The weekend saw an electrifying clash at the international box office, headlined by two highly anticipated film debuts: Marvel and Disney’s *Captain America: Brave New World* and Universal’s *Bridget Jones: Mad About the Boy*. Both films vied for viewer attention while Chinese giant *Ne Zha 2* continued its impressive run, marking a weekend packed with diverse cinematic offerings.
Marvel’s latest installment in the *Captain America* franchise opened with a robust worldwide gross of $192.4 million, which includes the domestic box office figures over the holiday weekend. Specifically, the film generated approximately $92.4 million from 52 international markets, albeit falling short of the anticipated $110 million pre-release expectation. This underperformance can partly be attributed to the overwhelming competition posed by *Ne Zha 2* in key markets such as China.
Despite this competitive landscape, *Captain America: Brave New World* managed to secure the number one position in most territories, demonstrating a strong appeal for Anthony Mackie’s debut as the titular character. Notably, the film’s international opening exceeded expectations when considering results from similar markets compared to its predecessor, *Captain America: The Winter Soldier*. Among the standout territories, China led with a $10.5 million opening, closely followed by the UK ($8.5 million), Mexico ($6.6 million), Korea ($5.6 million), and France ($4.7 million). Moreover, the film’s Imax performance was commendable, contributing $18 million to the global figures, reflecting its strong cinematic appeal.
On the other side of the box office spectrum, *Bridget Jones: Mad About the Boy* saw a staggering international debut, raking in $32.3 million across 70 overseas markets, which when combined with Studiocanal’s French release, totaled $35.5 million. This achievement marks the biggest opening for any *Bridget Jones* film to date, setting new records in various territories and firmly establishing itself as a significant entry in the romantic comedy genre.
The film’s triumphant welcome, particularly in the UK, where it generated an impressive $14.8 million and captured a substantial 45% market share, speaks volumes about the audience’s enthusiasm for Renée Zellweger’s return. Achieving the highest opening for a romantic comedy ever in UPI markets, surpassing previous favorite *Sex and the City 2*, *Mad About the Boy* stands out not just as a nostalgia trip but as a contemporary favorite among filmgoers.
In Australia, the film also marked a notable achievement, generating a total of $3.4 million as it competed directly with *Captain America: Brave New World*. Polled reviews have been overwhelmingly positive, with the film currently maintaining a flawless 100% critic approval rating. This bodes well for the romantic comedy genre, heralding a resurgence after a pandemic-induced lull.
As the discussions of box office weekends ensued, *Ne Zha 2* maintained a stronghold as the top film in China, reflecting its growing popularity and cultural significance. It raked in a staggering RMB 11.84 billion ($1.63 billion) thus far, ranking it as one of the all-time highest-grossing films in China. This remarkable status contributes to its worldwide ranking, currently listed as the 11th highest film globally based solely on its domestic earnings.
Moreover, *Ne Zha 2* launched its presence in North America, opening with a respectable $7.2 million. Despite slight downward revisions of its lifetime projections, it still signifies an impactful entry on foreign soil, showcasing the growing influence of Chinese cinema on a global scale.
The weekend’s box office results capture a fascinating juxtaposition: the massive appeal of superhero films versus the enduring charm of romantic comedies. While *Captain America: Brave New World* lays down a solid foundation for potential franchise expansion, *Bridget Jones: Mad About the Boy* illustrates the power of nostalgia and audience connection in attracting bums to seats.
Upcoming weeks hold promise as Universal prepares to release *Mad About the Boy* in additional international markets, including Italy and Germany, while critical engagement continues with films like *Paddington*, contributing to the diverse tapestry that the global box office represents today. Through varied genres and culturally rich offerings, the cinematic world seems primed for growth as audiences emerge from their pandemic hibernation, eager to experience the magic of the big screen once more.