Fox’s Rio soared above its international rivals on $56m, $38m more than second-placed Scream 4.

Fox’s animated-comedy Rio remained top of the international chart in its second week, taking $56m from a huge 13,754 screens - the widest screen coverage since Harry Potter And The Deathly Hallows: Part One played on 16,093 screens in November 2010 - in 63 territories.

Carlos Saldanha’s latest scored a respectable screen average of $4,096 and has grossed $131.8m total.

The Weinstein Co.’s Scream 4 landed in second place taking $17.9m from 3,629 screens in 31 territories. Wes Craven’s latest posted a string of solid openings, the only number one debut in a major territory coming in the UK, however.

The Scream franchise has been a dependable but unspectacular fixture on the international scene, with the three previous instalments grossing between $70m-$72.7m between 1996 and 2000.

The horror hits Spain, Portugal, Norway and Iceland this weekend.

Hop - which made $9.1m, a 71% jump in its third week - Sucker Punch and Limitless rounded out an all-US top five on the international stage.

Parameswara’s sixth-placed TeenMaar opened on $7m in 11 territories with a strong screen average of $6,147. The Telugu-language romance-drama is Jayant Paranji’s first feature in six years and stars Trisha Krishnan opposite Pawan Kalyan.

Toho’s seventh-placed animation Detective Conan: Quarter Of Silence - the 15th in the local Conan franchise - made a bold entry in the depressed Japanese market, posting a chart-topping $6.7m for a whopping $19,719 screen average on 332 screens, while Universal’s Paul took$ 6m for $40m after leaping 43 places mainly thanks to openings in Australia and Germany.

The fourth and final top ten opening was Shanghai Eastern’s The Warring States. Chen Jin’s war-drama debuted on $5.1m in its local market scoring a tremendous $15,823 screen average on 325 screens.

Warner Bros’ Red Riding Hood is making progress up the chart in 12th from 28th while Fox’s Gulliver’s Travels re-emerged in 14th after taking $2.9m in Japan.

In a busy week on the international scene, with 14 debuts, there was a slighlty disappointing opening for RAI Trade’s hyped (and Cannes selected) We Have a Pope (Habemus Papam) in Italy ($2m from 447 screens), and a more impressive entry for Tai Seng’s 3D softcore-drama Sex and Zen: Extreme Ecstasy ($2m from 116 screens) in China, which managed a screen average of $17,281.

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