‘Lost’ bites into o’seas B.O.

Futuristic and prehistoric adventures provided the few thrills in an often-wilting foreign frame at the B.O.

“The Lost World: Jurassic Park” staged a socko overseas preem Down Under, while a good (but not slam-dunk) Japan bow for “Star Wars” pushed the foreign cume of the reissue to $100 million — the sixth picture to hit that mark overseas this year.

“Lost World” gave UIP its biggest preem ever in Australia and, with $4.6 million from 310 screens, chalked up the territory’s second-largest opening behind “Independence Day” ($6 million). The Steven Spielberg sequel saw an opener that’s ahead of “Twister” ($3.8 million) and Oz’s fourth-biggest opener “Jurassic Park” ($3.7 million).

BVI’s blond fest, “Romy and Michele’s High School Reunion,” showed staying power in the wake of the dinosaur onslaught, falling only 31% to retain second spot in Oz. But “The Fifth Element” plunged 56%, while serious freshmen steered clear.

In Japan, Fox’s reissue of “Star Wars” extracted $2.2 million from 137 prints in a top-spot bow, a good figure that caused an acceptable 17% dip for “Jerry Maguire.” However, it’s hardly boffo given the reported $17.5 million spent on a marketing campaign for the trilogy, plus promo tie-ins with the likes of Nintendo, Toys R Us and Kentucky Fried Chicken.

Pic also wowed $202,856 from 12 Singapore screens, bringing the reissue cume to $100 million (added to the original’s $198 million).

Luc Besson’s “Fifth Element” stomped into top spot in Spain with $1.4 million from 181 cinemas, while thrilling $260,000 from 52 in Holland, the director’s best bow in that market.

“Element” continues to dominate France (local cume: $27.2 million), where Polygram’s “The Associate” (cume: $3.7 million) lured just $184,777 from 98 screens; “Emma” netted $143,000 from 51 prints.

After stiffing Down Under, even the presence of Howard Stern in France apparently convinced few to see his “Private Parts.” Rysher declined to supply figures, admitting only to a paltry estimated five-territory cume of $850,000.

UIP’s “The Chamber” (cume: $2.7 million) grossed a so-so $139,773 from 26 Italian prints, while stablemate “Liar Liar” (cume: $41 million) lured $410,169 and $213,306 from 62 Austrian and 27 Swiss screens, respectively.

“Absolute Power” bowed in the top spot in the U.K., taking a soft $774,972 from 362 prints. But that perf was in keeping with fellow frosh “Turbulence” ($148,031 on 109), “Gridlock” ($122,267 from 39 prints) and “Big Night” ($90,813 on 30).

“Power” turned in OK perfs of $143,450, $107,419 and $71,637 from, respectively, 58 in Sweden, 20 in Norway and 23 in Denmark.

A good Malaysian bow for UIP’s “The Saint” (cume: $29.4 million), with $342,720 from 32 screens, overshadowed “The Empire Strikes Back’s” $92,329 from 23 prints, bringing the reissue cume to $47 million (original $192 million).

“The Crucible” (cume $12.6 million) took $248,452 from 101 screens in Mexico, where UIP’s “Beavis and Butt-head Do America” (cume: $6.6 million) took a very soft $34,470 from 25 screens.

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