TUESDAY AM UPDATE, writethru with actuals: Disney/Fox’s Dark Phoenix came in below Sunday’s estimate with an international box office opening of $103.7M in 53 markets, per the actuals. Combined with a heavily singed domestic bow, the global debut was $136.5M, lower than pre-weekend projections from the industry. The Simon Kinberg-helmed pic through Sunday was behind both of the last installments overseas, X-Men: Apocalypse (-30%) and X-Men: Days Of Future Past (-23%). It was No. 1 worldwide, and No. 1 in 36 offshore markets, but audiences essentially gave it the bird amid lousy reviews and social media reaction. An ultimate offshore cume looks to be in the low $200Ms for a possible $300M global final.

China led all play this session with $45.6M which in today’s rates is 28% bigger than Days Of Future Past, but 15% less than Apocalypse, each of which had three-day bows. Dark Phoenix opened in the Middle Kingdom on Thursday, looking to take advantage of the Dragon Boat Festival. It had a decent hike on Friday, the first full day of the holiday, but then saw a 30%+ drop on Saturday, and was down again Sunday, by about 39%, which resulted in a start below projections as we earlier wrote.

The bird’s Middle Kingdom trajectory was impacted by social scores with Maoyan at 7.7 and Douban at 6.1. During the course of the weekend, Maoyan lowered its final full-run China estimate for the Phoenix to a scorched $61M. China was the lead home for the last two X-Men, as well as Logan, but Dark Phoenix’s wings were certainly clipped there. On Monday, local youth romance My Best Summer, overtook it at No. 1 for the day.

Elsewhere, the numbers are low. Korea came in behind China, all the way down at $5.7M through Sunday (and against the continued success of Parasite and Aladdin there) with Mexico ($5M), the UK ($4.9M) and France ($3.8M) rounding out the Top 5. In IMAX, Dark Phoenix grossed $14.1M globally, including $9.1M from international where this is Fox’s 2nd best opening weekend in the format.

This is a competitive landscape, for sure, and in the summer a film needs to bring the goods in order to compete. But the expensive Dark Phoenix had been through reshoots and release date changes and ultimately resulted in a movie that drew the lowest RT score domestically for any X-Men title. Certainly, as Anthony has noted, franchise fatigue (like with Godzilla last weekend) is a factor when the films aren’t good or in high demand. After Apocalypse, which was not well-received, this can also be seen as a retaliatory reaction from moviegoers.

Cathleen Taff, who is Disney’s President of Theatrical Distribution, Franchise Management and Business & Audience Insights, says, “A great cast and filmmaking team tried to bring the franchise to an epic conclusion and it’s disappointing to see it’s not connecting… I think what’s going to matter is in terms of how these films will be remembered, hopefully it’s the combination and not the opening of the last one.”

It’s a bummer for a Fox title to go out like this (and much of the cast put in a lot of overseas promotional effort). But it wasn’t really clear who the movie was for as some believe the franchise has deteriorated over time, jumping around and causing confusion. Ultimately, it’s expected to generate a loss, but it also brings the X-Men under the Disney Marvel roof.

Elsewhere, Disney’s Aladdin has been a genie at holding ticket buyers’ attention. After crossing $500M globally last Thursday, it rode past $600M this weekend. The overseas drop was lower than anticipated for $70.7M, up from the Sunday estimate. Japan got off to a flying start, posting the highest western opening weekend of 2019 to date with an estimated $12.9M.

Warner Bros/Legendary’s Godzilla: King Of The Monsters came in third internationally with $47.9M in 78 markets, slightly better than the Sunday estimate, but still a 63% drop from the opening weekend. Overseas, the total is $216M through Sunday for $294.5M worldwide.

Though most openings have been lower than its predecessor, Illumination/Universal’s The Secret Life Of Pets 2 is in a long rollout and seeing decent holds with many majors ahead. The global cume is approaching $100M after adding another $16M in 30 offshore markets this session.

Paramount’s Elton John musical fantasy biopic Rocketman put another $13M in the songbook in 50 markets to crocodile rock the offshore cume to $51.3M.

And, in its 7th weekend, Avengers: Endgame is now at $2.731B; it is $57M below Avatar as of Sunday.

Breakdowns on the films above and more have been updated below. Actuals have been updated for Disney/Fox and Warner Bros.

NEW

DARK PHOENIX

Disney/Fox Disney’s inherited Fox film was the No. 1 global and international release this weekend, coming in with $103.7M offshore and $136.5M worldwide, both below the pre-weekend range the industry expected, as well as the Sunday estimates. Reasons for this have been outlined above and here).

The film was No. 1 in 36 of its 53 material markets and still has Japan and Indonesia to release, but an overseas final is expected to be in the low $200Ms.

Finance experts see it resulting in a $100M+ loss. The upside is that Disney brings the X-Men into its own Marvel stable.

China was a disappointment with a $45.6M start that’s below the $50M-$60M some saw pre-bow. DP could struggle to get to $70M there with all the competition that’s entering the market in the next few weeks.

Beyond that, there was heavy competition in Korea from Bong Joon-ho’s Parasite which has now grossed about $51M locally. Aladdin also continues to hold the No. 2 spot there with Dark Phoenix settling for 3rd at just $5.7M.

Mexico debuted to $5M in 1st place with the UK making just $4.9M, also in a competitive field that includes Aladdin, Rocketman and The Secret Life Of Pets 2. France’s No. 1 start of $3.8M landed amid great weather, the start of the women’s World Cup and the tennis finals at Roland Garros.

Russia ($3.4M), Brazil ($2.9M), Philippines ($2.4M), Taiwan ($2.3M) and India ($2.3M) round out the Top 10.

In IMAX, Dark Phoenix grossed $14.1M globally, including $9.1M from international where this is Fox’s 2nd best IMAX opening weekend.

Indonesia opens next weekend and Japan goes June 21.

HOLDOVERS/EXPANSIONS

ALADDIN

Aladdin Disney Disney’s live-action Aladdin continues its surprising magic carpet ride, now surpassing $600M globally with $607.6M to date. Aladdin is currently the No. 4 global release of 2019. The $70.7M international weekend in 55 markets was better than the Sunday estimates with increases in some hubs. The Will Smith-starrer is at $375M overseas through Sunday and should get to about $500M. It remained No. 1 in 20 markets in weekend three and got off to a flying start in Japan with $12.9M.

Europe regionally dipped by just 35% with continued No. 1s in Austria, Belgium, Denmark, Germany, Hungary, Middle East, Netherlands, South Africa, Spain, Sweden, Switzerland and the UK. The individual holds include +74% in Lebanon, -20% in the UK, -21% in the Netherlands, -25% in Spain and -39% in Germany.

Asia Pacific dropped by 20% with Aladdin still No. 1 in Australia. It also saw a 52% increase in Korea. Malaysia too saw a jump of 15% while Indonesia was down just 12%. Aladdin has already surpassed the lifetime cumes of Maleficent, Cinderella and Oz: The Great And Powerful in the region. It is the 2nd highest Disney Live Action title (excluding Marvel/Lucas) in Korea, Philippines and India.

Latin America saw a 35% slide with No. 1s again in Peru, Argentina, Chile, Bolivia, Uruguay, Paraguay and Venezuela. Brazil dropped 35% and Mexico 40%. In both of those, Aladdin has already surpassed The Jungle Book.

The Top 5 markets are China ($48.1M), UK ($33M), Korea ($27.8M), Mexico ($25.7M) and Spain ($16.6M).

GODZILLA: KING OF THE MONSTERS

Warner Bros. In its sophomore session, Warner Bros/Legendary’s franchise entry had a 63% drop from its lackluster opening with $47.9M in 78 offshore markets. The international cume has risen above $200M to $216M and the film will cross $300M globally. It stands at $294.5M through Sunday.

China grossed $111.7M through Sunday and had some nice bumps during the holiday weekend, but overall fell by 69% there. Japan had a No. 2 hold behind Aladdin to cume $16.1M so far.

Some of the other Asian markets held No. 2 including Taiwan, Indonesia and Thailand. The Top 5 markets behind China and Japan are rounded out by Mexico ($8M), UK ($7M) and Taiwan ($6.8M).

THE SECRET LIFE OF PETS 2

Universal The well-reviewed sequel had difficulty domestically this weekend, and is not at the levels of the previous blockbuster installment overseas where competition is rife. Folks have not necessarily rushed out to see it on opening weekend, indicating the possibility of sturdy legs — the UK and Russia had small drops in their 3rd frames — but messaging on how this film differs from the first has been blurry.

However, there is much road ahead for the Illumination/Universal title which rolls out over the next two months and has yet to hit such majors as Australia, Germany, Brazil, China, Japan, Korea, France, Spain and Mexico. Each of those markets is key for the film.

This session, the Pets grossed $16M for a $49M offshore total thus far in 30 markets. The Chris Renaud-helmed animation was No. 1 in nine of those this weekend. Globally, it is approaching $100M.

Netherlands led openers this frame with $1.74M at 139 locations for the top spot and ahead of Incredibles 2 and Ralph Breaks The Internet. Vietnam was also a No. 1 opening with $1.25M at 185, coming in just below Pets 1. Italy made $1.1M at No. 2; last time around, Secret Life Of Pets had a special screening at the Venice Film Festival just before it opened which helped it to nearly a $15M final.

Elsewhere, the UK had a strong hold in weekend three, down just 25% to cume $18.9M. Russia has made $16.9M to date. Australia takes these guys out for a walk next weekend.

ROCKETMAN

Paramount Pictures Paramount’s Elton John pic blasted off in a further 10 markets this weekend, grossing a combined $13M in 50 to lift the international cume to $51.3M. Russia was the best new start at $712K, despite censorship cuts (which, owing to local regulations, the film will face in places like the Middle East and eventually China if it secures a release there). The Russia debut was a No. 5 start at 1,019 cinemas.

Korea, which is typically keen on musicals, gave Rocketman a $517K debut at 505, good for No. 5 behind the holds of Parasite and Aladdin, and the debut of Dark Phoenix. Poland bowed at No. 3, grossing $124K from 194.

In holds, the UK was down just 12.5% to $2.8M on the 3rd weekend for a leading local cume of $20.5M. The next best markets are Australia ($7.3M cume to date), France ($3M), Germany ($2.8M)) and Brazil ($2.1M).

Japan is still to come on August 23.

JOHN WICK: CHAPTER 3 – PARABELLUM

Lionsgate’s third installment of the assassin franchise crossed $250M globally this weekend, while adding another $10.1M from the international box office. The overseas cume is now $113.6M after four frames. New this session was the Middle East at $3M to rep a 66% increase over the previous in the series. Korea is still to come on June 26.

The Top 5 markets so far are the UK ($11.6M), Australia ($8.8M), Germany ($8.1M), Russia ($7.3M) and Mexico ($6.8M).

POKEMON DETECTIVE PIKACHU

The little furry yellow guy picked up another $7.3M from 73 markets to total $273.7M offshore and $411.3M worldwide. China continues to lead all plays with $93.2M so far, and we hear has an extension in the market.

Behind China, Japan is next at $25.2M, followed by the UK ($16.9M), Mexico ($11.64M) and Germany ($11.62M)

UPDATED CUMES/NOTABLE

Disney/Marvel Avengers: Endgame (DIS): $4.5M intl weekend (49 markets); $1.907B intl cume

Ma (UNI): $3M intl weekend (39 markets); $7.3M intl cume

The Hustle (UNI): $1M intl weekend (30 markets); $36.5M intl cume ($43.3M including non-Uni markets)

A Dog’s Journey (UNI): $500K intl weekend (16 markets); $7.9M intl cume ($38.9M including non-Uni markets)

NEW LOCAL LANGUAGE

BHARAT

Latina Pictures The latest from Bollywood icon Salman Khan bowed in nine offshore markets including $18.5M-$22.5M from India (full numbers are still rolling in, though some estimates have it at $30M worldwide). Directed by Ali Abbas Zafar, who also helmed Khan’s Tiger Zinda Hai and Sultan, it’s based on the Korean hit Ode To My Father. The adaptation is an action drama odyssey that sees Khan on a quest to support and keep his family together in post-partition India. The film opened on Wednesday for the Eid-al-fitr holiday, a Khan staple, and landed the star’s best launch day ever, per local reports. In its first four days, it crossed 100 crore ($15M) putting Khan in a class by himself with the most films to reach the milestone. We’ll update with more detail once the numbers become available.

In China, My Best Summer, a romantic youth drama adapted from the TV series With You, opened to $22.7M per comScore. It took advantage of the Dragon Boat Festival to land No. 2 for the weekend in the Middle Kingdom. Zhang Disa directs the coming of age story. Just below My Best Summer, Chasing The Dragon II: Wild Wild Bunch picked up $22.4M, also per comScore. The Hong Kong title stars Tony Leung Ka Fai and Louis Koo and is a crime actioner about a billionaire kidnapper whose Hong Kong gang is now targeting an affluent Macau regal. Jason Kwan and Jing Wong direct.