Taken 2 has registered phenomenal attendance figures across the globe. At the end of its second weekend (its third in South Korea) in more than 60 international markets it has already attracted more than 28 million moviegoers, coming close to matching the 31.8 million admissions score of its predecessor. These results are impressive, with the film taking the top spot at the box office in over 20 territories: Argentina (Fox - 400,000 admissions on 109 prints), Australia (Fox - 470,000 admissions on 365 prints), Croatia (Fox - 41,000 admissions on 15 prints), the United Arab Emirates (Fox - 162,000 admissions on 27 prints), Israel (Fox - 136,000 admissions on 26 prints), Lebanon (Fox – 35,000 admissions), Malaysia (Fox - 446,000 admissions on 120 prints), Norway (Fox - 89,000 admissions on 30 prints), and the UK (Fox – 2.4 million admissions on 510 prints). In the USA (Fox), where it sits at number 1 for the second week running, Taken 2 has already pulled in $86 million, with attendance topping 10 million spectators.
The Intouchables is still going strong in Japan (Gaga). After seven weeks on the screens, it still holds 9th place, taking close to 900,000 admissions. The film looks set to outscore the past hit Amelie (New Select – 1 million admissions) in upcoming weeks. In Brazil (California Filmes), it ranks in 6th place after 7 weeks, currently tallying 708,000 admissions, which is the best score registered by a French-language production in this market since the beginning of the decade. It also continues a successful run in Colombia (Cine Colombia), bolstering its record attendance figures by crossing the 400,000 admissions mark and holding steady at number 4. The Intouchables now boasts a running total of 26.1 million admissions abroad.
After a triumphant opening in Brazil (Playarte Pictures - 277,000 admissions), the director Walter Salles's homeland, On the Road has only achieved moderate success in the major European markets, despite an ambitious release strategy. In Germany, for example (where it is released by Concorde), it posted 38,000 admissions after two weeks on 90 prints. In the UK (Icon Films), it clocked up 37,000 admissions in its opening week, with 100 prints in circulation. Released earlier in the Benelux countries (by Cinéart), it struggled to pull in audiences, totaling a mediocre 57,000 admission in the Netherlands after 17 weeks and 31,000 in Belgium after 14 weeks. The film has currently registered 536,000 admissions in international markets, with its release scheduled for around twenty new territories in coming weeks.