We’re surprisingly busy here for the rest of the week, but we gotta get through all this news anyway, so let’s do it quickly:

- Japanese box office numbers are out at a much higher exchange rate than last week (US$1=123.495 yen this week vs 121.775 yen last week), which means they seem to be earning less in American dollars in addition to the drop. I really wish they’d just stick to a consistent rate to show the true week-to-week drop each week.

Anyway, except for Pirates of the Caribbean and Apocalypto (which saw a screen increase), looks like almost all the films took a pretty big hit, with 300 leading the way by losing 56% of its audience. That almost never happens in the top 10 in Japan.

Yesterday, I mentioned that Maiko Haaaan!!! opened pretty big at second place with 230 million yen. However, Eiga Consultant gets it straight and points out that it actually only opened at 76% of writer Kenkuro Kudo’s last film Kisarazu Cat’s Eye World Series (which ended up with an 1.8 billion yen total) and 80% of Kou Shibasaki’s last comedy Star Reformer (2 billion yen total). Mr. Texas also points out that this year seems to lack the huge hits such as Umizaru 2, Suite Dreams, and even Star Reformer. In fact, the highest-grossing Japanese film this year, Dororo, only grossed less than half of Umizaru’s final gross. Is the Hoga resurrection that short-lived?

Meanwhile, the May-September romance Last Love, starring Masakazu Tamura and Misaki Ito, opened pretty weakly at 8th place with only 45 million yen. That’s only 29% of Love Never to End, another drama that aimed at an older crowd, though the latter film did have the sex scenes to bring in more of the older crowd.

- Jason Gray got it first, as he reported that Tsukamoto Shinya’s Nightmare Detective is headed for a sequel less than half a year after the first film was released. Less than a day later, Ryuganji has plenty of expanded information about what the sequel will be like. According to the website, the DVD of the first film will be out this weekend. Did anyone know how well this film did? I don’t even remember it ever hitting the top 10.

This was a clothing store in Harajuku that happened to also be promoting the film at its storefront, January 2007.

- The Melody Awards was handed out in Taiwan recently. Nicky Lee and Jolin Tsai, both pop stars that I don’t particular care for, picked up best male and female awards, respectively. And David Tao, who delivered a fairly underwhelming album last year, still managed to pick up an award for best duet.

- There are some creative ways to meet your favorite celebrity, this is not one of them.

- Under “most surprising news” today, a sequel to the mega Korean blockbuster The Host is now in pre-production. I know monster flicks are prone to sequels, but there’s almost no way this is going to top the original.

- A Chinese documentary about a school class election picked up the top feature award at the AFI/Discovery Channel Docufest. Good for them.

- The website for Feng Xiaogeng’s latest film The Assembly, which seems to be next year’s big Chinese New Year film in China, just uploaded a trailer. It looks technically accomplished, but it still seems pretty derivative to me.

- Twitch also has a trailer for the Korean film May 18th, about the Kwangju uprising. It looks pretty intense, considering its director made Mokpo, Gangster’s Paradise. But there’s something about that overdramatic music towards the end…

- With the latest chapter of the China-vs-Japan-history saga taking a turn for the worse, it’s good to see some people still acting pretty sane. Toho/UniJapan and China film are expected to sign a memorandum of understanding for cinematic cooperation. What does that mean? It means China and Japan are now one step closer to collaboration on film, strengthening the role of Asian films around the world, politics be damned.

- Unlike Hong Kong, Shanghai’s ongoing film market is currently still only seen as a work-in-progress.

- After teaching Hong Kong a lesson, Hollywood went up to Shanghai and taught the Chinese film industry how to emulate Hollywood too.

- The Dragon Dynasty two-disc DVD for John Woo’s Hard Boiled is up for pre-order. I’m very happy with my Mei-Ah remastered DVD (which I guess isn’t the best in the market), so unless it has some mind-blowing feature, I’m skipping it. Still, if you haven’t seen this amazing action flick, this is probably the chance to see it.

- Lastly, looks like they’re trying to really give the newly reset James Bond franchise some class by signing up Monster’s Ball director Marc Forster to direct the next film. The last time they tried that with Michael Apted ended up with The World is Not Enough. Might not be such a good idea.

The Golden Rock is back for another month and a half of continuous blogging. Yes, I did miss compiling a ton of news everyday, as I still kept up on Variety Asia and Twitch from 70 miles away. Anyway, the weekend’s over now, so let’s do this thing.

- Hong Kong box office was pretty disappointing over the holiday weekend, at least for Hong Kong. The two Hong Kong openings - Mr. Cinema and Kidnap, both opened to very weak openings. On Sunday, Samson Chiu’s Mr. Cinema made only HK$350,000 on 27 screens for a 4-day total of HK$1.16 million, while Law Chi-Leung’s Kidnap made only HK$230,000 on 25 screens for a 4-day (plus previews the previous weekend) total of HK$1.16 million. Patrick Leung and Chan Hing-Ka’s Simply Actors, starring Jim Chim and Twins’ Charlene Choi, opens today in Hong Kong, and we’ll see how it does on Wednesday. Yau Nai-Hoi’s Milkyway production of Eye on the Sky didn’t do too well either, making only HK$80,000 on 26 screens of advanced preview showings, and HK$170,000 after two nights. Either way, Hong Kong cinema’s summer season isn’t having a very good start so far.

In other box office rankings, Fantastic Four naturally opens in first place, making HK$2.07 million on 62 screens (I don’t even remember the first film doing that well in Hong Kong) for a HK$7.71 million after 4 days, Ocean’s Thirteen hangs on with HK$630,000 on 38 screens for an11-day total of HK$9.3 million, and British film Cashback stays strong with HK$40,000 on 2 screens. There are no huge Hollywood openings this weekend (Wild Hogs and Zodiac), so maybe it’s time for Hong Kong films to bounce back. One can only hope.

- Meanwhile, Lovehkfilm updates with a few reviews - Law Chi-Leung’s Kidnap, Billy Chung’s straight-to-video Undercover, the Korean fantasy extravaganza The Restless, and the J-horror film Ghost Train (written by yours truly).

- The audience rankings for Japan is also up, as Pirates continues its rampage across Japan as the number one movie. Japanese comedy Maiko Haaaan!!! is a hit, debuting at second place; Zodiac opens weakly at 5th place, but not as weakly as the Japanese romance Last Love (more on its weekend performance tomorrow), and Apocalypto jumps up to 9th place in the first weekend of wide release. Numbers and analysis tomorrow.

- In Japanese drama rankings, the Japanese remake of the Korean drama Hotelier starring Aya Ueto wrapped up its lackluster run with only a 9.1 rating, which is just above the season average rating of 8.5, but below the highest rating of 11.1. Sexy Voice and Robo continues to limp at 6.5 (I’m guessing episode 7 will never be broadcasted), train nerd drama Tokkyu Tanaka 3 Go took a huge drop to a 6.8 from last week’s 9.7, Kodoku No Kake has dropped from the season-opening 11.2 to a sad sad 5.1, losing more than half of its initial audience (Even Sexy Voice and Robo managed to avoid that). Speaking of disappointments, Joudan Janai goes back down a little bit this week with a 12.0 rating.

The season, which has been pretty sad in terms of ratings, will wrap in the next two weeks. I think we all know that Operation Love will come out on top in two weeks (the big question is if it will break the 20.0 mark), but what about Banbino, Watashi Tachi No Kyokasho, both which have seen pretty stable ratings all season? How will audience favorite Liar Game wrap up after seeing a ratings decrease this week? Will Joudan Janai and Sexy Voice and Robo fight off their “disappointment” label by attracting more viewers next week? We shall know by next Monday.

Part 2 of today’s entry is about little controversies in recent Chinese medias.

- I’ve never been a fan of Jia Zhangke. In fact, I have a legit copy of Still Life sitting here, waiting to be watched. Recently, director Jia was asked to write an editorial about the word “perplexity,” and he chose to write about Xiao Wu’s banishment due to someone in the film industry denouncing it. Since then, it has stirred a controversy because the media found its suspect. I might not have liked Ziao Wu, but I am certainly sympathetic with the ridiculous treatment of the film.

- r@sardonicsmile warns that if you’re a celebrity in Hong Kong and you have a personal blog, you might want to watch what you even dare to hint at, because the Hong Kong media will jump on you like a shark looking for even the slightest hint of red. One thing: Is the Storm in a teacup reference to the old Commercial Radio Hong Kong talk show, or is it actually a pretty widely-used phrase?

- Doing my part to spread the word, a Hong Kong blogger realizes that one of his posts was recently plagiarized by a writer for Hong Kong pop culture magazine Milk. However, the editor was confronted, only to say that it was entirely coincidental that the feature happens to match the original entry 90% of the time (even the two glaring mistakes in the entry was carried over). I’m even ashamed now to admit that I do read Milk Magazine with some enjoyment, which makes the disappointment even greater.

Now to regular news:

- I’m only reporting this for rachael: Aoi Miyasaki, better known as the cute Nana in the first Nana movie, announced her surprise marriage this past weekend. Yeah, usually I wouldn’t report something like this, but anything to keep them readers happy.

- The Jackie Chan/Jet Li historical family film Forbidden Kingdom has delivered its progress report, and they might as well have not reported it if they just say something like “it’s going well.” Jackie Chan apparently did offer promising words about the Chan/Li fight, but I’m still being very very skeptical about this English production passed off as a Chinese film.

- The Shanghai International Film Festival has officially opened, but it opened fairly low-key with very little business being done and a lack of real Panasian stars.

Meanwhile, Geoff Gilmore, the head of the Sundance Film Festival, took the Shanghai festival as an opportunity to blast the International Federation of Film Producers Association for their ratings of film festivals around the world. Might not matter to you, but it does to me.

- Japan Times reviewed Miki Satoshi’s Insects Unlisted in the Encyclopedia, probably most notable outside Japan for being Kinko Kikuchi’s first film after her Oscar nomination for Babel.

And they also liked The Prestige very much too.

- Dai Nipponjin is hitting the festival circuits, and they’re the major ones. The most exciting one in Hong Kong because I’ll actually be there next year, but Toronto is pretty damn exciting too.

- Speaking of exciting, the teaser for P.T. Anderson’s There Will be Blood is up and running. It looks different than anything he’s done, but he’s one of my favorite filmmakers, so I’m looking forward to it big time.

- Noruhiro Koizumi, the director of Midnight Sun, is taking on Gachi Boy, the adaptation of a play about a professional wrestler with a memory problem. I can’t tell if this is supposed to be an inspiring sports story or a comedy yet.

- Also working on a new film is Jeff Lau. His new comedy The Fantastic Waterbabes will star Gillian Chung and Alex Fong (seems natural to have an ex-olympics swimmer turned pop star to be in a movie about swimming), and will be released in time for the Beijing Olympics. I like Jeff Lau, but I don’t like EEG and movies that cash in on current events. What to do, what to do…

- Twitch write about the new Korean film The Wonder Years, about a young girl who is so sure that her mom is a famous rock star that she goes out in search of her in Seoul…with a little help from her friends(That was a Wonder Years reference, by the way). Plot sounds interesting, but after Ice Bar, I am approaching Korean films about searching for biological parents with caution.

- Doesn’t really have anything to do with Asian entertainment, but Jean Reno has a new commercial in Japan, and it’s pretty awesome. Who knew that he’s such a cool romantic lead?

- There’s gonna be another Godzilla movie…….in 3D!

- The somewhat incomplete Japanese box office numbers are in. I say incomplete because either Kantoku Banzai has fallen below 15th place, or Office Kitano has flat out decided not to report its grosses anymore, and the opening weekend of 300 is not as spectacular as the numbers report. Box Office Mojo reports that 300 made about US$3.4 million, or 415 million yen. But the total indicates that it included the previous week’s previews into its total gross, which means that as Eiga Consultant reports, 300 made 330 million yen, or roughly US$2.71 million with a per-screen average of US$5,995. Of course, that still makes a very impressive opening, and it’s still 209% of Sin City’s opening, but it’s still overshadowed by Pirates of the Caribbean.

Unlike most of the world, Pirates is actually enjoying a very healthy long-term run, dropping just 20% from the previous week for another 941 million yen. After three weekends, Pirates has already made almost 6.2 billion yen, and will pass Spiderman 3’s gross mid-week. Still, Spidey 3 has already surpassed the previous movie’s gross, and as indicated by its slow 25-30% drop, it should end up making just a little more than the first film, too.

Everywhere else on the top 10 looks pretty stable, with only the Hollywood flick Shooter seeing a considerable drop. Even Dai Nipponjin survived its lackluster word-of-mouth, losing only about 28% of its business (Knocked Up lost more than that in its second weekend, and it’s an audience favorite). In a one-theater limited release, Mel Gibson’s Apocalypto made a promising 1.8 million yen. It’ll go on wide release this coming weekend. NOTE: It will not feature English subtitles.

- Speaking of Pirates of the Caribbean, the notorious Chinese censors have approved the third film to play in Chinese theaters. However, they banned the first two movies (which are kind of crucial to understand the third one, no?), and they cut out half of Chow Yun-Fat’s scenes. Now people are not only utterly confused, they even lost much of the their main reason for buying a ticket to watch it in theaters. Disney is wasting their money, this one is pretty likely to flop in China.

- In Thailand, director Pen-ek Ratanaruang’s Ploy opened only modestly. However, its first weekend gross has already surpassed the total domestic gross of his last film, Invisible Waves. For a filmmaker associated with the words “arthouse cinema,” I would say that’s pretty good.

- I have honestly seen very few Japanese films that actually have original screenplays. Many of them are adapted from novels (so much that I took a whole class of Japanese films adapted from novels), comics, video games, or continuation of TV dramas. Then again, a bulk of Hollywood films is made the same way. However, Ryuganji points out that it’s getting a little out of hand these days in Japan.

- Elizabeth Banks has signed on to play the young stepmother role in the American remake of A Tale of Two Sisters. I liked her in The 40-Year-Old Virgin, but like all American remakes of Asian films, I remain very very skeptical about this.

- China is getting ready to fight back at the United States after they filed two cases against China with the World Trade Organization. However, with the complaint, China is now less likely to open up its film market any quicker just to get on Hollywood’s nerves.

On the other hand, the EU is warning that it will “go to trade war” with China if they don’t improve cracking down on piracy. Who needs who more these days anyway? You try stopping a billion people from making pirated versions of your overpriced goods.

- Meanwhile, Hong Kong seems to have a thing or two to complain about Japan too. TV Asahi showed its made-for-TV biopic of Asian superstar Teresa Tang on June 2nd, which was shown simultaneously in Hong Kong as well. Since Tang did spend a huge chunk of her career in Hong Kong, the Hong Kong press would naturally put how the Japanese portray Hong Kong under a lot of scrutiny. As a result, Ming Pao had a field day pointing out how much the show screwed up:

1) The movie starts in 1973, when a Japanese talent manager discovered Tang in Hong Kong still under British colonial rule. Yet, the Hong Kong Special Administraive Region flag was seen at the location, instead of the colonial flag.
2) In the scenes that take place during the 80s, the Bank of China Tower (built in 1989) and the International Finance Center (built in 2003) were seen in the background from the Peak.
3) The Murray House was not restored in Stanley, where Tang lived, until 1998. However, it appeared in the film’s 80s scenes as well.

There are a bunch of other nitpicks in that report as well. While I can’t blame Ming Pao for nitpicking (”ha ha! Japanese TV crews suck just as much!”), TV Asahi just didn’t have the money to reproduce all these historical locations with cgi. Plus, it’s not like Hong Kong productions are very good at conveying foreign locations either.

- Disney has signed a deal with an Indian studio to produce several computer-animated features aimed for the region. No word on whether Disney will ever plan to release these films outside the region.

- Ryuganji also has news on upcoming and ongoing projects from Miki Satoshi, all of them starring Joe Odagiri. He also adds on another upcoming Odagiri project as well. It’s all a little complicated, you should go read it yourself, since Joe Odagiri may soon be the male version of Erika Sawajiri. These Japanese stars just never rest.

- Andy Lau really is the hardest working man in Chinese entertainment: When he’s done filming Daniel Lee’s historical epic this month, he’ll do a cameo for a Focus Films production that he’s investing in, then an album and concert tour. All by the end of the year.

- Considering that the film will be entirely in English, it’s so surprise that there’s an English website up for Takeshi Miike’s Sukiyaki Western Django. However, the trailer remains on the original website, so just go to Twitch instead of getting confused.

Jason Gray also reports that Quentin Tarantino showed up in Japan at the end of the shoot to film his cameo, which would explain why he was not in the trailer and why he showed up at the wrap-up ceremony.

- Do we really need an Asian version of Oprah? Apparently someone thought so.

- Lastly, Tokyograph left a comment yesterday with more about Tea Fight, starring Erika Toda. They had this to say:

“About “Tea Fight” - there actually is a director named, but I know nothing about Taiwanese or Chinese names. The Japanese form is ワン・イェミン, which seems to be something like Wang Ye-Ming, but the closest I could find is an actor. The article says the person was an assistant director for “Crouching Tiger, Hidden Dragon,” but none of the credits I could find (imdb or elsewhere) match the name.

Here’s what another article said about the story (roughly): “The father runs an old tea shop, and he closes shop after his wife dies from what he believes to be a ‘tea curse.’ Through the internet, the daughter finds out about a legendary tea and travels to Taiwan in search of it. The father then follows her, concerned that it may be a trap by Taiwanese tea-makers.” There’s also mention of Taiwanese mafia being involved in the story somehow.”

I can’t seem to find the name through various variations on that name either. But still, that’s more than helpful. Thanks!

Brace yourselves, this is going to be a long entry to read and an even longer entry for me to write:

- As expected, Ocean’s Thirteen led the pack on Sunday box office in Hong Kong. On 59 screens (still a fairly high number), Ocean’s Thirteen made HK$1.57 million for a current 4-day total of HK$5.41 million, which puts it just slightly ahead of Ocean’s Twelve, even though Twelve opened only 44 screens. Pirates of the Caribbean: At World’s End slows down by just a bit with HK$1.02 million on 51 screens (a HK$20,000 per-screen average for a film in its third weekend is pretty good in my book) for a 18-day total of HK$38.33 million. It probably won’t hit Spiderman 3’s current gross of HK$54.94 million, but it’ll pass the HK$40 million mark pretty easily.

Meanwhile, Norbits makes a better-than-expected HK$360,000 on 16 screens to get a 4-day total of HK$1.18 million (I guess I was wrong about that), Japanese sports film Rough made only HK$30,000 on 7 screens for a very weak 4-day total of HK$140,000; and British film Cashback continues to be strong in limited release with another HK$60,000 on just 2 screens for an 11-day total of HK$510,000;

- In Japan, the attendance ranking shows Pirates taking the weekend again as 300 opens at second place and the Prestige opens at 5th. Dai Nipponjin also continues strong at 3rd place, as Kantoku Banzai has fallen off the top 10 already. Number crunching to come tomorrow.

On the other hand, Eiga Consultant reports that two limited releases have done quite well in Tokyo. Notes on a Scandal, starring Cate Blanchett and Dame Judi Dench, opened in two theaters on June 2nd and saw 2006 admissions for a 2.78 million yen opening. With nine shows that day for two theaters combined, that’s an average of 223 people per showing, which would be impossible in one theater and a full house in the other (not sure if these theaters offer standing room, which some Tokyo theaters do). Apparently, good word-of-mouth is spreading as it expanded this weekend, though it seems like it didn’t make it into the top 10.

The other movie is Sydney Pollack’s documentary Sketches of Frank Gehry. At one theater in Shibuya, the opening day saw 1500 admissions for 2.32 million yen and full houses of mostly design freaks and art students. However, it seems like attendance has died down, as the theater recommends that getting there 10-30 minutes before the show is fine now.

- In South Korea, Shrek 3 came in and took care of business by opening with 1.6 million admissions since Wednesday, which is a pretty damn good opening by any count. Hwang Jin-Yi isn’t doing so well with just roughly 700,000 admissions since Wednesday. Pirates took another pretty big tumble with only 75,000 admissions in Seoul, although it might end up doing better than Spiderman 3, which only saw 600 admissions in Seoul this week. You can see the rest of the top 10 yourself.

Oh, and Mark Russell went and watched Michael Bay’s “Best Summer Movie You Haven’t Seen Yet” Transformers (By the way, MTV is owned by Viacom. Transformers home studio is Paramount. Also owned by Viacom. See the coincidence?) and he can’t say anything yet, except that he liked it.

- This past week in Japanese TV dramas (see here for all drama introductions), we see the audience favorite Kaette Kita Jikou Keisatsu wrapped up to its highest rating of 13.5, Proposal Daisakusen (or Operation Love) saw its biggest ratings hike from 14.6 in the past week to 19.1 for its 8th episode, nearing the season high of 19.3. It remains the season’s highest-rated drama with an average of 16.8, and will likely to keep its place unless some type of divine intervention comes in. Joudan Janai also continues its slow climb back to respectability with a 12.8 rating, while Sexy Voice and Robo finds another new low with a 6.4 rating as it nears its end within these two weeks. Liar Game, Bambino, and Hotelier also see rebounds this week, as the weakest spring season in years begin to come to a close.

- Erika Toda, currently starring in Liar Game, has been casted in Tea Fight, a Japanese-Taiwanese co-production scheduled to shoot late this year mostly in Taiwan. Not much details on the film (not even director), but I can imagine the film would include tea and/or fighting.

- Apparently Bollywood has so many movies that they needed six hours to pass out all of its awards. The youth film Rang de Basanti, which is seeing its shorter cut released soon, won ten of the 15 cetegories, including best film.

- My favorite Japanese band is probably Love Psychedelico, especially after I saw them in concert back in 2005. At the end of June, they’re finally getting their own “Bokura No Ongaku” special. Considering their 60s Hippie rock influence, I’m not at all surprised that they would invite Yoko Ono. I’m just surprised that she actually agreed.

- Hong Kong’s Big Media Group, which announced its opening during the Hong Kong International Film Festival back in March, has unveiled its initial slate of films. They include mid-budget films by Wilson Yip, Wong Ching-Po, Joe ma, Jingle Ma (no relations), anc Vincent Kok, among others. Their only big-budget production so far is “Another Better Tomorrow, which will not be a remake and is trying to cast both Hong Kong and Korean stars. Except for the whole “Another Better Tomorrow” thing, I really like that they’re trying to do mid-budget productions with new talents, boasting production values instead.

- Still, looks like America thinks it has a thing or two to teach Hong Kong. Actually, I would like to sit in one of these things.

- Twitch laments for Isao Yukisada’s career, although I still think his comparatively subdued handling of a melodrama like Crying Out For Love in the Center of the World is top-notch commercial filmmaking (OK, it’s a little long, but a lot of Japanese films are). Oh, they also have a link to the trailer of his latest film, which seems like a children’s melodrama about building something for space.

- Jason Gray offers his own take on the Matsumoto-vs-Kitano comedian battle after seeing both Kantoku Banzai and Dai Nipponjin. The latter still sounds like quite a film.

- Meanwhile, Hollywood Reporter has finally chimed in with a review of Naomi Kawase’s The Mourning Forest, calling it a slow-moving film that might have worked better as a 30-minute short.

- I’m only reporting this because I know some people that like the Japanese pop collective (it’s too large to just be called a group) AAA. One of its member, Yukari Goto, is leaving the group due to health reasons, and will leave the pop collective with “only” seven members.

- The Shanghai Television is getting underway today, followed by the film festival, and this is the first year that the Shanghai Television Festival is operating on its own, before the actual film festival commences. On the other hand, the film festival will run its first SIFF market, which should do fairly well with the increasing reputation of Chinese films today.

- This is a strange and even somewhat contrived way of marketing a film - Saiyuki, the Japanese bastardiz….re-imagination of the famous Chinese tale Journey to the West, is promoting its film version with a fake cast, including another SMAP member Tsuyoshi Kusanagi and pop star Koda Kumi, on its poster.

- Ratings for Japanese animations is dropping overall due to a decreasing number of children, more extracurricular activities, more Wii playing (which is better exercise than watch cartoon anyway), and other reasons that seem to have nothing to do with quality.

- Since I already started following it, I might as well keep reporting it. Netizens in Hong Kong have found a new way to attack Hong Kong’s Television and Entertainment Licensing Authority - by complaining about a porn hyperlink seen on a government website.

- After proving to be a talented actress, Yu Aoi has a chance to prove her worth as a voice actress as the lead in a new high-budget animation special for Fuji Television.

- Twitch has the link to the full trailer for The Insects Unlisted in the Encyclopedia, Rinko Kikuchi’s first Japanese film after her Oscar-nominated performance in Babel. It looks weird.

- After winning the week at the Oricon singles chart last week, L’Arc~en~Ciel announces that they will release one single each month for five months starting August, as well as a new album and a concert DVD.

I rarely watch a Japanese drama that I was really sorry to see end, but Kekkon Dekinai Otoko (He Who Can’t Marry) has become one of them. It’s a relaxing and charming little show that can best be described as the Japanese version of James L. Brooks’ As Good as It Gets. Hiroshi Abe stars as Shinsuke, a talented 40-year-old architect who thrives on living the good life in solitude - steak for one, followed by a glass of milk and some loud classical music in his unusually large Tokyo apartment. He’s committed to keeping that life of solitude by being generally unkind to everyone he runs across, even his own mother. However, when his all-meat diet causes him a trip to the hospital, Shinsuke finds his life slowly becoming a John Donne meditation. Will he stop being so mean and eccentric? When will the people around up get fed up? And in a society where unmarried 40-year-old man are not seen in a very good light, will he meet his match and finally get married like everyone else?

That’s about the gist of the drama, which plays out more like an American TV show with a mostly episodic structure rather than a serial one. Each episode deals with an aspect of Shinsuke’s lifestyle being questioned (the title of each episode is “So What if I______?!”, and they are often hilarious as they are insightful. The writer also managed to craft one of the most interesting protagonists in recent Japanese drama with Shinsuke, thanks to a great performance by a deadpan Hiroshi Abe. Yui Natsukawa is also great as Natsumi, Shinsuke’s new doctor that makes up the second half of the unlikely couple. Yes, traces of the great As Good as It Gets are apparent - the cute dog (and the dog is REALLY cute), the rude protagonist, and the apartment setting. Still, the whole thing plays much more to a younger urban crowd, as well as the middle age crowd; the Tokyo cityscapes are nicely captured, and if the whole thing doesn’t make you want to live in Tokyo, I don’t know what else can.

I watched this on a Chinese-subtitled DVD bought in Hong Kong by a family member. If I’m not mistaken, an English-subtitled version was shown on Hong Kong TVB Pearl a while back, and the (sadly) unsubtitled DVD from Japan will set you back a good 200 dollars (I really wish Fuji would release their dramas with subtitles like TBS has done in Hong Kong). Still, I encourage you to seek this one out - it’s really the best Japanese drama I’ve seen in the past year.

- Looking at Hong Kong’s Thursday opening day numbers, this weekend is shaping up to be a little more balanced than the month of May. The big opening this week is Steven Soderbergh’s big heist flick Ocean’s Thirteen. On 57 screens (Spiderman 3 opened to double that number in Hong Kong!), the star-studded film made HK$930,000 on its first day (If you put it at Pirate’s ticket price inflation of 30%, that’s about HK$1.2 million). With Pirates already fading away at the opening of its third weekend (HK$440,000 on 53 screens), Ocean’s should do fairly healthy, though unspectacular business over the weekend, probably making about HK$5 million at the end of Sunday, just about on par with Ocean’s Twelve’s opening 2 and a half years ago.

If anyone cares (I sure don’t), Eddie Murphy’s Norbit opened with HK$170,000 on 16 screens. It probably won’t even make HK$1 million by the end of the weekend. Good riddance. Japanese sports comic adaptation Rough (by Nana director Kentaro Otani) opens weak with only HK20,000 on 7 screens. British film Cashback stays strong with HK$30,000 on 2 screens at the start of its second weekend with an 8-day total of HK$360,000. And the only Hong Kong film in the top 10 is Single Blog, taking in just HK$80,000 on 18 screens with the 8-day total of HK$1.84 million.

- As reported on this blog before, Naomi Kawase (director of the Cannes Grand Prix-winning The Mourning Forest) announced at Cannes that her next film will be a romantic comedy. Now more details have emerged that it’ll be shot in Thailand with Japanese drama star Kyoko Hasegawa. According to Ryuganji, just because Kawase is using a major actress for the first time doesn’t mean she’s going to be any easier on Hasegawa. She also wants to be among the ranks of Akira Kuroasawa and Nagisa Oshima as the “Japan’s Kawase” by the next generation and that she’ll win the Palme d’Or next time, though The Daily Yomiuri adds that she said it with a smile, suggesting that she might have just been half joking. Because, you know, I half-joke about winning the Palme d’Or all the time.

- The trouble is over, as Midway has now rejoined the New York Asian Film Festival as a sponsor. However, they are no longer the main sponsor, as Dragon Dynasty has taken that spot while they were gone. Maybe someone can now afford to fly me to New York to cover this as an official assignment for The Golden Rock…

- If you’re in Japan this weekend with limited Japanese ability (being able to read katakana is just fine), then your movie choice this weekend ought to be Christopher Nolan’s The Prestige. It’s a hell of a movie I wrote about back in April that’s damn well worth your time. Even the Daily Yomiuri gives it five stars.

- China is suspending the issuing of internet cafe licenses as they do a thorough investigation to make sure the customers are behaving properly, as in they’re not playing violent games, looking up porn, or speaking ill of the nation. In other words, what Americans do on the internet most of the time.

- Tartan has picked up the US rights for Kim Ki-Duk’s latest Breath, starring Cheng Chen. Meanwhile, Kim’s previous film Time will open in New York mid-July.

- In related Tartan news, they also picked up Park Chan-Wook’s I’m a Cyborg, But That’s OK and prebought Kim Ji-Woon’s The Good, The Bad, and The Weird. Since Tartan originates from the UK, no word if this means that they’ll also be releasing these films through their USA divisions as well.

- BET is sending a weekly version of their countdown show “106&Park” to MTV Japan, further signaling the growing hip-hop culture there.

- In a piece of more serious news, the erotic pages of major Hong Kong newspapers were sent to the Obscene Articles Tribunal recently for classification after some accused the TELA of having a double standard in the classification process, especially in the handling of the Chinese University of Hong Kong student newspaper case. Well, it seems like these erotic pages were classified as category I: Neither obscene nor indecent, which is baffling to me, since they are saying that kids are allowed to read erotic pages of mainstream newspapers without any warning printed on its pages.

Oh, I got it, they must’ve figured out that since Apple Daily, The Sun Daily, Oriental Daily have some of the least credibility among Hong Kong newspapers, no one would take them seriously anyway, right?

More news tomorrow.

There’s so much news from Japan today that this entry might as well be called “Nippon Thursday.”

- Having been one of the top 5 dramas of the 2006 Spring season, Kurosagi is being turned into a feature film. Starring boy band NEWS’ Tomohisa Yamashita (currently in the hit drama Proposal Daisakusen), this will be his first feature film lead role, and the film is scheduled to be released next Spring.

- More on the opening of Kantoku Banzai. It’s 40 million yen opening on 113 screens is merely 72% of Takeshis’, which only made 280 million yen. Just like Takeshis’, the alienating nature of the film will probably mean that word of mouth won’t be good. On the other hand, like Takeshis’, Office Kitano should make its money back through foreign sales.

- Ryuganji has a really interesting commentary on a Japan Times commentary about the state of Japanese films. One is bleak about the state of Japanese films, the other says “hey, it ain’t so bad out here.” Guess which is which.

- One of the filmmakers mentioned in the Japan Times commentary is Cannes winner Naomi Kawase. Thanks to her Cannes win, she was recently able to go to the Ministry of Economy, Trade, and Industry to try and convince the government in helping out the film industry. Why? Because her film is playing on only 28 screens in Japan when it’ll open on 70 of them in France.

- Fans of Hong Kong films in Japan: Milkyway screenwriter Yau Nai-Hoi’s Eye in the Sky is heading your way. Fans of Cheng Chen in North America: The Go Master is heading your way, too, but only if you have Netflix.

- On Monday, I wrote about the successful limited release performance of British film Cashback in Hong Kong. Today, Twitch offers us a trailer, as well as the original short film that led to the feature film. It actually looks pretty good.

- Toho-Towa, a major foreign film distributor in Japan, has signed up to release 14 movies for Universal, including about one film per month in 2008. I thought Universal is already trying their hand at investing Japanese films, but looks like they still need some help from one of the big three.

- Until recent years, martial arts films were actually banned from being made in China. Now that the ban has been lifted, it seems like studios are trying to catch up. Yuen Woo-Ping is rumored to be getting back into the director’s chair after years of working in major films in both Hollywood and China, and it might be a sequel to Iron Monkey starring Andy Lau. Yawn.

- Hollywood Reporter has a review of Memories of Tomorrow, starring Ken Watanabe as an Alzheimer’s patient. The film is due to be shown in different cities around America in the coming months.

- Young singer-songwriter Ayaka (whose first official single was already her first bona-fide hit) is now the first Japanese artist to have a video debut as a world premiere on the iTunes store. No big deal, you say? She’s only the third artist in the world to have such a privilege. Her new single Jewelry Day will be released on July 4th, as her first album will also be sold in 22 regions around the world after already selling over one million copies in Japan alone.

- Professor Bordwell writes about the recent wave of omnibus films, especially the Cannese 60th Anniversary anthology film To Each His Own Cinema.

- I’ve been looking forward to Shoot ‘Em Up since Jeffrey Wells wrote about its development on Hollywood Elsewhere, and now a trailer is finally up. It’s not as crazy as I thought it would be, but considering it’s just a trailer, it looks like quite a bit of fun to me already. But what the hell is a classy lady like Monica Bellucci doing in a film like this?

- Someone is suing Universal and director Judd Apatow because she believes his new hit film Knocked Up, about an up-and-coming reporter having a one-night stand that leads to an unplanned pregnancy, was obviously based on her book, about an up-and-coming reporter’s night at her engagement party that leads to an unplanned pregnancy. This one could go either way.

This isn’t a political blog, but these were the headlines of Hong Kong newspapers on yesterday June 4th. I honestly can’t believe the price of pork can be more important on June 4th, but I’m not a publisher, so what do I know?

- There again seems to be discrepancy between the actual attendance rankings to whatever Box Office Mojo has. And this time it isn’t simple exchange rate difference or money count, it’s practically different statistics altogether.

From what we can tell, Pirates of the Caribbean: At World’s End lost only 20% of its business (roughly, because the exchange rate is slightly different again), and the rest is all kind of confusing. For one, Mojo decided to include the money Warner Bros. reported it made on its weekend previews of 300. Not only that, Mojo also put it in the rankings, while the attendance ranking leaves it out completely (by the way, considering it only had showings on Saturday, it did pretty well). Also, Takeshi Kitano’s Glory to the Filmmaker is now placed at 10th place, which is what the attendance ranking reported, except it’s ahead of The Banquet, even though Mojo even reported The Banquet making about US$1000 more. They also reported that Glory opened only on one screen, when Variety Asia reports that figure at 113 screens.

Of course, the big news is the big opening of Hitoshi Matsumoto’s directorial debut “Dai Nipponjin.” On 221 screens, the superhero comedy made 230 million yen for an impressive 1,040,723 yen per-screen average (US$1=121 yen). However, the opening is only 83% of the opening of Train Man (Densha Otoko), which had a similarly secretive promotional campaign. Furthermore, the general public seems to be not liking the film very much, which means the opening weekend may only have satisfied the curious crowd and won’t have much legs in the long run.

Who cares, though, when you have won the battle of the comedians? Dai Nipponjin won a trifecta against Kitano’s Glory to the Filmmaker - screen count, total gross, and per-screen average.

- The “HOCC vs Leo Ku” debacle has blown up just a little bit more when the two showed up for a concert put together by a radio station. And of course, the media is fanning the flame to sell more newspapers:

基仔甫坐下即說新歌《錢錢錢錢》的種類屬於Progressive Rock，與Queen的《Bohemian Rhapsody》屬同一種曲風，但兩首歌的旋律絕不一樣。

(in translation)Leo immediately said that his new song “Money Money Money Money” belongs in the category of Progressive Rock, the same style as Queen’s “Bohemian Rhapsody,” but the melodies are absolutely different.

OK, Mr. Ku, I’ll buy that your song doesn’t sound like Bohemian Rhapsody, but let’s make this clear - this song is Progressive Rock; your song is not.

Meanwhile, Paco Wong, the manager of all Gold Label artists, has this to say:

「觀點角度不同，何韻詩發表的言論並無指名道姓，這是她的個人看法，如果她說的是雷頌德和古巨基的歌，那要多謝她幫手宣傳，不過請寫清楚名字。」基仔見狀不禁拍拍經理人膊頭，並打圓場說：「她沒說名字，不要對號入座。」

(in translation) “Perspectives are different. Denise Ho expressed her opinion without naming any names. That is her personal opinion; if she says that it’s Mark Lui and Leo Ku’s song, then thanks for helping with the promotion, but please clear up the names.” Then Leo pat his manager’s shoulder, trying to make peace saying, “she didn’t say any names, do not jump to conclusions.”

This is essentially a battle that the press started. HOCC didn’t even write that anyone copied any songs. Anyway, I won’t be translating the next line about Leo not smiling when they greeted each other since that’s just gossip. You can read the Chinese report to read about it.

- Under the “jumping the gun” file today, TV Asahi already has plans to turn their Summer drama Sushi Ouji into a feature film, before any of the drama has even aired on TV. Starring KinKi Kids’ Koichi Domoto, filming on the feature film will start within the next few days and will be distributed by Warner Bros. for next year’s Golden Week slot.

- Twitch has the first trailer for the Tsui Hark/Ringo Lam/Johnnie To collaborative experiment Triangle. I don’t care what the critics say, I still think it looks like a hell of a ride. Be sure to use Internet Explorer to watch the link.

- I saw a billboard in Tokyo with a countdown clock for when TV transmission signal is expect to go digital. That number was still over 1000 days, but it was a cool billboard anyway. Anyway, looks like Hong Kong needs to go get themselves one of those billboards, because the government is switching off analog in 2012, and people can already start watching digital transmitted TV by the end of the year.

- The second trailer for Kenta Fukasaku’s X Cross, an adaptation of the first “This Mystery is Amazing!” contest winner, is up. It’s shorter than the first trailer, and it actually features brief glimpses of behind-the-scenes work. Still, I don’t know why they’re waiting until December 1st to release it, especially it’s completed enough to already get slapped with a PG-12 rating.

- Shiina Ringo is back with Tokyo Jihen, and they’re not just releasing two singles this summer; they’re going on tour again! Anyone want to help me buy a ticket for the Tokyo show?

- Under the “that’s overdoing it a little bit” file today, the otaku-targeted girl group AKB48, which already has an astonishing 48 members, is looking to add another 18, totaling 66 members when it’s all said and done. They’re not building a pop band; they’re gathering an army!

- I feel obliged to report any time an Asian-American director hits it big. This time, So Yong Kim’s debut film “In Between Days,” which was well-received when it premiered at the 2006 Sundance Film Festival, has been picked up for distribution by Kino International (they distributed Wong Kar-Wai’s Happy Together and the Wong Kar-Wai DVD box set as well). The film has also won an award at the Berlin Film Festival.

- I used to like Quentin Tarantino even when people attack him for ripping off Asian films, because at least he made them look (fairly) good. The man has a sense of style and he certainly knows how to make a movie. Then Death Proof was too self-indulgent to bear (despite a really cool car chase at the end), and suddenly Tarantino doesn’t seem like such a good filmmaker anymore. Recently at Cannes, he was lamenting the current state of the Italian film industry, which certainly didn’t make the Italians very happy at all. Quentin, don’t even say one word about Hong Kong, alright?

- The world is changing fast. These days, a movie makes US$218 million by the end of its second weekend, and suddenly it’s a disappointment. Of course, Pirates’ disappointment probably has something to do with the 61% drop from last weekend, but that can be easily attributed to it 1) opening on a record-breaking holiday weekend, and 2) on too many screens to meet demands rather than relying on steady stream of word-of-mouth. I think the movie is getting generally good responses from people, but everyone that needed to see it had plenty of chances to see it already, so those that need convincing aren’t going to because they missed out on the first two. Anyway, with a current global take of US$624 million (to add to the over US$1 billion the second movie already made) there’s absolutely no doubt that everyone’s going to be smiling to the bank when it’s all over - they’re just upset that their deposit is a little smaller than before.

Pirates continued to do strongly (though still lagging behind Spiderman 3) on Sunday in Hong Kong, making HK2.55 million on 88 screens for a 11-day total of HK$32.92 million - that’s an average of almost HK$30,000 per day. Look for this sucker to break the HK$40 million mark, but remember - the ticket prices are 20-30% higher than the usual ticket price, so the only real gauge of success is audience admissions, and I don’t see Hong Kong releasing that type of figures anytime soon.

Meanwhile, urban romantic-docudrama-comedy Single Blog makes HK$280,000 on 28 screens for a lackluster 4-day total of HK$1.06 million. The word-of-mouth seems to be doing OK on the mov3 message board (a lot of them are saying it’s funnier than they expected), but quite a few people seemed to have gone in with free tickets. With Ocean’s 13 taking over the screens this weekend, I doubt the chain theaters are going to give this film a chance. By the way, as I mentioned last week, the “blog” connection is stated in the trailer - that 99% of the film is based on experiences people write in blogs. Just what blogs and how many blogs I have no idea. The rest of Hong Kong cinemas seem kind of ho-hum, except for the surprising performance of British film Cashback. On 2 screens, the comedy made an impressive HK$60,000 for a 4-day total of HK$190,000.

Box Office Mojo only has the top 6 movies on their site, so I’ll wait until they have the full ranking before I talk about numbers. However, I do have the attendance rankings, and as expected, Pirates took the weekend again (but with much more staying power than it did in the States). The bigger surprise is Hitoshi Matsumoto’s Dai Nipponjin showing up at 2nd place. Apparently, it opened wider than I thought, though it’s not playing in that many theaters in Central Tokyo (look at the screen counts for Pirates and the new Masami Nagasawa movie for comparison). It also beat Takeshi Kitano’s Kantoku Banzai by quite a margin, as Kantoku opened at only 10th place, right under The Banquet (!!).

Eiga Consultant further analyzes the opening weekend of the previous mentioned new Masami Nagasawa film, Sono Toki Wa Kare Ni Yoroshiku. Nagasawa got her big break with the 2004 Japanese blockbuster Crying Out For Love In the Center of the World (whose DVD probably sold so many copies that I managed to get a second-hand DVD in Tokyo for just 500 yen), and has had a considerable presence in both movies (Tears For You and Rough) and TV (Sailor Suit and Machine Gun and the currently-playing Proposal Daisakusen) ever since. However, the opening of Sono seems to prove that maybe she isn’t the big box office attraction after all. Sono made 89 million yen on its Saturday opening, which is only 94% of Rough and 23% of Tears For You. After the ratings disappointment that was Sailor Suit (only a 13.3 average rating, including a 45% drop from its first to third episode) and this, Eiga Consultant wonders whether the success of Nagasawa’s outing depend more on her male co-stars? After all, Proposal Daisakusen has boy band member Tomohisa Yamashita, and Tears for You has hunky actor Satoshi Tsumabaki. Too bad, I actually fell quite head over heels for Masami-chan (she’s three years younger than me, so I get to call her that!) after Crying Out for Love.

- Meanwhile, the recent blockbusters have been taking up so much screens in Korea (and pretty much everywhere else, come to think of it) that the Korean government is actually looking into whether studios are breaking monopoly laws. However, since these screen counts were reached by consensus between theaterowners and distributors (more demand=more screens=bigger cut), not much wrongdoing is likely to be found.

- Speaking of Proposal Daisakusen (as always, see Tokyo Graph for all drama introductions), it took quite a dive in the Japanese dramas ratings last week, dropping from a 17.4 % in week 6 to a 14.7% rating in week 7. Sexy Voice and Robo suffered from NTV dropping their 7th episode as episode 8 shows a new ratings low with only 6.5%. The Japanese remake of Korean drama Hotelier, starring Aya Ueto, also saw its lowest rating at 7.1 this past week. After announcing its planned 3-hour finale, Liar Game saw its first ratings drop in 6 weeks, from 12.0% to 11.4%. This is Fuji’s first attempt at a late-night drama, and it appears to have worked quite well. Meanwhile, TBS’s Sunday night disappointment Joudan Janai! finally stopped its freefall by recovering a slight bit on Sunday night. Starring Yuji Oda, the sitcom-like drama went back up from a 10.7 % rating last week to a 11.3% rating this week.

- Over the weekend, I posted a link to the Korean monster film D-War. Now an August release date has finally been set in both North America (where the distributor plans to open in on over 1000 screens) and in Korea. It’s hard to believe director Shim Hyung-Rae managed to get US$70 million to make this, although over half of it went to starting up a brand-new effects house for it.

- Director Katsuhito Ishii (Taste of Tea, Funky Forest: The First Contact) has leaked out some details of his latest film “Yama no Anata ~Tokuichi no Koi~.” A “cover” of the 1938 silent film “Anma to Onna,” the film will star SMAP’s Tsuyoshi Kusanagi as a blind masseur that I assume is not named Zatoichi.

- Spanish cinema is getting to be such a commodity that some of the biggest international film buyers are heading to Madrid for the latest screenings. I wonder if this is helped by the success of Pan’s Labyrinth, or am I just assuming too much because of my lack of knowledge about Spanish cinema?

- After the Indian film Rang de Basanti got nominations at the BAFTA, its studio UTV decided to release a new cut that’s 30 minutes shorter to capture more audiences. No word whether the new cut is approved by director Rakeysh Screwvalla, but he does have a comment in the article, so it would seem so.

- After appearing in 6 films, starring in one TV drama (Taiyou no Uta, or the drama version of Midnight Sun, which was confirmed to be inspired by the Hong Kong film C’est la vie, Mon Cheri), and releasing a single under said drama character’s name, Erika Sawajiri may be headed for a singing career. Sony Music has introduced a new singer named Erika who happens to look like her, has the same birthday as her, and even has the same voice….except she was born in Paris, unlike Sawajiri. But, but, she’s not even much of a singer.

- r@sardonicsmile is looking forward to the comedy Maiko haaaan, written by Ping Pong screenwriter Kankuro Kudo, and with good reason, too - it has Shibasaki Kou as a maiko.

- Twitch reviews the Korean animated film Yobi, The Five-Tailed Fox, from the team that brought you My Beautiful Girl Mari.

- There’s a parody of Spike Lee’s Do the Right Thing floating around the web, starring those Fisher Price Sesame Street toys. I’ve had neither, but I still found it hilarious.

- Jim Carrey is getting to be more of an actor than just another funnyman - I loved his performance in Eternal Sunshine of the Spotless Mind, and I guess taking on a thriller like The Number 23 sounded pretty good on paper. Now he’s taking on the dark comedy I Love You Philip Morris, as a real-life character who escaped prison four times after falling in love madly with his released-cellmate.

- Lastly, one of those people who got sued by the America record industry for downloading is now fighting back, countersuing the RIAA and Universal on several counts, including trespassing. That way, everyone loses!

- Youtube/Google and record company EMI have struck a deal to place video contents on Youtube legally. Artists under the EMI label include Coldplay and David Bowie (wait, does David Bowie even make music anymore?). Universal music also has a similar deal in place with Youtube. Too bad only North American music labels have deals so far, everything else is just getting their copyrights violated.

- Meanwhile, Asian music is seeing a huge market at making their products available for mobile users, and for a very good reason. In fact, a survey says most people expect music to only be available digitally in the next few years….as long as these music will be provided in uncompressed 1400k wav files (OK, I added that last part myself).

- This weekend, two films by two major comedians in Japan opened. First, there’s Takeshi Kitano’s latest “Kantoku Banzai” (”Long Live the Director!”), which is supposed to be quite strange and alienating like Takeshis’. There’s also “Dai Nipponjin,” the directorial debut of famous comedian Hitoshi Matsumoto (he’s the bald guy that does those batsu games). There were rumors that the films are opening on the same day to allow some cross-promotion, since the two comedians seem to cross paths on TV quite often. I can’t seem to find any articles about it (though I remember I read something about that), but if you need any proof that there’s any of that happening, just look at the following clip of Hitoshi Matsumoto on the comedy show “Waratte Itomo,” where he not only talks about his Cannes experience, but also have a crew member hang posters of his own film AND Kantoku Banzai in the back. Damn it, I want both of those posters.

I also predicted that there might be some kind of box office battle this weekend between these two films. I was wrong, they’re both fairly small releases (maybe just under 100 screens?), so Pirates will probably win the weekend again.

- I wrote about the so-so box office of last weekend’s opener Shaberedomo Shaberedomo before. Turns out it’s not doing quite well. The film, a drama about Japanese stand-up comedy (except they sit down, which….I guess makes it sit-down comedy in Japan terms), stars Johnny’s Entertainment-managed group Tokio member Taichi Kokubun and is actually doing worse than films featuring other Johnny’s talents. For instance, compared to those films that opened on less than 250 screens, Shaberedomo’s 39.7 million yen opening is only 66% of Sakurai Sho’s Honey and Clover’s opening, though it did open 143% of the opening for “Nezu no Ban” (A Hardest Night), another film about Japanese comedians. In addition, its “main theater” in Ginza reported full houses all weekend. Perhaps word-of-mouth (partly from positive reviews) will give it legs at the box office.

- Japan Times also rips the ridiculous Hollywood blockbuster 300 a new one this weekend.

- I know Ryu Seung-Wan (City of Violence, Arahan, Crying Fist) is a favorite among Asian action film fans out there. After exploring contemporary films, now he’s kind of moving on to period films….except said period film will have zombies in it too.

- Joost is supposed to be the high-quality alternative to Youtube, plus legal content. I have it, but it doesn’t have much to keep me tuned in. This isn’t going to help me keep tuning in, but I think this might encourage some other people to try it. However, Joost is currently invitation-only. Still, just google “Joost invite” and you can find one easily.

- People in the UK are now lucky enough to pre-order the excellent German film The Lives on Others on DVD. I know it’s not Asian, but I like the movie.

- A few weeks ago I put up the link to a teaser for Takeshi Miike’s high school brawl film Crows Zero. Apparently, the film won’t be an all-out boys fest; it will now have approximately one female character in it. Jeez, now I’m just making the movie sound like a prison sentence with periodical conjugal visits.

- Korea Pop Wars has an amusing story about how a win in the art world is overshadowing big bad Hollywood advertising. That’s right, Shrek, you just got your big promotional plan beat down by the French.

- Canada, sit tight. You guys are getting the Election movies in theaters starting yesterday! Just don’t bring a video camera to the theater anymore. Too bad I’ll be missing the August 17th opening of Exiled on the big screen in the United States (I’ll be in Hong Kong already by then).

- Speaking of which, forget about uploading TV shows; don’t even think of trying to spread them, especially episodes of 24.

- Lastly, there are more information about Tsui Hark’s latest film Missing, which somehow has something to do with a sunken wedding ring and an underwater city.

That’s it for today, we’ll wrap up the weekend tomorrow.

Took the three hours to watch Pirates of the Caribbean: At World’s End yesterday. Surprisingly, the 165-minute length went by fairly quickly, maybe because everyone was double-crossing each other the first hour and a half. Unlike Dead Man’s Chest, which sprinkled bits of action moments throughout to keep the audience pumped(including the Krakin beast thing that I have a personal affinity for, though it didn’t appear much in At World’s End), At World’s End is really one big setup for a somewhat underwhelming final battle that feels much like the second half of a huge 5-and-a-half hour film. This one really tests the audiences to see whether they actually care about the plot or not by stuffing as much into the journey between point A to point B as they can. It’s still very entertaining with the silly sense of humor and penchant for excess still around, but Verbinski and his writing team of Ted Elliot and Terry Rossio take the whole thing so seriously that Verbinski actually went as far as trying to channel Sergio Leone in a pre-showdown scene, Western music and extreme close-ups and all.

As expected, Johnny Depp steals the show as Jack Sparrow, even though he doesn’t appear until about 30 minutes in. While the Elizabeth Swann and William Turner plot line’s resolution was better than I expected, they are still the usual straight characters that were obviously misconceived when the writers wrote the original characters, not knowing that Depp’s performance would be so over-the-top. Chow Yun-Fat was great to see on the big screen, but that’s only because of the man’s reputation in my mind; he really doesn’t get much to do. The special effects are…..special, especially the Davy Jones character design. The credits showed at least 5 different special effects firms worked on the film, and it shows how much work they put in to make everything look real nice. Essentially, with all the money and audience love it’s gotten (which I honestly admit I’m a little baffled by, though I think a large percentage of the audience go purely for Johnny Depp and/or the special effects without even caring about the mythology and the plot), this movie is critic-proof. So go catch up with the second movie on DVD (trust me, you’ll need to), sit yourself in a movie theater with a good setup (I watched it in digital projection myself), and just enjoy the hell out of it. Word of warning, though: This movie is the most violent of the three, with people getting stabbed and shot in the head (though no blood). So don’t let the Disney label fool you into thinking it’s a kids film.

Note: Do stick around for past the credits. The post-credit scene this time actually matters, unlike the one in the second film (I had predicted the post-credit scene in the first movie mattered in the resurrection of Barbossa - it didn’t), because it wraps up a pretty important plot line. While I admire the team’s effort to make people watch the credits to recognize all the people’s hard work, it’s already been 160 minutes by the time the credits start. Just show what you need to show and let people go home.

- In Hong Kong, Pirates already seems to be slowing down a little bit. On Thursday opening day, Pirates made only HK$1 million on 88 screens for an 8-day total of only HK$25.85 million. One can argue that reduced running time means less shows, but I blame it on the ticket increase (theaterowners added HK$15 to the ticket price because of the length) and people just kind of balked at a 3-hour long movie. I don’t see this going past $HK40 million, which King Kong managed to do under the same condition.

In opening films, Hong Kong romantic comedy Single Blog (which actually claims in its trailer that 99% is not created, but rather situations taken from Hong Kong people’s blogs…someone should ask for royalties) made HK$220,000 on 25 screens, which is bad, but could have been a lot worse. Premonition starring Sandra Bullock makes HK$100,000 on 15 screens, Disney’s Bridge to Terabithia makes only HK$60,000 on 19 screens, and the weekend is just looking pretty yawn-y.

- Borat opened on 31 screens in Japan this past weekend, and it did pretty well in at least one of them. A theater in Shibuya is reporting that the film got off to an extremely good start, with hip people from their 20s to their 50s attending, and that people are taking advantage of the Monday discount….except the theater gives no official numbers, and no one knows how it did in the other 30 theaters. According to Box Office Mojo, it only made 7.3 million yen, for a not very good per-screen average of 237,000 yen (US$1=121 yen). But considering that it’s playing in small art house theaters that sit only about 150 people (at most 200), the houses are definitely getting filled….just not as filled as some might suggest.

- When my friend told me about the ridiculousness of this, I thought he was behind about 2 months, because I thought Norika Fujiwara’s wedding already happened. Turns out they held a Western wedding reception, and for some reason, Nippon TV thought it was important enough to broadcast it live. Then viewers thought it was important enough to tune in. In the Kansai area, where Fujiwara is from, the ratings for the wedding actually reached 40%. It didn’t do too shabby in Kanto, either; it reached 24%.

- In Europe, authorities report that they seized 23.2 million copies of entertainment goods such as DVDs, CDs, and software. And they’re blaming China, reporting that 93% of what they seized came from there.

- Taiwanese music channel Channel V is signed on to broadcast on the Hong Kong pay network Now TV. The thing is, Channel V was already in Hong Kong when Star TV was still playing in Hong Kong before joining Now TV, so how is this news? I know, I’m wasting your time too.

- There’s a sales poster up for Johnnie To’s romance Linger. Is that what passes for a poster of a Johnnie To movie nowadays? And that title, “Butterfly Fly?” This might be the first time I’m actually avoiding a Johnnie To movie.

- Japan Times has a feature on Japanese cinema’s newest hero Naomi Kawase, who won the Grand Prix at the Cannes Film Festival with her drama “The Mourning Forest.” They also have a feature about the making of the film as well, including her frustrations of working with foreign investors.

- Seems like the New York Asian Film Festival is running into some troubles after sponsor Midway Games decided to pull out of the festival. Now things are being rescheduled, but the festival is still on. I won’t be able to attend (due to the fact that i’m on the opposite end of the country), but I wish them mucho luck.

- Australian screenwriter/director Tony Ayres’ autobiographical film The Home Song Stories, starring Joan Chen and her daughter Irene, won a A$15,000 prize for its screenplay.

- Sai Yoichi, the Korean-Japanese director who made the brutally powerful Blood and Bones, made his Korean directorial debut with Soo, a violent revenge action thriller that sounds really promising. It’s coming to DVD on June 15th.

But then today Twitch’s Todd posted a fairly negative review that now has me wondering whether it’d be any good. I’ve read positive reviews of the film as well, so perhaps it’ll be one of those love-it-or-hate-it films that I might end up liking.

- The Galaxy Award, held by the Japan Council Better Radio and Television (there should be a council like that everywhere), was recently given out. I’ve never heard of this award, but since it’s in its 44th year, it must mean something. Notable winners include drama “Dr. Koto’s Clinic 2″ and actress Ryoko Shinohara for her several roles (including her lead role in drama Haken no Hinkaku).

- For anyone that wants to know more about the Japanese pop music world, Japundit has a really long feature on the infamous Japanese talent management firm Johnny’s Entertainment. Sounds a bit like Hong Kong’s EEG too.

That’s it for today, more over the weekend.