“Alexander” scored its second straight victory at the foreign box office, easily outdistancing rivals during an otherwise mild weekend frame, with $14.5 million at 3,600 playdates in 51 territories.

There were generally respectable perfs for offshore distribs seeking to benefit from awards season buzz, with limited launches and expansions of “The Aviator,” “Million Dollar Baby,” “Sideways” “Finding Neverland,” “Closer” and “Ray.” Oscar noms will be announced Jan. 25, with the major box office benefit going to those scoring nods in the picture, actor and actress categories.

“Alexander,” which was mostly shunned in the U.S., has found decent if not spectacular footing offshore with a respectable $88 million foreign cume — nearly three times the domestic total of $34 million. In a similar fashion, “Troy” took in $133 million domestically last year and $364 million offshore.

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The Oliver Stone epic launched in first in Italy with $3.87 million at 446 playdates, topping the soph sesh of “Bridget Jones: The Edge of Reason” with $2.9 million at 428 and the opening of “Saw” with $1.76 million at 267. Opening was 17% better than “Pearl Harbor” and 38% ahead of “Gladiator.”

“Alexander” also opened in first place in Brazil, with $906,900 at 193 screens and in Hong Kong with $275,244 at 30. Its second Spanish frame held in first with $2.27 million, ahead of the opening of “The Aviator” with $2.2 million at 455, while its French soph sesh battled for first with $2.16 million at 530 with Japanese animated hit “Howl’s Moving Castle.”

U.K. performance has been modest, with $1 million at 411 in its second frame, down 49%, for a $4.2 million cume. South Korean cume for “Alexander” has hit $8 million after three weeks, while German takings total $9.1 million after four seshes with $666,000 at 499 engagements for the weekend.

Overall business was moderate at best, as no other picture managed to top $10 million. “Ocean’s Twelve” came the closest, with $9.64 million at 4,600 prints in 55 countries, followed by “The Incredibles” with $9.2 million at 6,462 in 45 territories and “National Treasure” with $8.9 million at 3,774 screens in 34 nations. Cumes are $152.2 million for “Twelve,” $334.8 million for “The Incredibles” and $119 million for “National Treasure.”

“The Incredibles” showed impressive staying power in Australia, where its fourth weekend — $1.4 million at 408 sites, off 41% — edged the launch of “Elektra” for second place with $1.32 million at 226. Blighty biz remained significant in its ninth week with $1.1 million at 422, for a $60 million cume.

“National Treasure” finished first in launches in Holland and Greece and remained on top in its sophomore session in Belgium. Blighty cume after four weeks has hit $12.7 million, surpassing “The Rock.”

Of the Oscar hopefuls, “Closer” turned in the strongest perf, with $6.9 million at 1,094 screens in eight markets, led by a $3 million U.K. debut at 276 playdates to edge the opening of “Team America” with $2.9 million at 328. It also led in Germany with $2.3 million at 469, finished first in German-speaking Switzerland, Austria and Israel and opened fifth in Mexico with $400,000 at 120.

In their first offshore forays, “Million Dollar Baby” took in about half the take of “Closer” in the U.K., with $1.54 million at 285 sites, while “Sideways” grossed a respectable $137,000 at 15 Grecian playdates.

“Finding Neverland” took in a solid $1.33 million at 190 Japanese sites in its opening, and took in $653,000 at 209 in Australia.

“The Aviator” held well in its second weekend of wide release in the U.K., with a 15% decline to $1.88 million at 325, and has cumed $6.2 million in Blighty.

Similarly, “Ray” showed solid results in its soph session in Germany, with a 15% decline to $617,011 at 130 screens.

“Meet the Fockers” showed solid legs in its fourth weekend in Oz to finish first with $1.96 million at 320 engagements for a cume of nearly $20 million in that market, buoyed by its summer holiday. “The Incredibles” cumed $17 million during that same period; the soph sesh of “Racing Stripes” took in $958,661 at 226, declining only 15%.

Woody Allen’s “Melinda and Melinda” scored respectably in France, with an opening of $1.1 million at 268 engagements, pushing offshore cume to $7.7 million.