- So remember over the weekend, Shochiku announced that the opening day box office was so high for the film version of Tokyo Tower that they expect it to surpass Kimura Takuya X Yoji Yamada’s 4 billion yen hit “Love and Honor?” Well, the Japan box office numbers are out, and Eiga Consultant can’t see how that’s possible. On its opening day, Tokyo Tower made only 196 million yen, which is 90% of the 1.41 billion yen-grossing Shinobi. In fact, its opening day gross was only 65% of what Love and Honor made on its opening day. You can compare the results yourself for Love and Honor and Tokyo Tower with those links. My own calculation (following the exchange rate BOM used for the respective weeks) actually showed that Tokyo Tower only made 53% of Love and Honor’s opening weekend, but that only furthers the point that Shochiku is lying out of their asses. This isn’t the first time Japanese distributors overestimated final grosses anyway; remember the Genghis Kahn movie? Exactly.

Elsewhere on the top 10, Blood Diamond seems to be hanging on thanks to word-of-mouth, and Sunshine opened weaker than I thought with only roughly $500,000. Otherwise, it’s been a pretty quiet weekend in Japan again.

- Meanwhile, South Korea had a fairly quiet weekend at the box office as well, with The Show Must Go On falling a sad 58% in its second week.

- The South Korean box office isn’t really looking all that bright for the summer either, with Hollywood offering Spiderman, pirates, and transformers, while Korea is offering horror flicks and….D-War?!

- The big news out of Hong Kong is not only Lau Ching-Wan’s best actor win at the Hong Kong Film Awards, but also fellow nominee Chow Yun-Fat withdrawing from John Woo’s epic The Battle of Red Cliff. It’s another “he-said-he-said” (there’s no she in this story) type of situation - producer Terence Chang said that the financiers can’t acquiesce to Chow’s request to pay his salary of US$5 million at once (which is reportedly 3 times the salary he got for Curse of the Golden Flower), while Chow’s side says that he got the script too late, which meant he couldn’t prepare early enough for a role that requires him to speak in Mandarin (Chow’s native tongue is Cantonese). He also said he already took a pay cut for not demanding a raise after the decision was make to split the films in two (um….they’re shooting it at the same time anyway). This is the second major blow to Woo’s ambitious US$70-million project after star Tony Leung Chiu-Wai dropped out due to the 6-month shooting schedule. Of course, the bigger question is whether Chow’s withdrawal will affect Woo and Chow’s legendary friendship.

- I read about this about a week ago in Oriental Daily, but I don’t remember reporting it. Anyone waiting for a Shaolin Soccer sequel can release half their breath. The good news is that there is a Stephen Chow-involved sequel being made, the bad news is that it probably won’t have anything to do with the first film. Fuji TV has teamed up with Chow to make a pseudo-sequel called “Shorin Shoujo” (Or Shaolin Girl) starring Ko Shibasaki as the title character and Bayside Shakedown helmer Katsuyuki Motohiro directing. It’ll be about a young girl returning from Japan after training at the Shaolin Temple and ends up helping out a college Lacrosse team. Shaolin Soccer co-stars Lam Chi-Chung and Tin Kai-Man will appear, Chow will apparently not. While in anyone else’s hands, this might be a bad idea, but I like Robot Productions and Motohiro enough that it might turn out to be a good popcorn flick.

- The big news coming out of Tokyo is the world premiere of Spiderman 3. Honestly, the only interesting part about the report is how making sequels actually keep down marketing costs and allow the studio to leave that for the production instead. Other than that, there’s no advance review out yet.

- Reading Kafka’s “Metamorphosis” (for a Comparative Literature class) and Kobo Abe’s “Woman in the Dunes” in the same quarter put me in a huge existential crisis. In other words, it was one of the greatest academic periods of my life. Anyway, I mention this because Criterion is releasing Teshigahara’s surprisingly faithful adaptation of Woman in the Dunes in July on DVD as part of a Teshigahara boxset. Anyone looking to get into an existential funk should check out this surreal classic.

- Like Warner Bros. in Japan, 20th Century Fox has struck a deal with Showbox (who distributed The Host) to finance and distribute South Korean films. This comes as no surprise to me since my Kick the Moon DVD was actually released by Fox already. Is this good news or not? Look at what Warner Bros. did in Japan and you might have an idea.

- Professor Bordwell is back from Hong Kong, and his first entry since returning tackles a subject that I, as a wannabe filmmaker, is actually immensely interested in. Many film viewers may not notice, but for me, the toughest part of editing a film is dialog scenes. Editing rely on a capturing a certain beat, and shooting dialog scenes are particularly tough because when you only have one camera, you have to shoot the scene many times at different angles, which can be tough for actors AND directors. Then when you have all that footage, you have to decide when to cut to which angle without ruining the pace of the scene. The cutting-in-between technique in dialog scenes is called “reverse shots,” meaning you start on one angle, then you cut to where the opposite angle where the camera shows where the initial shot was from.

Anyway, Professor Bordwell goes into how certain directors don’t use reverse shots. For me, it’s fascinating. Maybe for me only though.

- I’m sure many have heard about the Virginia Tech shooting allegedly committed by a disturbed neutralized South Korean student (please let it be known that he is a naturalized American citizen, not just some foreigner that went crazy on Americans) that killed 32 people, including himself. At one point, the Chinese press got a hold of reports that a Chinese student actually did the deed and ran with it (the local Chinese papers I saw today all have it on their headlines). During that time, the Chinese press ran into chaos, trying to decide whether to run the story or not, while the netizens reacted very quickly on the message boards. This is their story.

Watched the rather unprofessionally edited version of the Hong Kong Film Awards last night on the local TVB. At one point, it was so badly edited down for time that they actually cut off an entire section, then played that section about 15 minutes later. Acceptance speeches were cut down, and somehow they still had time to cut to TVB’s own host sitting in an empty studio for a round-up. Either the show was on tape delay in HK as well, or they just botched the little time they had to edit the show down. I probably should have been thankful that I got to watch it so quickly on TV in the first place, but how hard is it to just show the whole thing uncut?

This year, the show was hosted by Eric Tsang’s daughter Bowie, who actually hosts several TV shows in Taiwan, Lam Chi-Chung, and Nick Cheung (Yes, Johnnie To recent favorite Nick Cheung). Unlike the Asian Film Awards, which featured awkward English bantering between Fiona Sit and David Wu or a solo Wu doing his Tarantino impression, the hosts this time actually got some good bantering in. But Nick Cheung, a stranger to hosting awards, had trouble remembering the script, which made him the butt of jokes by the other two hosts. At points, at least one of the host had to look at the script on the podium. Note to Hong Kong award shows: get a teleprompter.

Apparently, people complained about the large amount of Mandarin presenters for last year’s ceremony, so what do they do this year? Bring even more and lesser known Mandarin-speaker presenters to the stage! Thankfully, TVB provided subtitles for most of the Mandarin presenters’ lines (another sign of a tape delay).

The now-defunct mock boy band alive also came out for a performance. Instead of singing their single “Adam’s Choice” themselves, they brought out Paul Wong on the guitar and a bunch of local independent bands to sing most of the song while the Alive boys took out cue cards featuring messages they have for the entertainment industry (”Don’t Copy, support original creation!”). Of course, if I didn’t know that Paul Wong was putting on a concert with these independent bands next month, I would’ve actually saw it as more than a promotional gesture. I couldn’t even see 1/3 of the cards/band members performing because TVB kept cutting to cameras that WEREN’T shooting where things were happening, as if TVB doesn’t want us to see the Alive boys promoting independent music.

Of course, this year the Hong Kong Film Awards has something to be proud of - the Oscar win of The Departed. They use it as a way of encouraging the business, telling them to write scripts that Hollywood will want to buy. Personally, I thought Patrick Tam winning the best screenplay award with his student was a better encouragement to this budding filmmaker than any Hollywood awards.

After the way rabid fans acted for Rain and Andy Lau at the Asian Film Awards, the fans for EEG artist Isabella Leung also showed up to see her lose twice for the supporting actress and best actress. It was refreshing to see Anthony Wong getting so pissed that he said if the fans didn’t shut up, he would announce someone else as the winner even if Isabella won. I can’t wait to earn that type of respect.

As for the awards, I’m glad Lau Ching-Wan found that the 7th time’s the charm, and that a 17-year absence behind the camera would bring Patrick Tam some of the biggest applause of the evening. However, I’m a little saddened that Johnnie To went home empty-handed (Exiled’s editing was hands-down some of the best in HK film), probably because of multiple nominations in one category. and that young filmmakers not named Daniel Wu didn’t see their films recognized. Next year, I’ll get to watch the whole thing live (on TV or at the venue, either one is good), I just hope the movies will be just as good, if not better.

Here is the Variety Asia report on the awards, if anyone wanted it.

- Let’s start with Hong Kong Sunday numbers. As expected, Mr. Bean’s Holiday hangs on at number 1 with HK$1.09 million on 32 screens (US$1=HK$7.8) for a 11-day total of HK$17.83 million. As for openings, Taiwan lesbian romance Spider Lilies expanded from Thursday’s 6 screens to 9 screens over the weekend, earning an impressive HK$320,000 on Sunday for a 4-day total of HK$1.23 million. Hong Kong director Yip Lim-Sum follows his cynical romantic-dramedy Marriage with a Fool with an even more cynical take of love with Love is Not All Around, starring a bunch of Gold Label idols. It had preview showings over the weekend, and it made HK$200,000 on 32 screens (not sure how many showings per day) for a HK$540,000 3-day total. It opens next week.

- As reported yesterday, Tokyo Tower managed to open huge enough that it got the number 1 spot in Japan this weekend. In a continuing slump of futuristic films, Sunshine opens weak at 7th place, despite the presence of Japanese star Hiroyuki Sanada. More tomorrow when the numbers come out from Box Office Mojo.

- As for the North American box office, Rear Win…I mean Disturbia opens huge with 28 million. The big story is, of course, Grindhouse’s 63% freefall. Made for nearly $100 million (with prints and advertising), the double feature has only made $19 million so far.

- On Saturday, I was going to report on the latest attempt of censorship by the Thai government, this time for the independent film “Syndrome and a Century.” Basically, as Variety Asia reported, the Thai censorship board asked for several cuts to the film that show doctors behaving (comparatively) badly. When the director refused, the board refused to give the film back and threatens to make the cuts anyway. Now, the whole issue is getting huge, as Jason Gray reports that there is now an internet petition against the Thai censorship board, calling for a free Thai film industry.

On a related note, Twitch has an interview with director Apithatpong Weerasethakul, even though it makes no mention of the censorship issue because it was done probably during the San Francisco Asian American Film Festival.

- In light of the complaint by the United States against China at the World Trade Organization, China held a huge display of pirated materials burning to raise awareness of the government’s attitude, and again to show American a big red middle finger.

At least it wasn’t a book burning.

- Here’s something to get excited about for today - the first full length trailer for Takeshi Kitano’s comedy “Kantoku Banzai,” courtesy of Twitch. It looks crazy as hell, and a lot of fun too.

- In the history of bad ideas, Edward Norton has signed up to star in “The Incredible Hulk,” Universal’s sad sad attempt to undo Ang Lee’s film. But rather than resetting the whole franchise, it will actually be a continuation from the first film. It’ll be directed by Louis Leterrier, who did the Transporter films, and I assume it’ll be much less ambitious that Ang Lee’s misunderstood film.

That’s right, I actually liked Ang Lee’s version of The Hulk. The freefalling of my credibility continues.

This is the 99th post of the Golden Rock, which I am quite proud of. I suppose a state of the blog is in order as well, then:

The blog started in mid-December of 2006, with a goal to be a source of just news that interests me and some number crunching that not a lot of Asian cinema blogs do. It started at an average of only a few readers a day (when I was on vacation, there was actually a day when nobody visited), and now it’s averaging roughly 60. It’s not a particularly huge number, but it’s a pretty good increase over 3 months, considering about 50% of my visitors are new. I’m glad to have started this blog, and I’m glad to keep doing it. Thanks for reading, and let’s keep on truckin’.

- Watched the second half of the Death Note saga last night. Again, having no knowledge of the manga nor the anime whatsoever, I am only judging this as a film. Maybe that makes me more qualified, or that makes me less qualified, I don’t know. I don’t care that they’re trying to cram in from the source material to satisfy fans, I just wanted to watch a movie. And with that:

Why didn’t they just make a drama out of this?

Death Note has a pretty cool Gothic concept - Notebook dumped onto earth by a God of Death, self-righteous human picks it up and begins to kill people with it. It inspires fear for criminals and hope for people. How dark, how bizarre, how cool. Then they had to add the detective elements; the mind games, the chess-playing, and the talking. The endless talking. If I were to sum up all the scenes between our bad/good guy Kira (owner of the Death Notebook) and strange detective L, it might go like this:

Kira: “I want to capture Kira.”
L: “But you are Kira.”
Kira: “I am not.”
L: “I hope you’re not”
Kira: “Great, let’s capture Kira together.”
L: “….but you are Kira.”
Kira: “…..and I’m going to kill you.”

In the first film, it took director Shusuke Kaneko 2 hours of screen time to set up the heart of the story - the head-to-head match between Kira and L. In the second film, it took him 2 hours and 15 minutes to, well…..make it not much of anything. One of the more suspenseful parts of the first film was seeing how Kira’s clever scheming helped him get away, although I mentioned I didn’t know whether that was the original creators’ work or the film’s screenwriters’. In “The Last Name” (That’s the title of the second film), a second and third (!) Kira are established, killing more people than ever, but it all gets a bit tiresome. How many more scenes of people talking about the ethics of Kira do we need before the filmmakers can pat themselves on the back for asking “the tough questions?”

Back to the schemings. “The Last Name” takes Kira’s schemes to a whole new level - he would do something, and you won’t even find out until 30 minutes of screen time later just what the hell he was up to. It was clever in the first film when it didn’t take that long to find out what really happened, but it just seems a bit too much in the second film. True, the stakes are higher, so the schemes need to go further, but how unbelievably smart are these people supposed to be for them to do so much damn scheming? The review linked above pointed out that nearly everything that happens in the film happened in the manga, but is that needed? While an adaptation can satisfy fans by including everything, if you still can’t include everything with 4 and a half hours of screen time, you just have to get creative and get the story across in a simpler way. Cramming everything from the original shows that you like the manga, but a more creative filmmaker would make the adaptation stand on its own.

So is Death Note: The Last Name better than its predecessor? Can’t really answer that, since they’re really one film split into two, but the Death Note saga as a whole is only a pleasing commercial effort thanks to its concept. It’s a routine adaptation with uninspired acting, directing, and some clever screenwriting in between. It’s not something worth running out to see if you have no familiarity with the original work, but it’s not a bad way to occupy a couple of hours just to see that Japanese commercial cinema can be just as mediocre as American ones.

And now, on to the news:

- There’s still reports coming from Variety about Hong Kong’s Filmart (which wrapped last week), mostly just new distribution deals. If you’re in Japan, you’ll be glad to know the Daniel Henney invasion is coming your way in the form of Seducing Mr. Perfect, one of the films I reviewed for Yesasia this month.

- Los Angeles is a great down for movies (duh), and here are a few reasons why.

- Yunjin Kim, who many may know as the Korean woman from Lost, really caught my eye from the Korean blockbuster Shiri. For some reason, I never really saw her in another film until she showed up on Lost (she did appear in Korean films before that - just ones I haven’t seen). Anyway, in a bit of homecoming, she’s been casted in the Korean crime thriller Seven Days. I don’t know if the film will be any good, but I wonder if Lost will make this film any more successful that it would’ve been.

- So what’s the best way to beat a movie you want to protest against? In India, they seem to have found the answer to be: Just ignore it.

- Apparently, The Host has become the fastest Korean film to reach the $1 million mark in the United States box office. That’s because Korean films have a history of not doing too well here. Oh, well, a good thing is a good thing, I guess.

- Oricon rankings are out. On the singles side, Utada Hikaru’s Flavor of Life, as predicted, fell to third place behind new singles by boy band News and pop group (I think they’re a man band) Kobukuro’s latest, which also served as the theme song for the drama version of Tokyo Tower.

As for the album ranking, Mr. Children hangs on for the second week, but after a huge drop to 180,000 copies after last week’s 680,000 copies sold. Mika Nakashima’s latest also hangs on for a third place for its second week, while Koda Kumi’s compilation (the album that beat Mika last week) drops to 5th behind Exile. After the firing of one of its own, Morning Musume’s latest, the creepily named “Sexy 8 Beat” (considering most of the members are even adults yet), could only muster an 8th place debut.

- Eiga Consultant analyzed the flop that is the fable Argentine Hag (Japan Times reviewed it two weekends ago). Hoga News has a translation, so I’ll let it speak for itself.

- Hoga News also reports about the directorial debut of comedian Hitoshi Matsumoto (half of the comedy duo Downtown that hosts the hit music show Hey Hey Hey AND does those “No laugh or get beat” games). Details are sparse, but the title is “Dai Nippon Jin” (or Big Japanese Person, or Super Japanese Person. Either way, the translation is open to interpretation), and it’ll open on the same day as Takeshi Kitano’s latest “Kantoku Banzai!” Joint marketing, I smell…

- Twitch has a clip to the press conference done for Donnie Yen/Wilson Yip’s latest Flashpoint. Don’t worry, the only reason I’m mentioning it is because it has footage. Good ones, too! It’s looking like this will be Wilson Yip’s attempt to emulate John Woo, so it might just be a lot of fun.

- India has started its own version of the Academy Awards, and what do they do at the launch? Talk about global warming, of course.

- A few weeks ago, Lovehkfilm mentioned that their “most underrated performance” award to Andrew Lin Hoi for The Heavenly Kings was actually noticed by the man himself. Turns out it didn’t stop there - they actually met up and Kozo presented him with a real award!

- I waited for a few days to post this - not on purpose, of course, I simply forgot - but here’s Jeffery Wells’ well-written review (certainly far better than what I wrote up there for Death Note) of the Robert Rodriguez/Quentin Tarantino trashfest Grindhouse.

- I enjoyed Brian Helgeland’s revenge flick Payback, starring Mel Gibson. I didn’t think it was a masterpiece or anything, but it was enjoyable enough. Turns out it was meant to be a complete thing altogether, as apparent by the review of the soon-to-be-released director’s cut on DVD. It’s not just another one of those director’s cut that adds a couple of minutes. No, the entire palate was redone, the whole third act was redone, and it’s like another movie altogether. It might just be worth checking out.

Next, the 100th entry, which is the song of the day.

There’s a bit less news than yesterday, which is good, because it’s taking longer and longer to write this thing everyday lately.

First, round-up from Hong Kong Filmart:

- A new production company has been unveiled, and it’s Big Media, backed mostly by sometimes-film producer but mostly video distributor Mei Ah. The company has announced that it will produce 100 movies in 5 years, which means I better get those screenplays written STAT! It’s too bad the films they’ve announced so far are creatively-drained pseudo-sequels like “Young Man Suddenly in Black” and “Another Better Tomorrow”

- A seminar on talent management of Asian stars crossing over into Hollywood finds a “let’s please everyone” answer of “we need to network…..and network some more.”

- The Digital Forum was also held today in light of the upcoming release of TMNT, which was produced by Hong Kong firm Imagi. The goal of increasing Asian computer animation is apparently telling Asian stories with Western storytelling. What if they can just capture audiences again with simple 2-D animation that the West has chosen to abandon?

- Professor Bordwell has also wrote a new entry, including his experience of watching Twins Mission (why oh why that one movie), getting free stuff from the Korean Film Council (man, I need to get that type of connection….even if it means some 30 years of film scholarship), meeting the incomparable Grady Hendrix and HKMDB’s Ryan Law, and also previews his visit to Johnnie To’s set of his portion of “Triangle” (can’t.breath.due.to.jealousy!!!!!!!!!!).

In other news:

- Ryuganji now has even more details about Kantoku Banzai, the latest from Takeshi Kitano (or Beat Takeshi, I guess). Apparently it’ll be a film more from his comedian side than his art side. My favorite quote? When asked whether the film will be submitted to the Cannes Film Festival, Kitano says, “Well, bits of it are are little embarrassing…”

- “Triangle,” which I thought has finished shooting, actually hasn’t because I saw the report of an opening shooting ceremony and Johnnie To joking that Ringo Lam took too long to shoot his portion on Ming Pao yesterday. Variety Asia has more details on the highly-anticipated project, including who’s gonna be distributing it in China (an HK film being approved for China, to me, is like the HK film version of watering down a movie to PG-13 in America).

- Asian Film - While on the Road has a review of two Kadokawa idol films - Sailor Suit and Machine Gun and The Young Girl who Conquered Time, starring two different idols that actually look quite alike and still do solid work in Japanese films today. It’s too bad I have seen neither, I almost bought Sailor Suit and Machine Gun on my last day in Hong Kong, but thought I already had too many DVDs to bring back. Shame.

- There’s still hope that Jet Li won’t be in Mummy 3! Official reports state that he’s still “in negotiations” to play the main villain in the Rob Cohen-directed cash-milking sequel. Even the original stars haven’t agreed to appear yet!

Of course “in negotiations” in Hollywood means he already said yes, he’s just holding out for more money.

- The problem that the Chinese government has with those idol music shows such as “Supergirl” is the entire idea behind the winners chosen is based on votes. You basically tell your viewers that you may not be able to vote on say, who leads your country or the direction your country is going, but at least you can choose who’ll become rich and famous!

Apparently, that’s not the only problem they have. They can’t seem to get over the fact that the word “super” is used for someone that’s democratically voted, as in someone that is actually liked by the people instead of telling the people who they should like, because “super” has powerful connotations.

So this season, the word “super” is out……so is the word “girl.” Now it’ll be named “Happy Boy” instead. D’oh.

I could be watching E!’s 2-hour long coverage on the red carpet, but I honestly couldn’t care less about who’s showing up with who and who’s wearing what. Turner Movie Classics is showing Casablanca ’til 4:45 or so, and then maybe I’ll watch the rest of the pre-show. If I get tired of that, I just picked up 2 DVDs today, one of which can keep me entertained for a bit. Just no more red carpet, please.

And because it’s Hollywood’s biggest night (and also the fact that it was Sunday in Asia), there’s not really much news.

- The thing about Hong Kong entertainment news is that they only report celebrity matters. I knew Miki Mizuno is in Hong Kong shooting a movie with a Sam Lee and a bunch of B-list stars, but the news never mentions what type of movie or who’s directing (although the costumes looked real chessy). Now Ryuganji provides the details that it’s a new version of the “Female Convict Scorpion” series, and it’s a Japanese-Hong Kong co-production by Artport (who also did Dog Bite Dog, whose shooting process is described in a book by producer Sam Leung Tak-Sam that I bought in Hong Kong). Joe Ma is directing, which cannot be a good sign for the film.

Miki-san has a blog, and she writes about her shooting process in Hong Kong (which includes a Cantonese lesson on beer-drinking) here.

- Time Asia has an interview with Oscar nominee Rinko Kikuchi. Not much new information, but it’s a nice interview anyway.

- Jason Gray has some news on a few upcoming high-profile projects by directors Kiyoshi Kurosawa and Kore-eda today. He also announces that the release for the well-received Strawberry Shortcake will have Japanese subtitles (he knows that because he did the subtitles himself).

- I’m not a big fan of the cri English site because they stole one of the articles I wrote for Yesasia. But Lovehkfilm forum’s Dimsum99 provided a link about the beginning of shooting for the new Peter Chan film “The Assassination of Ma” starring Takeshi Kanshiro, Andy Lau, and Jet Li. So here, and I hope they didn’t steal that story from anyone else.

- Variety has a review for the first Finnish martial arts film Jade Warrior. Apparently it even did pretty well in China.

- As for the Oscars, instead of predicting who’ll win, I’ll just say who I want to win. a * means that I haven’t watched all the films in the category, so it’s a matter of personal preference. But it also means I’ll only comment on the categories where I’ve seen at least 3 of the films

BEST CINEMATOGRAPHY*

Children of Men

BEST ADAPTED SCREENPLAY*

Children of Men

BEST ORIGINAL SCREENPLAY

Pan’s Labyrinth

BEST SUPPORTING ACTRESS*

Adriana Barraza - Babel

BEST SUPPORTING ACTOR*

Mark Whalberg - The Departed

BEST DIRECTOR

Alejandro Gonzalez Inarritu - Babel (although I want Scorsese to win, but not because of his work on The Departed)

BEST PICTURE

Babel

I’ll be posting thoughts and results later tonight, but until then, I’m hoping Ellen is better than Chris Rock (not a hard task at all).

It’s kind of a slow news day, so let’s talk about a bit of everything, including, yes, Hollywood.

- Aaron Eckhart, or sometimes the guy who plays the villain you love to hate, is joining the “Batman Begins” sequel “The Dark Knight,” playing Harvey Dent, or Two-Face (played by Tommy Lee Jones in Batman Forever, if I’m not mistaken). This is following Heath Ledger’s casting as The Joker, and of course, Christian Bale will return as Batman himself. The kick-ass Christopher Nolan also returns as director/co-screenwriter.

Source: Variety

- Eiga Consultant is predicting the winners of the major awards at the Japan Academy Awards this Saturday. An analysis of it and an English translation by Hoga Central is here. Personally, I think this is pretty spot-on, even though I would’ve predicted Yoji Yamada’s “Love and Honor” as winner of best picture. But then again, since Hula Girls did get chosen as Japan’s representative for the Academy Awards, the committee isn’t about to piss off that other committee by choosing any other movie.

And looking at the past history of the awards, I think the committee is too conservative to hand a best director award to “Memories of Matsuko” director Tetsuya Nakashima. I think the bigger chance goes to, of course, Yoji Yamada, whose “Twilight Samurai” swept the awards while “The Hidden Blade” didn’t. The frequency of one single film being able to sweep the awards should say something about how conservative the committee can be.

The nominees list (in Japanese) is here.

- Reviews time:

Variety posted their first review of the highly-anticipated 300. Funnier, though, is how New York Post critic Lou Lumenick links to it here.

Lumenick also links a review of the critic-proof blockbuster Ghost Rider here.

- Remember when Korean films like “A Moment to Remember” and “April Snow” scored big in Japan? “April Snow” even made more money in Japan than in its native South Korea (arigato, Yon-sama). Well, that magic’s gone away, and it went away quickly. Now CJ Entertainment is just lucky to be able to sell Park Chan-Wook’s “I’m a Cyborg, but That’s OK” to Japan. In fact, sales of Korean films to Japan has dropped by an astonishing 70%. That’s so sad that there’s no punchline to follow that up with.

Source: Variety Asia

- Finally, two humorous notes that has nothing to do with entertainment. Well, one of them kind of does.

People who’s read my review of Eason Chan’s album “What’s Going On…?” knows that I’m a huge fan of track 6 “Better Not to Meet.” Well, here’s a bittersweet version of it on youtube that laments the strengthening of the Chinese Renminbi against the Hong Kong dollar (it’s quite a serious issue in Hong Kong now. Back then, 100 Hong Kong dollars meant 140 renminbi. But now, it’s 100 Hong Kong dollar for roughly 99 renminbi.). It’s amusing and sad at the same time, really. (warning, in Chinese only)

Lastly, An anchorwoman in Hong Kong wrote a column about what true love to her means. Here is the translation. Here, however, is the original post in Chinese from a blog, where people criticize the columnist as a “typical Hong Kong woman” who expects men to give them everything. I think the best part of the post is the suggestion by the blogger, who says that if he encountered a girlfriend like that, he would follow up such “touching” words with “if my businesses fail and I would go bankrupt and crippled, would you give me back all those income that I’ve given you?”

True love? or selfishness?

- Variety likes to end their first paragraph of film reviews with a little prediction of their box office takes, because apparently being professional means you can watch movies early enough to predict their box gross, not analyze (like yours truly). A Korean film critic apparently likes to follow Variety’s vein by predicting the highly anticipated new film by Park Jin Pyo (You Are My Sunshine) “Voice of a Murderer” would flop. Despite, you know, “You Are My Sunshine” being the highest-grossing Korean melodrama ever, and that a crime film that tries to cash in on major collective memory happens to hit box office jackpot (read “Memories of Murder”).

Then comes news that “Voice of a Murderer” made $10.1 million with 1.46 million admissions, AND screen counts actually increased day by day.

I’ll bet a certain someone in Germany is happy about that.

Source: Twitch, Variety Asia.

- Those silly censors at the Chinese government strikes again. They have approved a heavily-cut version of Li Yu’s “Lost in Beijing” (starring Tony Leung Ka-Fai) to screen in Berlin. Apparently, the censors demanded 53 cuts (totaling about 15 minutes), include a scene of a car driving down a dirty alleyway with water since it gives a bad impression of Beijing. Man, people must think America is a pigsty after all the dirty alleyways with water they show in their movies.

Now producer Feng Li has to consider showing the approved version or open defy status quo and showed the original version in Berlin. Of course, he has to consider the last filmmaker that did that got banned from making films for 5 years.

Source: Variety Asia

- Japanese box office rankings for the past weekend is out. Dororo remains in the first place, as Pursuit Of Happyness in second. The biggest major opening this week would be Andy Lau’s A Battle of Wits. I don’t have an official screen count or numbers, but this is considered a pretty major opening for a Hong Kong film (It did get nominations at the Hong Kong Film Awards, so it’s a Hong Kong film, yeah? Good), let alone an Andy Lau film. This is probably due to the fact that it’s based on a popular Japanese comic, not the fact that Andy Lau is prominently featured in the poster
Source: Eiga Daisuki!

- Rinko Kichuchi from the brilliant “Babel” (that’s right, the more you hate it, the more I’ll love it) has signed up for a role in Rian Johnson’s (who made a great debut with Brick) con-man noir drama The Brothers Bloom. Here’s to hoping she just won’t become the fetishized Asian femme fatale there to satisfy the male gaze.

Source: Twitch

Ah hell, it’s Hollywood, that’s what probably will happen.