O’seas B.O. ship-shape

'Titanic' passes $200 mil mark, 007 scores

Just days after steaming past $150 million, Fox’s “Titanic” broke the $200 million mark to dock at $217 million six weeks into its foreign voyage. Pic took in $50.7 million in weekend box office from 32 territories.

James Cameron’s epic posted the weekend’s biggest bow at the foreign box office and Fox’s second-best U.K. preem ever, behind “Independence Day,” with a top-spot $8 million from 597 houses. That sent New Line’s “Boogie Nights” (cume: $3.1 million), “Devil’s Advocate” and “Jackal” down 25%, 45% and 39% respectively, and easily beat fellow freshman “Up ‘N Under,” which took $1.1 million from 212 prints.

“Titanic” also sailed into top spot in Denmark (with a Fox record), Greece (setting a national record) and Bolivia with $622,350, $609,429 and $93,325 from 56, 35 and four prints respectively. At the same time, boat pic became the highest grosser of all time, and in record time, in Mexico and Hong Kong with $10.2 million and $8.2 million amassed in 25 and 39 days respectively, jettisoning previous record holder “Jurassic Park.” Pic increased 38% and 22% in its sophomore Italian and sixth Oz frames.

Fox’s epic is now streets ahead of UIP’s “Tomorrow Never Dies” (cume: $161.4 million), which lured another $7.7 million over the weekend, thrilling $707,511 from 26 Hong Kong screens, 6% behind “Goldeneye’s” bow. In Taiwan, Bond actioned $795,291 from 53 screens in two days and $34,595 from 22 Venezuelan screens, up 57% on “Goldeneye.”

UIP’s “Red Corner” (four-nation cume: $612,335) hit its first big foreign market softly, scaremongering just $336,020 from 188 houses in Germany, way behind Warners’ “Devil’s Advocate” (cume: $41 million), which thrilled $3.4 million from 325 cinemas, and Sony’s local animation “Pippi Longstocking,” with $780,000 from 299.

“Devil’s Advocate” also spirited $169,151 from 35 Austrian screens, $159,631 from 29 Portuguese prints, $144,940 from 25 Israeli sites and $112,680 from 20 Norwegian houses, while “Red Corner” took $72,990 from 25 Austrian prints and $82,555 from 20 Thai theaters.

BVI’s “Starship Troopers” (cume: $25.3 million) splattered a good $2.3 million from 491 French screens, $353,000 from 73 Belgian prints and $169,000 from 69 South African sites, while UIP’s “The Jackal” (cume: $36.2 million) shot $1.7 million from 172 Spanish screens, plus $131,259 from 20 Finnish prints.

Sony’s “The Replacement Killers” (cume: $2.2 million) staged great world bows in Asia, cashing in on Chinese New Year, ahead of its Feb. 6 domestic preem.

Pic, which stars Asian action hero Chow Yun-Fat and was exec produced by John Woo and Terence Chang, among others, posted Sony’s best bow ever in Malaysia with $497,625 from 55 sites, staged Sony’s third-best bow in Singapore, with $448,860 from 32 prints, grabbed $348,277 from 18 Taiwanese theaters and nabbed $218,453 from 31 South Korean screens. In Hong Kong, pic’s $669,837 from 32 prints surpassed weekend numbers for “Titanic,” “Tomorrow Never Dies” and Jackie Chan’s “Who Am I.”

Spelling’s “In & Out” outed a great $1.3 million from 93 Italo prints, ahead of UIP’s “Event Horizon” (cume: $18.2 million) spooking $302,370 from 64 prints, and laffed a pleasing $781,330 from 180 Mexican sites and $668,200 from 90 Brazilian screens.

“I Know What You Did Last Summer” (cume: $16 million) spooked $245,910 from 21 locales in a top spot bow in Norway and $184,340 from 26 prints in Argentina, while Fox’s “Alien Resurrection” (cume: $67 million) terrified a terrif $37,593 from three sites in Iceland.

Owing to holidays in Oz, weekend figures for UIP’s foreign preem John Grisham’s “Rainmaker” were unavailable, but it took a promising $148,485 from 114 prints in its first day, while the bow of “Oscar & Lucinda” was said to be tepid.

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