Sony maintains overseas lead with Terminator, Angels & Demons

Ranking number one in more than 30 countries, Terminator Salvation was active on 10,275 screens in 74 Sony Pictures Releasing International markets and actually grossed $46.1m through all distributors for $165.5m.

Christian Bale and his mechanical nemeses were in devastating form in Asia. In a sensational launch in Japan the sci-fi action romp took $10.7m from 729 screens for the biggest debut for a Hollywood film over the last 12 months. Not to be outdone, China delivered $9m from 1,671, an extraordinary result that ranks as the second biggest debut ever for a non-Chinese film.

In second weekend highlights the film added $3.4m from 875 in the UK in second place following a 57% drop for $18.2m; $2.8m from 737 in France at number one after a 53% drop for $9.7m; $2.6m from 979 in Germany in second place following a 50% drop for $10.2m; $2.6m from 534 in first place in Russia after a 67% plunge for $12.5m; and $1.9m from 386 in Australia in second place after falling 64% for $9m.

• In its fifth weekend Angels & Demons grossed $14.1m on 7,110 screens for $315m. Germany was top of the class and the film still ranked number one after grossing $2.9m from 1,041 following a 21% slide for $39.9m. Japan produced $1.3m from 481 in second place after dropping 23% for $29.7m. The film ranks fifth in the UK on $26.4m and fifth in Italy on $24.6m.

In its fourth weekend in Mexico, where the swine flu outbreak delayed the release, Angels & Demons ranked fifth as $720,000 from 630 raised the tally to $11.9m.

• The Taking Of Pelham 123debuted day-and-date with North America, grossing $2.4m from 400 screens in several markets. South Korea was the top performer for the thriller remake on $1m from 200, while Taiwan delivered $340,000 from 75 and the UAE $255,000 from 27. The film opened in fifth place in South Korea and ranked top in the latter two markets. Sony sources said each territory produced higher results than the launches of earlier Denzel Washington releases Inside Man and American Gangster.
  
• Fox International’s Night At The Museum 2 was the second biggest Hollywood film of the weekend overseas, adding $17.9m from 8,156 screens in 104 markets for $176.2m. The comedy opened well at number one in Mexico on $3.3m from 1,150 screens, taking 38% market share and launching 75% higher than the Night At The Museum opening in local currency terms.

The film ranked top for the second consecutive weekend in South Korea as $1.8m from 446 screens elevated the running total to $6.9m. It added a further $1.9m from 507 in the UK screens for a formidable $26.5m, $2m from 805 in Germany for $14.6m after a 20% drop, and $1.1m from 373 in Brazil after falling only 8% for $9.1m.

• Night At The Museum 2 has become the biggest Fox film ever in Venezuela after adding $259,861 for $3.3m after four weekends and is the biggest film of the year-to-date in Hong Kong after adding $132,694 for $3.5m after four.
  
• X-Men Origins: Wolverine added $1.7m from approximately 2,000 screens in 33 markets for $179.7m. The final release will be in Japan in September.
  
• Disney/Pixar’s Up continued to climb as $8.2m from 2,243 screens in 14 Walt Disney Studios Motion Pictures International territories floated the tally to $26.6m. The film currently ranks number one in 12 of its territories and will mostly rely on holdovers until the end of July when it opens in the next wave of France, Spain, South Korea and Hong Kong.

Weekend business was solid in Mexico, where in the second session Up added $2.6m from 799 sites after a 29%drop for $7.9m heading into the holiday season. It added $1m from 465 screens in Russia after falling 61% in the third weekend for $10.6m and is projected to become the biggest Disney animated release of all time in the territory by next weekend. Up debuted in Argentina on $951,000 from 85 screens, beating the combined results of the titles ranked two through seven for Disney’s biggest ever release and the best non-sequel animated debut in the territory.

In other notable results, Up opened top in Chile on $694,000 from 60 venues for the biggest non-sequel animated release of all-time; added $675,000 from 90 screens in Venezuela following a 30% decline to rank top for the second weekend in a row; scored the second biggest animated release ever in Thailand on $585,000 from 75 screens; grossed $500,000 from 50 screens in Panama for Disney’s biggest animated launch ever; and set a new Disney animated launch record in Ecuador with $340,000 from 35.

• Hannah Montana The Movie added $3.8m from 2,353 screens in 26 territories in 26 for $48.2m, powered by $1.8m from 526 screens in third place Germany for $5.2m after a 30% drop. Brazil produced a $1.1m debut from 207.
  
• Warner Bros Pictures International reported an impressive launch for the number one North American film The Hangover in 15 markets. According to actual figures released on Monday the film took $11.9m from 1,340 screens, led by a number one UK debut of $5.1m from 454 sites including previews, a number one $2.7m debut in Australia on 226 screens, and a second place $1.5m launch in Russia on 340 screens.

Elsewhere the comedy opened in second place in Russia on $1.4m from 342 screens and opened top in Holland on $662,000 from 65 screens nationwide including previews. It also opened top in Sweden on $536,000 from 52 including previews.

• Paramount/PPI’s Star Trek grossed $3.5m from 3,284 sites in 63 territories for $119m to date. Once again the UK was the highest grossing market with $700,000 to take the local total to $31.5m.
  
• The comedy I Love You, Man grossed $1.5m from 671 venues in 33 territories for $15m. The largest of four openings for the Paul Rudd and Jason Segal comedy was in Spain, where the film grossed $465,000 from 210 locations.
  
• DreamWorks Animation’s Monsters Vs Aliens grossed $1m from 1,000 venues in 63 territories and after 11 weeks of widespread release has amassed $171.5m.
  
• Universal/UPI’s TV adaptation Land Of The Lost ventured into its first overseas markets this weekend, taking $3.1m from 670 sites in five territories. Russia led the way with a second place $1.4m debut from 100, while Australia produced third place on $1.3m from 194 venues, and New Zealand delivered $100,000 from 45.
  
• Coraline added $2.7m from 1,690 sites in 31 territories for $29.7m and opened in third place in France on $1.3m. There are 13 territories to open over the next few months including Germany, Italy and Australia. The animated feature has grossed more than $100m worldwide.
  
• State Of Play opened in six territories and took $1.9m from 1,374 venues for a $31.4m international running total. The thriller launched in seventh place in Brazil on $420,000 from 120, sixth place in Argentina on $130,000 from 35. The film ranks seventh in Mexico on $200,000 from 260 for $1.1m after two weekends. There are 15 territories to go including Germany, Austria, Belgium, the Netherlands and Russia next weekend.

Horror release Drag Me To Hell, which Universal has in 14 territories, opened in sixth place in Germany on $950,000 from 273 sites, and sixth place in Austria on $100,000 from 50. Combined results for German and French-speaking Switzerland are estimated to be $140,000 from 30 sites. Universal territories accounted for $1.2m.

Through Mandate International the film added $3.3m from 1,300 screens for a $14.4m running total.

• Universal/UPI’s horror remake The Last House On The Left grossed $900,000 from 672 venues in 16 Universal territories for $4.5m. The film opened in sixth place in the UK and is expected to gross $625,000 from 304 venues.

New Line International reported on Monday that Ghosts Of Girlfriends Past opened in Brazil on $755,410 on 129 screens over four days and took $155,371 from 42 in Argentina over its first four days there. Overall the romantic comedy stands at $14.1m. The high school comedy 17 Again has amassed $61.9m and has just overtaken the $61.7m final North American gross. Romatic comedy He’s Just Not That Into You stands at $72.2m. Coco Avant Chanel stands at an early $1.4m and took $206,627 from 16 Hong Kong screens over four days.