.com/bOcd8JdxyR
Disney’s Maleficent: Mistress Of Evil came within, but on the low end, of pre-weekend industry projections with $117M at the international box office. Counting the disappointing domestic opening of $36M, the global debut is $153M.
Heading into the launch session, the industry was seeing a
$115M-$125M overseas start for the Angelina Jolie sequel. The result is
above the original’s 2014 opening of $109M in like-for-like markets and
at today’s rates — just a roughly 7% bump.
The film did see upswings in weekend play and with good audience
scores — plus, there’s nothing in the way in the coming weeks, apart
from local product, until Disney’s own Frozen II in November.
Disney’s President Theatrical Distribution, Franchise Management and
Business & Audience Insights, Cathleen Taff tells Deadline the film,
which saw piçk-up on Saturday and Sunday, “seems to be connecting with
fans and we are looking to have word of mouth propel a good run.”
But there are some problem areas here. In Japan, a mixture of factors worked against the picture this weekend. First and foremost is Joker which provided villainous competition, jumping 36% from last session to become the No. 2 DC movie ever in the market at $25.3M.
Japan was the top overseas hub for Maleficent, and in 2014 took over No. 1 from Disney’s own Frozen which had held the spot for 16 weeks at the time. This weekend, Joker
gave the evil mistress a run for her money. Other factors in Japan this
frame include lingering effects from last weekend’s devastating
typhoon, and today’s Rugby World Cup quarter final which was played this
evening local time with the home team in contention.
While China was a tangled web this weekend with local title The Captain and Japanese entry One Piece: Stampede making a run, and Gemini Man having a longer lead-time to market, Maleficent did come in No. 1 at $22.4M. That’s 15% above the original, but a finish just on par with that film is portended. Maleficent 2 has a 6.2 on reviews aggregator Douban, though a better 9.1 on Maoyan. China was No. 2 on Maleficent The First.
As we noted in our global preview, the first Maleficent
finaled at $517M abroad, although translated to today that would be
about $380M given currency swings in the intervening period. (That movie
also had benefited from counter programming against the soccer World
Cup.) Maleficent did scrum strong in Russia with $10.7M for the second highest ever Disney Live Action opening, behind only The Lion King. Largely across Europe (outside Italy among majors), Mistress Of Evil was No. 2 behind Joker.
Maleficent: Mistress Of Evil produced $117m internationally and $153m worldwide as China led the way on an estimated $22.4m over three days, ranking number one to finish +15% ahead of the 2014 debut by Maleficent.
Russia generated $10.7m, Mexico $7.8m, Indonesia $4.8m, Italy $4.7m, South Korea $4.6m, Brazil $4.5m, the UK $4.3m, and France $3.9m.
The fantasy adventure starring Angelina Jolie, Elle Fanning and Michelle Pfeiffer ranks number one in Europe in Russia, Italy, Poland, Czech Republic, Israel, Middle East, and Ukraine, and second behind Joker in most other markets.
Indonesia delivered the second highest Disney live-action debut of all time, and the highest Disney live-action debut in Thailand, and the third highest in Malaysia and Taiwan. It ranks number one in Brazil, Mexico and seven other Latin American markets.
