O’seas B.O. cools up

'Impact,' 'Angels,' weather draw a crowd

A combo of the second wave of international debuts by “Deep Impact,” angelic bows in five markets by “City of Angels,” and cooler, cinema-friendly weather in Europe resulted in a lucrative B.O. frame abroad last weekend.

“Godzilla” stomped into Puerto Rico with a socko $879,000 in six days on 71 screens, beating the “Men in Black” and “The Lost World: Jurassic Park” preems, and second only behind the bow of “Independence Day.” The big lizard invades Malaysia this weekend, followed by Singapore and Australia.

Alex Proyas’ sci-fier “Dark City” had a mixed reception in its first offshore engagements, making a respectable $1 million in five days on 162 in France and a lukewarm $259,000 in three days on 81 in Spain.

“Deep Impact” raked in about $18.1 million from debuts in seven territories and holdovers in 18 markets, boosting the cume to $40.4 million after just 11 days of international release. Mimi Leder’s pic minted a uniformly terrif $1.1 million in three days on 155 in Brazil, $892,000 on 35 in Argentina and $915,000 in six days on 85 in the Netherlands.

Demonstrating generally excellent staying power in its soph sessions (abetted in Europe by more favorable weather after a B.O.-sapping heatwave), the DreamWorks production has amassed $9.1 million in Germany (jumping 37%), $7.7 million in the U.K. (up 15%), $4.7 million in Italy (sliding 29%), $4 million in Mexico (off 20%), $3.7 million in Spain (down 21%) and $1.9 million in South Korea.

The Nicolas Cage-Meg Ryan romance “City of Angels” grossed $2.6 million from 320 prints in six markets, highlighted by Taiwan’s $1.2 million in three days on 49, Australia’s $1 million in five days on 173 and the Philippines’ $294,000 in five days on 32. Warner Bros. Intl. said the pic ranked at No. 1 in those markets, and was well ahead of the bows of “The English Patient” and “The Bridges of Madison County.”

All the hoopla of a $1 million party at Cannes to launch “Blues Brothers 2000” in Europe did not create much demand, as Universal’s retro-pic took a moderate $906,000 in five days on 272 in France, a tepid $583,000 in four days on 210 in the U.K., $523,000 in four days on 178 in Italy and a miserly $202,000 in four days on 131 in Spain. Still, as one exec posited, the results could have been worse without the Cannes promotion.

“Titanic” cruised along in 30 markets, earning $7.8 million on 2,899 screens, elevating the cume to $1.113 billion. In its 23rd voyage in Japan, James Cameron’s epic coined $2.2 million (up 3%) and the total hit $151.4 million. In its eighth in China, “Titanic” dredged up $753,000 on 500 for a dazzling cume of $38.7 million.

“U.S. Marshals,” an underachiever that needs all help it can get, had healthy increases in Europe from the kind weather as its foreign cume climbed to $35 million overseas, with Germany delivering $3.4 million after the fourth weekend, and Sweden and Belgium each having posted $1 million. “Wag the Dog” opened in Japan, wisely limited to 50 screens, and fetched a dismal $208,000 in three days. The overseas total is $15.5 million, with France’s $3.1 million, Germany’s $2.3 million and Italy’s $2.2 million as the most respectable/least embarrassing scores.

“The Wedding Singer” has superb legs in Australia, holding second spot in its sixth reception for a total of $8.4 million. New Line’s romantic comedy miscued in Singapore and is so-so in South Korea and South Africa.

“Sliding Doors” leapt by 30% in its fourth outing in the U.K, holding at No. 2 behind “Deep Impact,” for a sparkling total of $9.5 million.

“Alien Resurrection” topped $107 million, paced by Japan’s $14.2 million. “As Good As it Gets” reached $140 million, “The Man in the Iron Mask” touched $87 million, “Good Will Hunting” progressed to $81.5 million, “Jackie Brown” to $42.1 million and “Scream 2” to $37 million.

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