O’seas B.O. Is ‘Terminal’

“Terminal Velocity” continues to shock industry executives this week as its overseas cume passed its domestic figure, while “Stargate” made another galactic leap.

Buena Vista’s wildcard, “Terminal Velocity,” blew its cume out to $19.5 million and surpassed its domestic tally. Opening on 51 screens in South Africa, the Charlie Sheen action pic took $166,000 in its first week, while retaining its No. 1 status in Australia over “Disclosure.”

“Stargate” captured $4.4 million in its first week in France on 262 screens, despite the opening of local production “Elisa,” starring Gerard Depardieu, which took $3.7 million on 255 screens. “Stargate” also dazed Argentina, grabbing $500,000 on 18 screens in its opening week, catapulting the overseas cume to an orbital $40.5 million.

Buena Vista’s “The Lion King” finished the week on $415.5 million, while “Quiz Show” increased its cume to $1.4 million, ahead of a global rollout to coincide with the Oscar nominations.

“The Professional” had a promising limited U.K. opening on seven West End screens, bagging $200,000 to bring its overseas cume to $2.5 million; it expanded in the U.K. to 180 screens on Feb 10.

Warner Bros. had an excellent week, with “Disclosure” bounding to $59.3 million; its Feb. 8 French opening on 310 screens netted $458,000. After two superb weeks in Italy, Brazil, Hong Kong and Spain, the local cumes are $6 million, $2.7 million, $1.3 million and $3.4 million, respectively. In Australia, the steamy pic sits on a four-week cume of $5.2 million.

“Interview With the Vampire,” meanwhile, hit $106.5 million, sucking in another $2.4 million this week in the U.K. (cume, $12.7 million), while “Natural Born Killers” stalked Japan with a strong $932,193 opening week on 46 screens, boosting the overseas cume to $26.6 million.

Warner stablemates “The Specialist” and “Richie Rich” both added around $1 million to their cumes of $97.1 million and $10.2 million, respectively, the latter taking $256,328 on its opening weekend on 10 Singapore screens.

In a mixed week for UIP, “Drop Zone” opened on 60 screens in Japan, bagging a modest $487,827, while its Australian five-week cume remained flat on $2.4 million. “The River Wild” had a better week, with more than $5 million swirling onto its overseas cume of $14.6 million, but drew only $597,075 from 105 screens in its first week in Italy, having been squeezed out of the limelight by the stellar performances of “Stargate” and “Disclosure.”

UIP’s “Junior” gained $6 million, weighing in at $58.3 million after a bouncing nine days in Taiwan, grabbing $1.8 million from 33 screens.

UIP stalwarts “Clear and Present Danger” and “Forrest Gump” had decent gains for their ages and stand at $84.3 million and $210.3 million, respectively.

‘Speed’ steady

Fox’s “Speed” rose to $194.6 million, continuing its strong showing in Japan by pillaging another $1.6 million to rack up a Nippon cume of $55.8 million.

Stablemate “Baby’s Day Out” crawled over the $35 million mark after a good fourth week in Brazil, where the cume is now $3.8 million.

“Miracle on 34th Street” persists in Japan, but is played out elsewhere, and totals nearly $27 million.

Columbia TriStar’s “Mary Shelley’s Frankenstein” posted a cume of $38.4 million, while stablemate “Only You” had a mixed week. The Robert Downey Jr. romance had a good-to-fair opening in France ($152,405 on 173 screens), but managed to lure the Spanish (with a cume of $2.3 million after 11 weeks) and Aussies (week’s takings of $447,471 for a cume of $1 million after two weeks on 91 screens).

New Line’s “Dumb and Dumber” had a bumper first week and a half in Taiwan, netting $1.5 million from 15 prints to become the territory’s No. 1 pic. It looks set to buck the trend of performing at around 50% of the level of “The Mask” and moved to an overseas cume of $6 million.

Stablemate “The Mask,” meanwhile, smiled on $142.1 million.

Miramax’s “Pulp Fiction” whacked $66 million, while stablemate Woody Allen’s “Bullets Over Broadway” hit $5.4 million from its two territories – France and Switzerland.

Polygram’s “The Adventures of Priscilla, Queen of the Desert” boogied in at $22.3 million, with the best performers being France with a $1.5 million cume from 51 screens and Australia with $12 million.

Miramax’s New Zealand feature “Heavenly Creatures” again found itself in the Australian top 10 with a cume of $621,758, having taken $299,612 from 34 screens in two weeks, while fellow Kiwi pic “Once Were Warriors,” from Dendy Films, also remained there with a nine-week cume of $2.2 million.

Advance screenings of REP’s “Nell,” meanwhile, brought in nearly $240,000.

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