Italy was next with $3.55 million on 692 screens. The film's opening in South Korea was nearly the same with $3.65 million on 610 screens over the weekend for a total opening of $4.37 million. Brazil was a strong market for Godzilla, as it opened with $4.07 million on 417 screens there. The film earned $4.97 million on 584 screens over the weekend in Germany for a total opening in that market of $5.50 million. It was also strong in Australia with $6.34 million on 498 screens and in France with $5.73 million on 596. The film was surprisingly strong in Mexico, pulling in $7.21 million on 2,494 screens over the weekend for a total opening of $8.57 million.
Its biggest market was the U.K., where the film pulled in $10.73 million on 550 screens, while Russia was close behind with $8.65 million on 1,814 screens. It was able to dominate the box office thanks to a string of first place finishes in most of the major markets. Godzilla got off to a milestone start on the international market earning $103.0 million on 16,946 screens in 64 markets during its first weekend of release. Weekend Wrap-Up: X-Men Earn Monster Opening, but Overall Box Office Still Down It struggled a little more in Germany and Spain with $4.03 million on 579 screens and $3.19 million on 650 respectively. The film earned $7.80 million on 684 screens in Australia. France was right behind with $9.29 million on 620 screens, while in Brazil it pulled in $8.38 million on 507. The film's debut in Russia was very similar with $9.90 million on 2,230 screens. Mexico contributed $9.39 million on 3,034 screens over the weekend for a total opening of $11.02 million.
with $15.39 million on 537 screens, while in South Korea it earned $11.78 million on 1,056 screens over the weekend for a total opening of $14.15 million. This includes China, where it earned first place with $39.35 million on 6,000 screens. X-Men: Days of Future Past dominated the international box office chart with $171.08 million in 71 markets for a total opening of $191.00 million. PG-13 for sequences of sci-fi action/violence.ģ-D, Corporate Malfeasance, Revenge, Terminal Illness, Genetic Engineering, 3-D - Shot in 3-D, Marvel Comics, Motion Capture Performance, 3-D - Post-production Conversion, IMAX: DMR And as his old friend, Harry Osborn, returns, Peter comes to realize that all of his enemies have one thing in common: OsCorp.Īugust 19th, 2014 by Sony Pictures Home Entertainment With the emergence of Electro, Peter must confront a foe far more powerful than he. But being Spider-Man comes at a price: only Spider-Man can protect his fellow New Yorkers from the formidable villains that threaten the city. For Peter Parker, there’s no feeling quite like swinging between skyscrapers, embracing being the hero, and spending time with Gwen. But in The Amazing Spider-Man 2, Peter Parker finds that a greater conflict lies ahead. We’ve always known that Spider-Man’s most important battle has been within himself: the struggle between the ordinary obligations of Peter Parker and the extraordinary responsibilities of Spider-Man.
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