- Japan numbers are out on Box Office Mojo. Apparently, The Curious Case of Benjamin Button only lost 11.6% of previous week’s business to take the top spot away from 20th Century Boys. However, the latter isn’t stopping too quick, losing only 28.5% of previous week’s business at just past 2 billion yen. However, at this pace, it’s slightly behind part 1, which means it’s not likely to get past that 3.5 billion yen mark. Meanwhile, High School Musical lost a surprising 46.8% of business in its second weekend, making it a bona-fide disappointment for Disney.

Meanwhile, Three Kingdoms: Resurrection of the Dragon opened in Japan this past weekend. From a limited release of 8 screens, the Daniel Lee film made 5.08 million yen over 2 days. It doesn’t sound very strong, but according to Mr. Texas of Eiga Consultant blog, its Tokyo screen attracted 1359 admissions (out of a possible 1608 for its 8 shows in a 201-seat auditorium) and made 1.66 million yen, with packed shows on Saturday opening day.

- In Korea, Benjamin Button took the top spot, as expected. Meanwhile, the movie that’s making the big news is the documentary Old Partner, about an injured farmer and his ox. Started as a small indie release, it has blown up to a 200+ screen release and more than 700,000 admissions already.

More from Korea Pop Wars.

- In Chinese box office, Transporter 3 is off to a very good start, making just over 30 million yuan on opening weekend. Look For a Star is now at 89 million, and will likely pass that 100 million yuan mark. Joe Ma’s Give Love, despite being distinctly a recepient of the new Hong Kong government film fund, opened in China first and made roughly 9.5 million yuan. Cape No. 7, which finally saw its China release for Valentine’s Day, could only muster a 5th place opening of about 9 million yuan. This may be because many of its target youth audience has already downloaded the film and have no reason to go the theaters for it.

- On the Japanese Oricon charts, KAT-TUN gets their 9th consecutive number 1 single on the singles chart, while Thelma Aoyama gets her first number 1 album with her latest compilation, although I don’t know someone with just one full-length album can already have a compilation album.

More from Tokyograph.

- Coming off the moderate success of See You in Youtube, the directorial team of Seven’s (which include producer Oxide Pang, Cub Chien, and six other young directors) are back together for a school-themed film with young stars such as G.E.M., William Chan, and Siu Fey. Yikes.

- In what is likely to be a better film by a better director, Ang Lee is the latest director in talks to direct the adaptation of The Life of Pi.  Directors involved before Lee includes M. Night Shyamalan and Jean-Pierre Jeunet.

- In Thailand, the cabinet has passed the controversial film ratings system, and it’s set to be in place in May. It was meant to allow greater freedoms for filmmakers, but the sketchy wording of the system and the structure of the regulatory party have found more disapproval among Thai filmmakers instead.

- Variety’s Ronnie Scheib takes a look at Takashi Miike’s Yatterman after its screening at Berlin.

- Lastly, director Tsai Ming-Liang is in Taiwan rushing to complete his latest film Face in time for the Cannes Film Festival. But first, he will have to flood several city blocks of Taipei to get there.

- We may just permanently go with the Hong Kong Filmart numbers for the Hong Kong box office. In the last week, Yes Man easily took the top spot in its first 4 days, making HK$4.2 million from 34 screens (including previews). HK$10 million is likely, but not sure if it’ll go much past that. Bryan Singer’s Valkerie couldn’t attract the Valentine’s Day crowd, making HK$2.8 million from 38 screens over 4 days. It’s not bad in terms of day-to-day average, but it’s not likely to get past the HK$7 million mark. It’s better than Lions for Lambs, but Tom Cruise has done far better before.

Sam Mendes’ Revolutionary Road did fairly well in its 14-screen psuedo-limited release, making HK$1.16 million over 4 days, though I wonder how it’ll do once all those other love movies hit Hong Kong theaters. One of those love movies, Patrick Kong’s Love Connected, did very well during its two days of preview showings over the weekend, making HK$926,000 from 37 screens. Could this be Patrick Kong’s return after two duds?

One romance that didn’t do so well is Ivy Ho’s Claustrophobia. From 12 screens, it made HK$574,000 over 4 days, with it making barely over HK$10,000 per screen each day.

-With the holiday weekend, there’s no Japan numbers up at Box Office Mojo yet, so we’ll have to do with the cinema attendence figure for now. The Curious Case of Benjamin Button has ensured its long-run success by overtaking 20th Century Boys II for the top spot in its second weekend. Kankuro Kudo’s Shonen Merikensack had to do with a 3rd place opening with about 214 million yen.  It’s nowhere near the opening of the similar-themed Detroit Metal City, but it is 171% of the opening of another Aoi Miyazaki’s starrer Heavenly Forest. It is now aiming for a 1.5 billion yen take, which has to be somewhat underwhelming after Miyazaki’s very popular drama starring role in NHK’s Atsuhime.

Meanwhile, the Keanu Reeves starrer Street Kings (renamed Fake City in Japan) opened at 9th place, which is fair since it wasn’t a major release anyway.

- Feng Xiaogang, Chen Kaige, Ge You, and even Andy Lau has been recruited for a new film, except they will all be actors this time around. Why such a big cast, you ask? Because it’s the PRC’s 60th anniversary extravaganza!

- Speaking of nationalism, Peter Chan will be joining the director of said extravaganza film to form a production company with Polybona, also known as the “entertainment business arm of the Chinese army”. They plan to make 15 films in the next three years. I hope at least one of them will be Peter Chan’s.

- The insane 4-hour epic that is Sion Sono’s Love Exposure managed to win two awards at the Berlin Film Festival. I’m crossing my fingers that it’ll be at the Hong Kong International Film Festival this year.

- The controversial Japanese film Children in the Dark will finally have a screening in Bangkok when it screens at the Foreign Correspondant Club in Bangkok. The film, about child prostitution in Thailand, was pulled from the Bangkok International Film Festival last year after it was deemed inappropriate.

- Meanwhile, straight from Derek Yee’s mouth is why his new film The Shinjuku Incident won’t be in Chinese cinemas.

- Usually, only Japanese commercial television stations would bring their drama series to the big screen. But now, even NHK is joining the cinema trend, with a spin-off of their successful finance drama Vulture.

- In more TV-related news, Smap’s Masahiro Nakai (the one who always sings off-key) will be starring in his first Fuji TV Monday 9pm slot drama for the first time since 1998. The Fuji Monday 9pm slot is known as the strongest drama timeslot on Japanese TV, although its victory has not been consistent lately because of shows like Innocent Love (Voice is the current Winter 2009 leader, though). Even Monday 9pm staple Kimura Takuya’s Change lost out in average ratings to Gokusen.

-  Sad news: The house that apparently inspired Hayao Miyazaki when he did Totoro has burned down.And another piece of my childhood goes away.

- Again, I’m using the Hong Kong Filmart website numbers for this week’s Hong Kong box office. Thanks to excellent word-of-mouth, The Curious Case of Benjamin Button took the top spot for the week, beating All’s Well Ends Well 2009 for a total of HK$19.6 million after 18 days. Meanwhile, Bride Wars led the newcomers, making HK$2.2 million from 33 days over the first 4 days. Will Smith’s Seven Pounds is all the way down at 9th place with just HK$1.72 million from just 19 screens after 4 days.

The rest of the numbers seem faulty (All’s Well Ends Well should be well past the HK$20 million mark now), so I’ll save the reporting for next week when better numbers come out.

-In Japanese box office, 20th Century Boys II managed to hold on to the top spot, despite losing 43.8% of business and Benjamin Button opening. Running 20 minutes longer (but on 53 more screens), Benjamin Button could only muster a 2nd place opening with a lower per-screen average than 20th Century Boys. According to Mr. Texas at Eiga Consultant, its opening was 110% of The Departed (another major Oscar nominee), which means it’ll make just under 2 billion yen. Then again, it may end up going to Hong Kong route and end up being a long-term hit. Weeks 2 and 3 will answer that.

In a relatively moderate release, High School Musical only scored a 5th place opening in terms of gross (it got bumped to 6th by Penguins in the Sky - Asahiyama Zoo on the attendence chart), it earned a respectable per-screen average.

- In Chinese box office, Look For A Star continues its reign at the top with 68 million yuan and counting, despite it not doing so well in Hong Kong.I’m surprised All’s Well Ends Well was the only film with an increase in gross, now with 31 million yuan and counting. And what the hell is Black Book doing there (unless it’s heavily censored)?

- In Taiwan box office, Foreign films continue to reign, with Yes Man and Seven Pounds taking the top spots. Red Cliff II still doing very well too, with 136 million New Taiwan Dollars in the bank. However, it’s also far from what part 1 had after its 4th weekend, which is the general pattern it’s following throughout Asia, except in China and Korea.

- In Korea, Red Cliff II has surpassed part 1, and still in second place this past weekend. The good news is that Korean films has taken 45.9% of total box office so far this year. Hopefully, that’s pointing towards an upward trend from the slump last year.

More at Korea Pop Wars

- The Hong Kong Film blog has posted the list of the nominess for the Hong Kong Film Awards. Red Cliff has 15 nominations, Ip Man and Painted Skin have 12 nominations,and even though The Way We Are only has 6 nominations, it was nominated in all themajor categories except Best Actor and Best Supporting Actor. Here are the major nominations:

BEST PICTURE

Red Cliff
Ip Man
Painted Skin
The Way We Are
CJ7

BEST DIRECTOR

Ann Hui - The Way We Are
Johnnie To - Sparrow
John Woo - Red Cliff
Wilson Yip - Ip Man
Benny Chan - Connected

BEST ACTOR

Louis Koo - Run, Papa Run
Simon Yam - Sparrow
Donnie Yen - Ip Man
Nick Cheung - Beast Stalker
Tony Leung - Red Cliff

BEST ACTRESS

Bau Hei-Jing - The Way We Are
Prudence Lau - True Women For Sale
Zhou Xun - Painted Skin
Karena Lam - Claustrophobia
Barbie Hsu - Connected

BEST SUPPORTING ACTOR

Zhang Fenyi - Red Cliff
Stephen Chow - CJ7
Liu Kai-Chi - Beast Stalker
Lam Ka-Tung - Ip Man
Louis Fan - Ip Man

BEST SUPPORTING ACTRESS

Race Wong - True Women For Sale
Vicky Zhao - Red Cliff
Chan Lai-Wun - The Way We Are
Betty Sun Li - Painted Skin
Nora Miao - Run, Papa Run

BEST SCREENPLAY

Run, Papa Run
Claustrophobia
Painted Skin
Beast Stalker
The Way We Are

Some real atrocious choices (Painted Skin?! CJ7?! No Beast Stalker for Best Film?!), but I hope the voters will have some common sense left and let The Way We Are gets its day in the spotlight.

If anyone wonders how Claustrophobia got nominated, they had 5 night showings that were not opened to the public, but counted as having a week of release in 2008.

- Some Ip Man-related news today on Apple Daily: Wilson Yip and co. will start shooting the sequel this summer with a target release date of February 2010 (probably the next Lunar New Year slot), and Mandarin Films has already greenlit a second sequel as well. Right now, the filmmakers are looking for Jay Chou or Shaolin Soccer’s Chan Kwok-Kwan (aho already played Bruce Lee in the CCTV drama) to play Bruce Lee.

Meanwhile, Tony Leung said that Wong Kar-Wai plans to begin shooting his version of the Ip Man story in June, but he also says WKW may not even be done with shooting the film until the third Ip Man movie has been released, and that he expects that version to take a path that strays from Wilson Yip’s action film.

-  From Youtube is the trailer for Gegege no Kitaro and 10 Promises with My Dog director Katsuhide Motoki’s crazy looking Kamogawa Horumo (info from Nippon Cinema). It looks crazy, but I have little faith in Motoki’s work in general.

-  It’s reviews time! Both reviews are from Hollywood Reporter Asia today - one for Ivy Ho’s Claustrophobia from Peter Brunette, and by Neil Young is the review for Funahashi Atsushi’s Deep In the Valley, which was shown at the Forum section of the Berlin Film Festival.

- It already went through the TELA’s rating system in December, and now Sex and Chopsticks II has a poster which reveals a release date of March in Hong Kong. See you at the Dynasty.

- In other release news, despite a generally weak European Film Market at Berlin, America’s Magnolia Pictures, who brought the cut version of Ong Bak 1 and the uncut version of Chocolate to the United States, has picked up the American rights to Ong Bak 2.

- Under “Japanese TV drama” news , the moderate hit drama Zettai Kareshi is coming back for a one-episode drama special this spring.

Meanwhile, actor Jo Odagiri is returning to TV after Jikou Keisatsu for a TBS drama next season, co-starring Masami Nagasawa as his sister.

Lastly, the weekly variety show Goro’s Bar, hosted by SMAP member Goro Inagaki, will be turned into a drama special that will feature Inagaki playing the owner of a bar instead of him pretending to be a pop star pretending to be the owner of a bar.

- Chen Kaige talks about making Forever Enthralled at the Berlin Film Festival, where the film is the only Chinese-language film in competition. He talks about the pressure of having opera star Mei Lanfang’s son as a consultant and how important liberty is. Surely, he’s only able to say that outside of China.

- Lastly, further proof why Naoto Takenaka is the most awesome actor working in Japan.

Happy Lunar New Year to everyone. Best new year gift so far: Finding a link to this blog on Professor David Bordwell’s blog.

Sad, sad news coming out of Asia. Due to the worldwide economic downturn, Variety Asia, which this site uses as a major source for news, has been indefinitely suspended after its two top guys - Patrick Frater and Marcus Lim - has been let go. The same goes for Grady Hendrix’s Kaiju Shakedown blog, which served as a great influence on the development of this blog. Hope to see these guys on the internet soon.

- Still using the HK Filmart website numbers this week to see how films did over the entire Lunar New Year holiday week in Hong Kong. Leading the way for the week is All’s Well Ends Well 2009, which made HK$14.1 million over the week for a 10-day total of HK$18.3 million and should hit the HK$25 million mark before its run ends. The Curious Case of Benjamin Button, which has far less showings and an inflated ticket price, is in 2nd place with HK$9.9 million for a 11-day total of HK$13.9 million. With strong word-of-mouth, this should have no problem making the HK$20 million mark.

However, the Lunar New Year will likely go to Ponyo on a Cliff by the Sea, which made HK$9 million over the week and has already made HK$21.4 million after 16 days. With this pace, it will current leader Red Cliff II, which made HK$6.4 million over the week and is currently at HK$21.7 million. There’s a chance that it will match the HK$25 million take of part 1, but with more competition this weekend, its chances are slim.

The underperformer of the holiday is Andrew Lau’s Look For a Star. From 35 screens, it made HK$7.3 million from 35 screens over the week and made HK$9.56 million after 9 days. It should hit the HK$15 million mark, but still somewhat disappointing for an Andy Lau starrer. However, the true loser of the holiday week is the Hollywood dog film Marley and Me, which made just HK$4.2 million over the week and HK$6 million after 11 days. This is somewhat surprising since dog films tend to do very well in Hong Kong.

- No Box Office Mojo numbers yet, so we only have the box office admission chart from Japan. As expected, the second chapter of 20th Century Boys opened on top. According to Mr. Texas of Eiga Consultant Blog, it made 620 million yen from 374 screens, which is 99.4% of the opening for chapter 1. Also, a trucated version of chapter 1 (with “new scenes”. I checked, they just filmed a new way to bookend the film and took out scenes. It ran only 114 minutes with commercial) scored a 18.6% rating on TV the night before its opening. With 80.6% of the weekend audience saying that they definitely want to watch the final chapter, NTV, Toho, and the rest of the investors should have no trouble getting their investment back.

Mamma Mia managed to open at 2nd place, which bumped Quantum of Solace and Pandemic all the way down to 3rd and 4th place, respectively.

With all the competition, the 2nd part of Che only managed a 6th place opening after part 1 opened on top 3 weeks ago. More when Box Office Mojo has the numbers.

- Red Cliff II leads for the second weekend in a row in a relatively quiet weekend in Korea. There’s no analysis this week by Mark Russell at Korea Pop War, but I’ll link you over there anyway for the figures.

- The Winter 2009 Japanese drama season continues to see weak ratings across the board, with no drama hitting the 20% rating so far (Aibou doesn’t count because it’s the middle of a 6-month season). However, Kiina may have a chance after losing only a small amount of audience for its second episode, and Mei-Chan no Shitsuji is keeping steady around the 14% mark.

Meanwhile, the Fuji Monday 9pm drama Voice drops further to 15.0% rating for its 3rd episode (we’ll look at this week’s ratings next week. That’s how we roll). Even though Triangle took that deep second episode dive, it’s been staying steady about the 11% mark as well. Arifureta Kiseki took a slight turn upwards with a 11.4% for its latest episode, but Love Shuffle took a dive to a 8.2% rating for its third episode, making it the flop of the season. The Kenichi Matsuyama-starrer Zeni Geba isn’t doing so well either, dropping to a 9% rating for its third episode. Another drama with potential is Rescue, which actually saw an increase in ratings for its second episode.

All Japanese drama sypnosis can be found on Tokyograph, but seriously, who still cares about Japanese dramas?

- KinKi Kids extends their world record of having the largest number of consecutive number 1 single with their latest, which topped the singles chart this week on the Japanese Oricon chart, of course.

Meanwhile, an original album finally takes the top spot this week on the albums chart. Thanks, Koda Kumi!

More over at Tokyograph.

- In Japan, overall 2008 box office dropped by 1.8%, with a 2-yen drop on average ticket price and a staggering 23.9% drop in foreign film box office.  On the other hand, local films’ box office take went up by 22.4%, so it’s all good.

- Box office was also all good in China, where the Lunar New Years holiday box office this year was up by 20% from the same period last year, partly helped by having ten new releases packing theaters. Surprisingly, Andrew Lau’s Look for a Star led the holiday box office along with Ning Hao’s Crazy Racer.

- It’s reviews time!  Variety’s Jay Weissberg looks at the Japanese indie film Non-Ko. It may not be an Asian film, but Push was filmed entirely in Hong Kong, which is enough for me to link to Robert Koehler’s review of it.

-Japanese director Hirokazu Kore-eda has already finished filming his follow-up to Still Walking. This time, the film stars Korean actress Bae Doona as a vinyl doll who comes to have human emotion. Sounds nothing like Still Walking at all.

- Even though Ivy Ho’s directorial debut Claustrophobia (saw it at the Asian Film Festival in Hong Kong and liked it) not opening in Hong Kong until next week, the renowned screenwriter is already getting to shoot her second film, with Jacky Cheung and Tang Wei attached as stars. This time, what I’ve heard is that it’ll be a more commercial effort than Claustrophobia, and it’ll be shot for a fairly low budget.

- Nippon Cinema has the second trailer for Donju, starring Tadanobu Asano and written by Kankuro Kudo.

With a lot of box office numbers coming in, it’ll mainly be a number crunching entry today.

-  We’ll start with the Japan box office numbers since they’re the most comprehensive. As reported yesterday, Pandemic opened at top with about 302 million yen from 324 screens. In line with what happens after a holiday weekend, grosses dropped more than usual, with The Day the Earth Stood Still taking the hardest hit with a 59.2% drop. On the other hand, the smallest drop goes to Threads of Destiny, which lost only 21.3% in business, indicating word-of-mouth traveling around its target audience. Not surprisingly, the TV drama has seen an increase in ratings since it returned after new years.

Even though Pandemic had a promising opening, Mr. Texas at Eiga Consultant reports that the film’s opening is only 67% of the last Satoshi Tsumabuki-Toho-TBS film Dororo, which ended up making 3.4 billion yen. If the trend is going to be similar, then Pandemic should end up with just a little over 2 billion yen. Then again, word-of-mouth can throw that off anytime.

- In Chinese box office, Red Cliff II dominates for a second weekend in the middle of the Chinese New Year holidays. It has now made 181 million yuan, and with If You Are the One slowing down (losing 74% of the previous week’s gross), it has a good chance of speeding past it after the new years holiday. Meanwhile, If You are the One has now made 305 million yen, which is still pretty amazing. With its momentum coming to a quick stop, it should have no chance hitting the 350 million yuan mark.

- Red Cliff II also dominated the Taiwan box office over the weekend, making a phenomenal 27 million New Taiwan Dollars this past weekend. However, part one actually performed better back in July with 42 million New Taiwan dollars over its first weekend. Meanwhile, everything else had absolutely no chance in even nearly equaling the Red Cliff numbers.

- In Korea, the pre-New Years period mean not much changes in the box office charts. The two top films are still Korean, with only one new film entering the chart at 10th place.

More over the Korea Pop Wars.

- On the Japanese Oricon charts, Ai no Mama De solidifies its new status as the benefactee of the “Kohaku effect” by finally taking the number 1 spot this week on the singles chart. Meanwhile, another compilation takes the top of the album charts. I’m sleepy, so I’m turning it over to Tokyograph for the report.

- The nominations for this year’s Asian Film Awards were announced today. The Good The Bad and the Weird managed 8 nominations, and while I was glad to see Tokyo Sonata well-represented, there were definitely some eye-popping choices. For example, were Eri Fukatsu and Vicky Zhao THAT good? If You Are the One was good, but was it only because of Feng Xiaogang, since he was nominated for Best Director, but not Best Film. Meanwhile, was Tokyo Sonata only nominated for Best Film because the film was good, but not because of director Kiyoshi Kurosawa? And Shoda Matsuda for Hana Yori Dango Final?!

On the other hand, good to see Shinichi Tsutsumi recognized for his work on Suspect X.  The awards will be handed out in March.

- Poor CCTV censors in China had to be up until past midnight in order to make sure the part in President Obama’s inauguration speech about fighting communism is edited out at just the right moment.

- Finally, China’s State Administration of Radio, Television, and Film has proposed a law that would start the film rating system in the country,  However, the lack of a rating system was not the excuse that One Night in Mongkok and Lady Cop and Papa Crook got cut, so while it might allow films with stronger content in the theaters, it doesn’t get rid of the riduculous censorship rules.

- Variety’s Derek Elley chimes in with his review of Wilson Yip’s Ip Man.

- Japan’s National Association of Commercial Broadcaster reveals that a record 55 out of 127 TV stations in Japan are losing money because of loss in revenues and the expensive switch from analog to digital broadcasting.

Yesterday was a slow news day, and with no box office numbers, there was nothing to write. But that all changes today:

- Even though Red Cliff II won the Hong Kong overall weekend box office with HK$9.1 million over the first 4 days from 73 screens, Ponyo on a Cliff by the Sea could’ve probably won the weekend had it opened on the same day. Opening late on Saturday the 17th, the Studio Ghibli film made HK$5.2 million over two days from 58 screens (only 10 or so of those playing the Japanese version) for an average of HK$2.6 million a day (versus Red Cliff’s HK$2.27 million per day). Overall, Red Cliff II is performing not as well as part 1, which made HK$10.69 million in its first 4 days back in July. However, its upcoming Lunar New Year competition (Look For a Star, All’s Well Ends Well 2009, Benjamin Button, Marley and Me, Bolt) don’t overlap in terms of genre, so it may perform well enough through the extended Lunar New Year holiday to outperform the first film in the long run.

In its 5th week, Ip Man has broken through the HK$25 million mark, though its momentum has been stopped greatly by the two opening films taking up screens. The same goes for the second weekend of Australia (HK$3.89 million after two weekends) and Tactical Unit - The Code (HK$3.64 million after two weekends). Sadly, with now.com doing “maintenance” on their box office stats, and my refusal to take source-less numbers from the Hong Kong Film Blog, this is the best stats we can get for now.

- On the Japanese audience attendence chart, the disaster film Pandemic took the top spot in its opening weekend, finally knocking Wall-E off after 6 weeks at the top. The only other newcomer is Zen, which finally made its way up to the top 10 after being in 7th place last week.

According to Variety, Pandemic made US$3.35 million. According to the current rate on xe.com, that’s roughly 301 million yen. Meanwhile, Quantum of Solace ran sneak preview showings this weekend and earned 270 million yen, according to Eiga Consultant. More when the numbers from Box Office Mojo come out.

- Looks like it’s time to brace for another disappointing season in Japanese drama. The Winter 2008 season had Bara no nai Hanaya in the Monday 9pm Fuji TV slot and had a 22.4% premiere. This year, that time slot also has the highest-rated premiere of the season so far with Voice, but it only earned a 17.7% rating. Other dramas are definitely underperforming, namely Love Shuffle with Hiroshi Tamaki (looking like a skeleton), which saw only a 10% rating for its premiere episode.

Meanwhile, Triangle drops to a 11.1% in its second week, Arifureta Kiseki drops to a 10.9%, Tokumei Kakarichou Tadano Hitoshi is also underperforming in its primetime slot with just 10.9% (some reasoning passed around online points out that its target male audience arrive home in time for its old late night slot, but would not rush home to catch it on prime time), the Kenichi Matsuyama-starring drama Zeni Geba premires with only 12%, and Honjitsu mo Hare, Ijou Nashi premieres with only a 12.4%.

Some dramas are doing well enough so far. Aibou Season 7 kicks off 2009 with a 20.5% rating, Mei-chan no Shitsuji has the second-highest rated premiere of the season with 14.9%, Akai Ito continues to see its boost from the film version with a 10.8% this week, and Wataru Sekan wa Oni Bakari stays consistent with 15.1% this week.

All Japanese drama sypnosis can be found on Tokyograph

- In related drama news, the Nikkan Sports Drama Grand Priz survey has announced its results for the Fall 2008 season. It seems like the Arashi fans showed up and voted Ryusei no Kizuna to win in a landslide for Best Drama, Best Actor, Best Supporting Actor, and Best Supporting Actress.

- In India, the Warner Bros-produced comedy Chandni Chowk to China made US$6.8 million in the widest release for an Indian film ever in both India (1,319 screens) and North America (130 screens). It may pass the US$20 million mark, which is apparently the sign of a Bollywood blockbuster.

-  Jero is not the only African-American making it big in Japan. One of the most popular actors in Japanese advertising now is Dante Carver, who saw his rise to fame as Aya Ueto’s older brother and the son of a talking white dog in the popular Softbank commercials (see them here) and is in Japanese theaters this week in Pandemic (he even has a line in the trailer). Now, he will be acting in his first drama in a miniseries for NHK.

-Under “Film Festival” news today, Japanese Oscar contender Departures won the audience award at the Palm Springs Film Festival.

Meanwhile, Variety reveals the Asian contenders at the Berlin Film Festival’s Forums section, which will include Dante Lam’s Beast Stalker being included for a special screening at the Forums section.  The opening screen of Forever Enthralled also reveals that it will be joining the competition section, even though the full program has yet to be announced.

- In the midst of a serious recession, Japanese people are staying home to watch TV, which has proven to be quite beneficial for satellite and cable television operators who rely on suscribers’ fees instead of advertising as a major source of revenue.

- The Hong Kong Film blog has a trailer to Oxide Pang’s latest film Basic Love, which hopefully has no ghost and is just a teen love story with bad dialogue. Here’s a sample:

Girl: “Why do you treat me so well? You’re in love with me?”
Boy: “Yeah, I’m in love with you. I’m not gay. I’ve been in love with you since we were students!”

It opens on February 26th.

- In 2008, things were a little bit different in Asian box office. While large Hollywood blockbusters did well in the region as usual, local films have been extremely successful througout the region, with Japan being responsible for six of the ten highest-grossing films in Asia. China didn’t do so badly, either, with Painted Skin becoming a surprise hit and local romantic comedy If You Are the One heading towards breaking Titanic’s record.

- Lastly, Variety’s Derek Elley chimes in with a brief review of Lady Cop and Papa Crook.

- Got some new reviews on Lovehkfilm. From Kozo are reviews for Felix Chong and Alan Mak’s Lady Cop and Papa Crook, Milkyway’s latest Tactical Unit - Comrade in Arms, and Tony Jaa’s Apocalypse Now, also known as Ong Bak 2. Sanjuro not only chimes in with a review for the Singaporean film Love Story, from Rule #1 director Kelvin Tong, he also goes back to his old Fist of Fury review with a new picture and some adjustments.

- Box Office Mojo just posted the China box office numbers from the previous weekend. As reported a few days ago, Red Cliff II dominated with 101 million yuan within the first 5 days of release. Feng Xiaogang’s If You Are the One is still doing quite well, with just under 300 million yuan as of last weekend. Ip Man has also done pretty well with 92 million yuan, though it’s no Painted Skin. Even though Media Asia for Lady Cop and Papa Crook in after numerous cuts to appease the Chinese authorities, it lost 80% of box office gross in its 3rd weekend, and has only made 17.6 million yuan so far.

- On a related subject, EastSouthWestNorth has some translated comments made by the former deputy director of the State Film Administration about what adjustments various Hong Kong films had to make to get into the Mainland. You can probably imagine that I’d have to say about it.

- It’s review time! From Lisa Tsering of Hollywood Reporter Asia is a review of Chandni Chowk Goes to China.  Variety’s John Anderson also shares his thoughts on the 154-minute Bollywood extravaganza.

From Japan Time’s Mark Schilling is a review of the Buddhist drama Zen.

From the Daily Yomiuri is Stephen Taylor’s review of the family drama Osaka Hamlet.

-After more than two trips around the world and leading to 8 marriages, the Japanese reality show Ainori is finally coming to an end.

This was one of the first Japanese reality show that I got hooked on since I first studied there in 2004. Even though I don’t buy everything as realistic (the confession moments often appear staged), it was an interesting observation about people coming together in an extraordinary situation, even though trying to get them to fall enough was a little too much. I may not have been following it for the last year or so, but it will be missed.

-  The Yubari International Fantastic Film Festival has unveiled their lineup this year, which will include the premiere of Crows Zero II and the latest film from the director of Departures (told you these Japanese directors work fast, regardless of the reception to their work).

- This week’s Televiews column on the Daily Yomiuri looks at the two new dramas on Fuji to celebrate their 50th anniversary.

- It’s trailers time! Twitch offers up the trailer to Derek Yee’s The Shinjuku Incident, although the introduction following up to the trailer has a pretty major spoiler that you’ll wish you didn’t read. And someone should tell Todd that Emperor has decided to forego the Mainland release already.

Nippon Cinema has two full-length trailers. First it’s Kankuro Kudo’s Shonen Merikensack, featuring the oh-so-adorable Aoi Miyazaki, and then it’s the trailer for General Rouge no Gaisen, the sequel to last year’s sleeper hit medical mystery The Glorious Team Bastista.

Didn’t get to report on those other Asian box office numbers. Here we go:

- From 73 screens, Red Cliff II saw a very good opening day in Hong Kong with HK$1.73 million. However, that is actually below the opening of part 1, and it’s going up against the opening of Hayao Miyazaki’s Ponyo on a Cliff by the Sea. Then again, it has the extended Chinese New Year holiday going for it, and it will certainly have better word-of-mouth than the first movie to carry it to success.

- A quiet weekend at the Taiwan box office, as no Chinese films ended up on the top 10. The Hollywood caper film Thick as Thieves managed a second place opening, and the best-performing Chinese film was Forever Enthralled all the way down at 11th place. The Taiwan-based political thriller Ballistic didn’t really interest anyone and could only get a 13th place opening. Red Cliff II also opened in Taiwan for this weekend, so that will probably rule the box office and bump everything else off.

- In Japan, a 3-day weekend didn’t help boost business at the box office, as Wall-E wins another weekend despite losing 41% in grosses. It’s nice to see K-20 still hanging at 3rd place with a loss of only 28.7% in gross, even though it’s only made half of the 3 billion yen Toho was hoping to make after 4 weekends.  Surprising is how well Thread of Destiny is performing, considering the fact that the TV drama is only doing single-digit ratings for the first three weeks. Things may pick up with Pandemic opening and sneak preview shows for Quantum of Solace this weekend.

- Another film opening this weekend in Japan is Ramen Girl, starring Brittney Murphy as an American trying to learn how to make ramen in Japan. The Daily Yomiuri has a feature on the film. I hope she pulls it off before her visa expires.

- Japan’s Blue Ribbon Awards handed out its Best Film award to Climber’s High, the real-life drama about a newspaper covering a plane crash, and in a surprise pick, Hirokazu Kore-eda for Best Director for his work on Still Walking. All Around Us also got some love, with Tae Kimura taking the Best Actress award and Lily Franky taking Best Newcomer.

- I don’t care about it so much, but I’m sure lots of anime fans worldwide are fuming that Fox has announced that the live-action version of Cowboy Bebop will be starring Keanu Reeves.

- Zhang Yimou, who last earned some brownie points with the Chinese government with the Olympic ceremonies, will reportedly take on directing duties for the PRC 60th anniversary show. Please go back to making movies soon, Mr. Zhang. The rest of the moviegoing public of the world misses you.

- 2008 Golden Rock of the Year Jero has taken on his first acting role in a film as a thug who has several jobs. Considering that it’s based on a Kankuro Kudo play, this should be interesting.

A big change has come regarding the Hong Kong box office news provided on this blog. Since my usual source now.com has decided to stop its box office stats page, I will now only be able to report on Hong Kong box office once a week. My source now will be the Hong Kong Filmart website, which offers comprehensive stats only once a week. Hopefully, a better source will come along soon.

- No Japan box office numbers yet, but the attendence ranking is out. Surprisingly, Steven Soderbergh’s first Che movie landed on 2nd place in its first weekend. According to Mr. Texas at Eiga Consultant, it made 139 million yen from 248 screens nationwide in its first two days of release (even though it was a 3-day holiday weekend), and that the 47 theaters in the 9 major metropolitan areas accounted for 47% of the gross. So while the per-screen average is roughly 560,000 yen, the per-screen average in the major cities is much higher at roughly 1.21 million yen. However, with 42% of Moviewalker voters giving the first film a C, I doubt the second film will do as well when it comes out in three weeks.

Other than that, with the exception of The Day the Earth Stood Still taking a dive to 4th place, everything else remains fairly stable.

- Japan will get its first major domestic release this weekend with virus disaster film Pandemic, and Jason Gray provides a fairly lengthy review of it on his blog.

- In China, Red Cliff 2 was so huge that it already made over 100 million yuan over the opening weekend. Of course, it probably opened on a whole lot of screens to get to that number. With the Lunar New Year holiday underway in China, looks like it might actually make its budget back just with the Chinese box office gross. I’ll be catching this tomorrow night here in Hong Kong.

- In Korea, only two films on the top 10 this past weekend are local releases, but they also happen to be the highest-grossing releases on the top 10 by far.

More over at Korea Pop Wars.

- The Winter 2009 Japanese drama season is underway, with a few major drama premiering this past week. The Ryo Kase-Yukie Nakama drama Arifureta Kiseki saw a soft opening with only a 12.5% rating. Meanwhile, the 4th season of Tokumei Kakarichou Tadano Hitoshi makes its premiere at primetime (which means less of the risque content that made it special before at its old late-night timeslot), and got a respectable 11.9% rating. The Yosuke Eguchi-Goro Inagaki-Ryoko Hirose mystery drama Triangle started off with only an OK-14.7% rating.

Meanwhile, Akai Ito has benefitted from the film version with a boost to a 10% rating for its latest episode. Not in the linked chart, but the Code Blue special episode had a 23.1% rating, which is even higher than its highest-rated episode. Don’t be surprised if it’ll be heading to the big screen soon.

Next week will be the premiere of the Monday night 9pm Fuji drama and the second episode dips of the dramas mentioned above.

Visit Tokyograph for the Winter 2009 drama sypnosis.

-  On the Japan Oricon charts, the first solo single by Tackey (of Tackey and Tsubasa) scored first place on the singles chart, while Ai no Mama de has proven to be this year’s benefactor of the “Kohaku Effect” (songs not quite well-known previously gets a huge bump after appearing on the yearly Kohaku Uta Gassen music extravaganza on New Year’s Eve). Ikimono Gakari’s album gets bumped down to 3rd place in its second week by two compilation albums. Such is the tragedy of J-pop sales.

More on Tokyograph.

- Jackie Chan will likely be joining the cast of the remake of The Karate Kid, starring Will Smith’s son, as the titular character’s master. I wonder whether Jackie will be playing a Japanese character (Karate is, after all, Japanese), and how Chinese netizens will be reacting to that one.

- An interesting article from Hollywood Reporter reports that Oscar favorite Slumdog Millionaire may not do very well in India because of the harsh reality of India it portrays, despite its popularity overseas.

- Another possibly risky release is the Taiwanese blockbuster Cape No. 7, which finally has a set release of Valentine’s Day after the distributor pulled its initial release after rumors that it was out of fear of a disgruntled nationalistic audience and political reasons (the official reason was something about the subtitles). However, it will be slightly altered for some bad language, which probably includes its famous opening line.

- The Academy has announced its short list for the Best Foreign Film nominee, and Japan’s Departures managed to get on it. If nominated, it would be the first Japanese film since Yoji Yamada’s Twilight Samurai to receive a Best Foreign Film nomination. Also glad to see France’s The Class on that short list.

Not exactly a surprise, but neither Painted Skin nor China’s Olympic documentary Dream Weaver got on that short list.

- The atrocious Hana Yori Dango Final has spent its 4th consecutive week at the top of the Japanese DVD sales chart, and is now the 3rd best-selling Japanese DVD in history. It just means Japanese people need to buy more DVDs of better movies and that they need to be charged less for it.

- Despite having premiered at the Venice Film Festival back in 2006, Jia Zhangke’s Still Life didn’t get a North America release until 2008, which made it qualified for the various critics awards. This is why it managed to win two awards at the Los Angeles Film Critics Awards for Best Foreign-Language Film and Best Cinematography.

- Variety’s Derek Elley has a review for Tony Jaa’s Ong Bak 2, which satisfied this blogger’s need for a muay Thai fix. though not the need for a compelling story.

Happy new year again, all! Back from a trip over break, and now back in Hong Kong ready for a new year of Golden Rock blogging. News will be a bit light, as I’m trying to ease back into the blogging routine. Good thing today was a holiday in Japan, so box office and drama ratings stats will be coming in slowly.

- Ip Man leads an amazing 4th weekend at the Hong Kong box office. On Sunday, Wilson Yip’s action/biopic took in another HK$619,000 from 38 screens for a 25-day total of HK$23.91 million. HK$25 million should be no problem, though I think Red Cliff should take away momentum that 30 million is not going to be possible. In a bit of a surprise, Milkyway’s PTU spin-off film Tactical Unit - Comrade in Arms nearly won the weekend with HK$614,900 from 32 screens for a 4-day weekend total of HK$2.28 million, and it may end up wrapping up with about HK$5 million, which would exceed PTU’s original theatrical gross.

The weekend’s other wide opener, Australia, couldn’t score any blockbuster number due to a limited amount of showings and multiplex putting it on their smaller screens. With a ticket price inflation due to length, the epic romance made HK$584,000 from 32 screens for a total of HK$2.49 million from 4 days of wide release and several preview showings over the holidays.

Meanwhile, most of the New Year day openers have suffered steep drops. Alan Mak/Felix Chong’s Lady Cop and Papa Crook, which is one of the most blatant example of Chinese censorship interference of Hong Kong cinema, made only HK$387,000 from 39 screens and has made HK$6.51 million after 11 days. Tony Jaa’s Ong Bak 2 suffered an even worse fate, making only HK$159,000 from 35 screens (many of those playing a reduced number of showings) and has made only HK$4.93 million after 11 days, certainly a bit underwhelming considering Tom Yom Goong made distributor Edko over HK$10 million.

The only film from New Year’s day that’s still doing well is Forever Enthralled. Despite the Hong Kong press making up stories about underwhelming box office, it’s actually doing fairly decent business for a film that was released only on 11 screens with limited showings. On Sunday, the Chen Kaige film made HK$171,000 from 11 screens for a 11-day total of HK$2.26 million. That’s an average of HK$205,000 per day from 11 screens, and anything that can still average a HK$15,000+ per-screen daily is definitely not flopping.

Other box office totals: Madagascar 2 - HK$17.92 million after 24 days. Twilight - HK$16.41 million after 24 day. Suspect X - 11.94 million after 19 days. Bedtime Stories - HK$8.97 million after 18 days.

- Variety’s Derek Elley sends in a fairly positive review of John Woo’s Red Cliff, Part II. He calls the two movies combined “one of the great Chinese costume epics of all time”. Part II better be damn good enough to earn that title in my book.

-  Who didn’t expect this to happen? The Japanese comedy-drama Departures was the big winner at another Japanese film awards, this time the Kinema  Junpo Awards. The complete list of winners, including their top 10 domestic and foreign films, can be found here.

- They keep trying, but it won’t stop - major Chinese film producer Huayi Brothers is suing China’s top web portals for spreading illegal copies of their biggest films. Forget it, these days I’m being ridiculed for being a consumer of legit DVDs.

- Even though it’s not doing great business in Japan (roughly 650 million yen as of the weekend before last), Shochiku and Fuji TV are planning an Asia-wide release of their film-TV project Threads of Destiny. I don’t know how just releasing the film will work if the story is meant to be connected with the TV drama, which hasn’t been shown legally outside of Japan.

-Bless the good folks at Tokyograph for putting up their guide to the Winter 2009 Japanese dramas.

- Hong Kong director Derek Yee is now officially in the running for the Golden Rock of the Year after he admits that his latest film The Shinjuku Incident will give up the Mainland China market and go straight to Japan in March and Hong Kong in April because cutting the violence for a Mainland-approved “harmonious” version will just lead to disgruntled audience screaming “fraud!”. Good call, Mr. Yee and Emperor Films.

For those that don’t know, The Shinjuku Incident is the long-awaited Derek Yee film that features Jackie Chan in his first dramatic/non-action role.

- Danny Boyle, who just picked up a Golden Globe for Best Director, reveals that he’s been asked to direct a remake of Park Chan-wook’s Lady Vengeance. No word whether he said yes or no.

- Japanese actor Jo Odagiri’s first feature film as a director has been invited to the International Film Festival Rotterdam. The actor has been working on the film since it started shooting in the summer of 2006, and he finally completed the film two months ago.