The weekend just passed proved to be a whirlwind at the international box office, showcasing the fierce competition between major franchises and beloved romantic comedies. Notably, Marvel/Disney’s “Captain America: Brave New World” and Universal/Working Title’s “Bridget Jones: Mad About the Boy” both made their debuts, while the Chinese animation “Ne Zha 2” continued to draw in audiences, further solidifying its position as a heavyweight in global cinema.
“Captain America: Brave New World” arrived to a robust worldwide total of approximately $192.4 million, with a significant $92.4 million coming from international markets alone. Interestingly, while these figures align closely with projections, they fell short of the higher expectations set before the weekend, particularly due to intense competition from “Ne Zha 2” in China. Anthony Mackie takes center stage in this sequel, marking his first full-feature portrayal of the iconic superhero, and he managed to secure the top spot in most territories around the globe. Notably, the film faced challenges in the UK, where it was eclipsed by the more romantically inclined “Bridget Jones: Mad About the Boy.”
In terms of performance comparison, “Brave New World” saw an opening that was 4% ahead of “Captain America: The Winter Soldier” across similar markets, excluding China. The top five international markets for this latest superhero installment were China ($10.5 million), the UK ($8.5 million), Mexico ($6.6 million), Korea ($5.6 million), and France ($4.7 million). Alongside strong domestic numbers, the IMAX earnings contributed an impressive $18 million to the global tally.
On the other hand, “Bridget Jones: Mad About the Boy” marked an extraordinary comeback for the beloved character, capturing the hearts of international audiences with a staggering opening of $32.3 million across 70 overseas markets. When factoring in Studiocanal’s release in France, the film totals a commendable $35.5 million. This latest entry not only kicked off with the biggest opening for any “Bridget Jones” film in like-for-like Universal Pictures International (UPI) markets but remarkably achieved the highest romcom opening ever, surpassing “Sex and the City 2.”
The UK, a stronghold for romantic comedies, witnessed Renée Zellweger’s return to the iconic titular role with widespread enthusiasm. The film grossed an impressive £14.8 million at No. 1, claiming a 45% market share. This incredible performance also drew attention for setting a record as the highest grossing opening weekend for a romantic comedy, a title previously held by “Bridget Jones 2.” It gained recognition alongside other titans in universal box office history, ranking No. 11 on Universal’s all-time opening list in the UK.
As the competition heated up internationally, Australia reported a total of $3.4 million for “Mad About the Boy,” placing it second behind “Captain America,” further underscoring the clash between action-packed superhero narratives and romantic tales of the heart. Following the pandemic, this romcom scored the biggest opening since its onset, eclipsing previous titles like “Anyone But You.” The reviews have been nothing short of stellar, currently standing at a 100% approval rating from critics.
In Poland, “Bridget Jones: Mad About the Boy” achieved a remarkable $2.2 million, marking the largest opening ever for a romantic comedy in the market. As the film continues to roll out globally, including forthcoming debuts in Italy, Germany, Japan, and Korea, the anticipation builds for how audiences will react in these diverse markets.
Amidst these epic duels at the box office, the Chinese animation “Ne Zha 2” remains undeterred, reaching an astounding RMB 11.84 billion ($1.63 billion) in its run, now ranked as the 11th highest-grossing film worldwide. Following a $7.2 million opening in North America, projections suggest a slight downward adjustment for its final earnings; however, securing a projected RMB 15.7 billion ($2.16 billion) would affirm its status as one of the all-time greats.
This weekend’s box office results underscore the dynamic landscape of contemporary cinema, where beloved franchises compete with nostalgic romcoms and international offerings. As the global competition evolves, the true winners remain the audiences, treated to an ever-expanding array of storytelling avenues in theaters worldwide.