Red Eye added another $3.7 million on 2,057 screens in 37 markets to its $22 million international total. The film opened in second place in both Spain with $850,000 on 215 screens and in the Netherlands with $250,000 on 59 ($300,000 including previews).

Updates on other movies in international release right now:

• For the first time in a long time, Madagascar fell out of the top five with $3.1 million on 1,834 screens for a international box office of $321 million. The film fell the third place in Italy with $1.32 million on 380 screens while it rose to tenth place in Japan with $330,000 on 218 screens.
• Revolver, Guy Ritchie's latest film, opened in two markets and scored somewhat weaker than expected results. In the U.K. the film debuted in second place with $1.57 million on 358 screens while in Russia it also finished in second place with $850,000 over the weekend and $1.1 million including Thursday.
• Deuce Bigalow: European Gigolo saw its weekend haul grow to $2.2 million thanks mostly to a $1.38 million first place opening in Australia. So far the film has earned $11.2 million internationally, which is better than expected given its domestic performance.
• Die Weisse Massai remained in top spot in its native market of Germany with $2.02 million on 515 screens for a $5.60 million running tally.
• The Wedding Crashers opened in Mexico with $1.06 million. Its placing was unknown, but probably first or second. It also opened in the Czech Republic, but didn't do as well, finishing in third place with $27,000 on 16 screens. Holdovers include $350,000 in Russia, $250,000 in Italy, $215,000 in Australia, and $110,000 in Holland. The film has now made $60 million internationally, which is great for this type of film, but well below its domestic total.
• George A. Romero's Land of the Dead had one of its better weeks with $2 million on 900 screens in 25 markets for a $19 million international running tally. Most of that came from its third place, $1.55 million opening on 319 screens in the U.K.
• The Brothers Grimm's best market over the weekend was Spain where the film slipped to third place with $675,000 on 277 screens for a $4.31 million running tally. It also finished in third place during its second weekend in Russia with $664,000 over the weekend for a two-week total of $2.3 million. The film added $430,000 to its $2.77 million box office in Mexico and now has an early total of $12.9 million. It should be headed to $100 million internationally.
• It was a good news, bad news weekend for The 40-Year Old Virgin. Good news: it had the best week-to-week performance in the top ten in the U.K. slipping by just 24% to $1.07 million on 369 screens for a $10.63 million running tally there. Bad news: it failed to make much of an impact in any of its openings this weekend. Its best was a second place, $350,000 opening on 81 screens in Brazil while the film made $200,000 on 37 screens in Greece and $110,000 on 25 screens in Denmark. So far the film has made $11.8 million internationally and its biggest test come this weekend in Germany where low-brow comedies tend to do well.
• The Longest Yard opened in Germany with $585,000 on 198 screens; not a great start, but perhaps a little better than expected. It is performing much better in the U.K. where it dropped just 28% to $1.07 million on 372 screens. The film was one of the bigger hits of the year in the United States, but has only managed $26.7 million internationally.
• April Snow (Going Out) fell by 45% during its second weekend in Japan, which is a very steep decline for that market. The film added $1.58 million on 431 screens for a $9.83 million running tally. It also fell fast in Hong Kong, down roughly 75% to $32,000 on 23 screens for a total of $212,000 there.
• The Dukes of Hazzard opened in first place in New Zealand with $325,000 on 49 screens while it had the worst week-to-week drop-off in the top ten in Australia, falling 48% to $1.22 million on 275 screens. Good news is the film has made $20.3 million internationally and is just a rounding error away from $100 million worldwide. Bad news it, it has opened in all three English speaking territories and the rest of its run will get much tougher from now on.
• Monster-In-Law remained in first place in Spain with $1.15 million on 309 screens while it slipped another spot in Brazil, falling to fourth with $317,000 on 176 screens. In those two markets the film has made $3.5 million and $4.0 million respectively, while it has pulled in $61.3 million internationally.
• Shinobi had the worst week-to-week drop-off in the top ten in Japan plummeting 51% to $1.4 million for the weekend and $6.3 million during its two-week run.
• Broken Flowers opened in Hong Kong with $19,000 on just two screens, earning a ninth place finish in the process. The film performed better in Poland, remaining in top spot despite losing nearly half its opening and falling to $104,000 on 40 screens. Its best market continues to be France where it dropped to third place with $830,000 on 312 screens and it is also doing well in Germany earning $375,000 on just 91 screens. So far the film has managed $7 million internationally, $5 million of that coming from France alone.
• Wallace & Gromit: The Curse of the Were-Rabbit held up well in both Australia and New Zealand down 19% and 31% respectively. The film earned $1.05 million and $120,000 over the weekend for running totals of $3.63 million and $330,000, respectively.
• Crash fell by just 32% during its second weekend in France with $785,000 on 174 screens, rising to fourth place in the process. On the other hand, the film finally fell out of the top ten in the U.K. but still managed $250,000 over the weekend and just shy of $10 million during its seven-week run. Add in totals from smaller markets like $34,000 in Norway and $31,000 in Taiwan and the film has made $15 million internationally.
• The Adventures of Shark Boy and Lava Girl opened in New Zealand with a fourth place, $87,000 opening on 56 screens while it continues to expand in Australia, taking in $537,000 on 209 screens and rising to sixth place. It has simiarly strong holdovers in the U.K., down just 6% to $333,000 and in South Africa, down 9% to $84,000 on 52 screens. The film has only made about $20 million on the international scene so far, but that's about average for a movie with this target demographic.
• The Transporter 2 opened in Taiwan with $211,000 on 15 screens, easily enough for first place. The film remained in first place in South Africa with $95,000 on 37 screens, down less than 20% from its opening. Its best market was Germany with $510,000 on 477 screens for a $4.4 million running total and it is also still in the top ten in Russia with $110,000 for a $1.55 million running tally. Overall the film now has $20.5 million internationally, more than the orignal earned in total.
• Initial D fell by 38% during its second weekend in Japan, landing in ninth place with $840,000 on 177 screens for a $3.7 million running tally there.
• Stealth opened in Turkey with just $96,000 on 93 screens, which was only enough for a fourth place finish. Holdovers could provide no good news either, with the film plummeting 63% during its second weekend in New Zealand falling to fifth place with $62,000 on 47 screens, 56% in Germany falling to ninth with $230,000 on 299, 50% in Spain to $288,000 on 248, and 49% in Australia to $163,000 on 189 screens. So far the film has made $30 million internationally and could top its domestic total next week.
• Perfect Catch had a couple of openings this weekend, but it is hard to get excited about either of them. In Spain the film finished in seventh place with $447,000 on 274 screens while in New Zealand in placed sixth with $58,000 on 45. Holdovers were no better as the film lost more than 70% of its opening in Brazil landing in 10th place with $85,000 and it fell by more than 50% in Australia with just $100,000 on 174 screens. It's still early in the film's run, but its $2 million international total has to be looked upon as disappointing.
• Howl's Movie Castle opened in semi-limited release in both the U.K. with $380,000 on 95 screens and in Australia with $110,000 on 34. Neither of those results can really be described as a success. However, Anime is still a niche market in most placed worldwide. Holdovers were mixed with the film dipping just 27% in Germany to $160,000 for the weekend and $1.7 million during its run while in Italy is was in free-fall losing 61% landing in 15th place with $63,000 on 62 screens. So far the film has made about $230 million internationally, about 90% of that coming from Japan.
• The Beast in the Heart held up reasonably during its third weekend in Italy, falling by 39% to $680,000 on 257 screens for a $4.5 million running tally.
• Sky High took advantage of holidays as it grew by 8% in Australia, earning $580,000 on 246 screens for a $2.0 million total there. It performed even better in New Zealand, shooting up by more than 60% to $45,000 on 49 screens, but its start was so slow that it hardly matters. The film now has $5 million internationally, which is tiny compared to its more than $60 million domestically.
• Kiss Kiss, Bang Bang held up reasonably well in France, falling 39% to $600,000 on 227 screens, landing in 8th place in the meantime. So far the film has made $1.76 million in the market, but it's hard to use that result to predict the film's potential in other markets, including the domestic one.
• Wolf Creek fell by 45% during its second weekend in the U.K. landing in sixth place with $545,000 on 290 screens.
• Dark Water opened in fourth place in bother Germany ($525,000 on 211 screens) and in the Czech republic ($19,000 on 15 screens). So far the film has only made $16.1 million internationally, after playing in most major markets.
• Good Night, and Good Luck held the second best week-to-week drop-off in Italy, but still fell 33% to $493,000 and sixth place for a box office of $1.63 million so far. This film opens in limited release domestically in just a few days, but if this result is any indication, it should earn some mainstream success.
• The Merchant of Venice opened in fifth place in Spain with $493,000 on 98 screens for the best per screen average in the market.
• Rize opened in France, snagging tenth place with $450,000 on 123 screens.
• The Perfect Man in was nearly flat during its second weekend of release in Australia, climbing to eighth place with $420,000 over the week and now has $960,000 in the market making it the film's best.
• Must Love Dogs opened in 10th place in Spain with just $280,000 on 177 screens. It performed little better in its holdovers adding $100,000 on 326 screens in Germany and $27,000 on 15 screens in Taiwan. That did help push the film's international box office to $6 million, which is still very disappointing.
• Four Brothers opened in Russia with a seventh place, $100,000 debut over the weekend and $125,000 including Thursday. In Spain it held up better than most film losing 41% of it opening and falling out of the top ten with $260,000.
• Me and You and Everyone We Know open in semi-limited release in France with $300,000 on 65 screens. It also fell out of the top twenty in the U.K., but not before adding $45,500 on 22 screens to its $905,000 total.
• The Skeleton Key's best market of the weekend in terms of raw dollars was Germany, where the film made $200,000 on 293 screens. However, the film finished in third place in Hong Kong with $104,000 on 31 screens, although that was less than half of what it opened with last weekend. Overall the film now has $39 million internationally with very few significant markets left to open in.
• Herbie: Fully Loaded fell out of the top ten in the U.K., but still managed $300,000 over the weekend for a $11.5 million running tally there.
• Downfall is holding up well in Mexico, slipping by 23% to $294,000 for the week and $1.69 million during its run.
• Little Fish fell nearly 30% during its third weekend of release in its native Australia, slipping to seventh place with $240,000 for the weekend and $1.2 million during its run.
• Nightwatch opened in Turkey with $120,000 on 60 screens while it is just wrapping up its run in Spain added $100,000 to is $2.6 million total in the market.
• Salaam Namaste spent its third weekend in a row in 14th place in the U.K., this time with $166,000 for the weekend and $1.1 million during its run. On the other hand, the film fell from 13th to 17th in Australia with $36,000 for the weekend and $275,000 during its run.
• Mr. and Mrs. Smith has slipped off the radar screen in most markets, but it still added $180,000 to its $15 million total in Spain and has $242 million internationally.
• Flightplan opened day-and-date in Malaysia with $175,000 on 30 screens.
• Hooligans collapsed during its third weekend in the U.K., plummeting 61% to $165,000 for the weekend and $2.07 million during its run.
• SpongeBob SquarePants opened in Italy over the weekend but just missed the top ten with $153,000 on 147 screens.
• The British film, Creep, opened in Italy over the weekend but could do no better than $148,000 on 80 screens, missing the top ten in the process.
• Sin City hit $150 million worldwide during the past week thanks in part to its $140,000 weekend haul in Germany.
• Godsend held up very well in Turkey, slipping by just 17% and adding $120,000 on 84 screens over the weekend for a two-week total of $340,000.
• Valiant just missed hitting $1 million in Poland with $44,000 over the weekend. It won't do nearly as well in South Africa where it opened in fourth place with $70,000 on 50 screens.
• Hostage remained in second place in Poland with $99,000 on 50 screens.
• The Man's collapse in the U.K. accelerated this weekend as it is was free-fall, losing 73% falling to 18th place with $75,000 on 108 screens. The film has made just $1.35 million in the U.K. so far, which is the only major market it has opened in so far.
• The Cave lost nearly 60% of its opening in Taiwan, falling to third place with $68,000 on 15 screens, which is better than average for the market.
• Boy Eats Girl, a British Zombie film opened in semi-limited release in its native market earning $64,000 on 35 screens. This is not a good result, but the nature of the film is such that it is destined for cult status anyway.
• The Business lost nearly 70% this weekend in the U.K., landing in 22nd place with $59,000 for a $2.6 million total in its native market.
• The Sisterhood of the Traveling Pants opened in seventh place in South Africa with $55,000 on 30 screens.
• Sahara lost about a third of its opening in Turkey, falling to ninth with $29,000 on 28 screens for a $90,000 two-week total.
• Dear Wendy opened in Italy on 41 screens but barely made the top twenty with $26,500.
• Sophie Scholl: Die letzten Tage, a.k.a. Sophie Scholl: The Final Days held up reasonably well during its second weekend in Holland falling 22% to $25,500 on 17 screens for a $72,500 two-week total.
• Hotel Rwanda opened in tenth place in Turkey with $25,000 on 14 screens.
• Murderball dropped by 25% during its second weekend in Australia, landing in 18th place with $21,000 for the weekend and $70,000 during its run.
• The Wild Parrots of Telegraph Hill expanded to 11 screens during its second weekend in New Zealand jumping up to 11th place with $18,000 over the weekend and $28,000 during its run.
• The Aristocrats lost more than 60% of its weekend haul in the U.K., again, this time landing in 30th place with $14,000 on 19 screens for a $217,000 total in the market.
• Lords of Dogtown all but disappeared during its second weekend in the U.K., earning just $4,900 on 21 screens for a two-week total of $82,000.
• Star Wars: Revenge of the Sith has dropped out of the top ten in Japan and has therefore fallen off the radar screens. That means $467 million is the last known international box office, unless the studio decides to publish an updated international box office, which it almost surely will.
• Batman Begins has also fallen off the radar screens but not before earning $167 million internationally.

Submitted by: C.S.Strowbridge

Date posted: 2005-10-02