- I guess I should start off and tell you that there’s a new review/observation post at the spin-off about Maiko Haaaan!!! and Beauty and the 7 Beasts. I can give you a preview and say that Beauty and the 7 Beasts is the worse HK mainstream movie I’ve seen this year…and I saw Contract Lover.

- It’s reviews time! Twitch has a review of India’s best foreign film Academy Award contender Eklavya, and Japan Times’ Mark Schilling has a review of the Japanese indie film Baum Kuchen, which is currently playing at one Tokyo theater for one show a night.

- Stephen Chow’s A Hope has finally locked a release date of January 31st, 2008, although I’m not sure if that opening date also applies to Hong Kong. As for the alien, Chow reportedly told Oriental Daily that the design is a homage to Steven Spielberg’s Close Encounters of the Third Kind, not a rip-off. You can probably only use the word “homage” for films more than 20 years old.

- While Stephen Chow takes three years to make his follow-up to Kung Fu Hustle, Takashi Miike is already releasing his third theatrical release of the year. More information from Twitch and Ryuganji.

- Under “Korean actress casting” news today, Gianna Jun (the artist formerly known as Jeon “My Sassy Girl” Ji-Hyun) is done with her first non-Korean film Blood the Last Vampire and back in Korea for the mid-budget comedy drama The Guy Who Was Once Superman. Meanwhile, Cannes best actress winner Jeon Do-Yeon has already decided on her next film, A Fine Day by director Lee Yoon-Ki (who last made the quiet gem Ad-Lib Night.) Guess which one I’m looking forward to more.

- Satoshi Kon’s Paprika picked up the Theatrical Film Award at the 12th annual Animation Kobe Award.

- Also, Wayne Wang’s A Thousand Years of Good Prayer picked up the prizes for best film and best actor at the San Sebastian Film Festival. If you remember, Wang admitted that a Chinese investor pulled out of the film because the director refused to take out a line that was critical of the Chinese communist government.

- With it crashing and burning in Chinese theaters, the distributor for Jiang Wen’s The Sun Also Rises is trying hard to boost business for the weeklong public holiday period.

Today is like the TV edition of the The Golden Rock:

- Variety Asia has a feature on the state of Asian TV - Japan wants you to know that they are actually exporting more than they seem to, Korea is hoping that people will keep watching their dramas even if they don’t watch their movies, Hong Kong’s legally-obligated-to-be-there TV network is hoping to find enough stuff to fill four new networks at the end of the year, and Chinese TV should be lucky that they can find something the government approves of.

- Speaking of TV, Japan national broadcaster NHK, which charges pretty much every Japanese household a mandatory fee, saw its latest business plans rejected by the government because they’re making too much money. Making too much money means they are charging too much.

- Courtesy of EastSouthWestNorth, Danwei raises a few points over the dubious banning of the Chinese crime reenactment show Red Question Mark, which feature reenactments of crimes committed by women. After running for 3 years, the show was banned because it was “vulgar.” That would be the reason to ban most of American TV.

- In India, possibly racially derogatory comments made by a radio host about the winner of the talent show Indian Idol led to an angry demonstration which injured 60 people and forced police to impose a curfew in the area. Man, Clay Aiken fans just aren’t as crazy as ought to be these days.

- On a personal note of interest, one of my favorite directors Paul Thomas Anderson’s latest film There Will Be Blood was the surprise closing film of the Fantastic Fest, and the enthusiastic word-of-mouth are pouring in, first from the Hollywood Reporter, then from Twitch’s Peter Martin. I’m extremely excited to see this, but I know I probably won’t get to for a long long long time. Instead, I’ll probably go watch another Pang Brothers movie or something.

By the way, look for a new post or two at the spin-off this weekend.

- First comes the news that any blogger who cares about Japanese films is blogging about - the reveal of the FilmEx lineup. First a general report from Variety Asia, then Ryuganji reveals the Japanese selections, and Jason Gray has a comprehensive report. As much as I liked Eye in the Sky (good execution for two-thirds, then a contrived ending), it probably doesn’t stand much of a chance. The festival will run from November 17th to the 25th.

- Apparently Seven Swords wasn’t enough for him. After Missing, which is supposed to have something to do with a ring underwater, Tsui Hark will be working on what is being called his “comeback film.” The 13 Regiments will apparently group 13 stars together - including Simon Yam, Donnie Yen, and Nicholas Tse - and have them going around the world to recover Chinese relics scattered during “the war.” When the hell was Tsui Hark ever gone? He still has Triangle coming out, and he’s already working on one film before going on to this one.

- In a continuing crackdown of the media following that ridiculous mandate regarding talent shows, the Chinese government has shut down 1,466 ads that may contain offensive materials such as scantily-dressed women or sexually suggestive language. They even censored ads for underwears. Everyone wears underwears, people. Even communists.

- One director trying to fight against that is Chinese-American director Wayne Wang. According to him, a Chinese investor pulled out because Wang refused to cut a line in his latest film A Thousand Year of Prayers that says “Communism is good. It just fell into the wrong hands.” Any film that criticizes the Chinese government is of course a no-no, so the investor was forced to back out, taking away half the film’s budget.

- Forbidden Kingdom, the film that both its superstars Jet Li and Jackie Chan are calling “not very good,” is done shooting and taking its post-production to South Korea.

- For those who has seen the Hong Kong action flick Invisible Target, do you remember the blonde guy who’s involved in two of the chase scenes in the first hour? I know, I don’t remember much about him either, but apparently he’s going to Hollywood. Are they really paying him “seven digits”? It’s probably in yen, right?

- After the moderate success of TMNT, Hong Kong-based Imagi Animation Studio will team up with the Weinstein Company and Warner Bros. again for two more projects, the Japanese comic adaptations Gatchaman and Astro Boy. This should put Hong Kong computer animation on the map. This means Centro better get on its ass and make something better than The Magic Gourd. Still…American studios producing an adaptation of Astro Boy just doesn’t sound very promising to me anyway.

- the Tuesday numbers came out for Ang Lee’s Lust, Caution in Hong Kong, but I’ll leave the reporting to tomorrow when the Thursday numbers come out just to see how well it did on the holiday. Just for record, the Tuesday night showings earned HK$710,000 from 42 screens, which I’m almost sure may be a record for a category III film (at least for screen counts).

- In China, The Sun Always Rises may have opened at second place, but it only made US$598,023 from what is reported as a 600-screen release. That means each screen made less than US$1,000, and it comes with not very good word-of-mouth. However, that can’t really be helped, considering that an arthouse release would mean that the film would definitely not make back its US$10 million budget…not that it’ll do so at this point either.

Looking at the charts, it’s surprising that teen horror film Naraka 19 is actually close to making what Contract Lover did. Not that either of these films were very popular in Hong Kong anyway.

- It’s reviews time! Variety catches up with some Hong Kong film reviews from Toronto, including a disappointingly short review by Scott Foundas for Pang Ho Cheung’s Exodus (why the hell do they keep calling it The Exodus?), and a review by Robert Koehler for Wilson Yip/Donnie Yen’s Flash Point.

- Korean director Lee So-Yeon’s Uninvited might have been a commercial flop in South Korea, but that doesn’t mean he’s not talented. His latest screenplay Hwan Gung, about a man who believes himself to be a warrior sent to send a woman who thinks she is a mermaid back to the sea, won the Busan Screenwriting Competition, which gives him a grant of 20 million won (roughly US$20,000).

- Under “I just can’t get interested in this” news today, Taiwanese idol Wu Chun will be joining the cast of Jingle Ma’s Wu Xia Liang Zhu (or a martial arts version of the classic tale Butterfly Lovers). Twins’ Charlene Choi will be playing the other ill-fated lover, and Nicholas Tse is also in talks to join as another potential suitor for Charlene’s cross-dressing character who will probably fight while hooked on some wire.

Honestly, this sounds like it’ll be a pretty shitty movie already.

- From Variety Asia is a short profile of China Film Group head Han Sanping. He’s the one that said China needs more “ethically inspiring movies” and said any China-basher is “mentally challenged.” Actually, Quentin Tarantino is still saying dumber things (look at the second-to-the-last paragraph).

- From Twitch is a few small paragraphs devoted to the Japanese comedy Maiko Haaaan!!!, which I’ll be catching this Friday night.

- Before you in the West go watch it, Ang Lee would like to tell you that his latest film will probably disappoint you and whomever you go watch it with in your local American arthouse.

- EastSouthWestNorth writes about a set of commercials for a Hong Kong theme park not named Disneyland that are freaking some people out. True, the version with both ads on Youtube isn’t all that scary, but the original version of one of them is actually pretty freaky stuff.

Like I wrote before, not much news for the weekend, finishing off what I gathered from Friday and some

- After winning at Berlin and the Fribourg Film Festivals, Japanese actress Kaori Momoi’s directorial debut Faces of a Fig Tree just picked up the best director and best actress awards at the Vladivostok International Film Festival of Asian Pacific Countries, with both awards going to Momoi. It looks interesting, but its official website doesn’t even seem to have a trailer.

Meanwhile, here’s a review by Russell Edwards of Variety.

- Luc Besson - AKA European cinema’s favorite Asianphile - speaks to the Daily Yomiuri during his promotional tour in Japan to promote his animated film Arthur and the Invisibles. What does this have to do with Asian cinema, you ask? The American distributor of Arthur and the Invisibles is the Weinstein Company, who cut Besson’s film for the American release, and Besson was definitely not happy about that.

- It’s reviews time! From Lovehkfilm’s Kozo comes two reviews - one for Jiang Wen’s The Sun Also Rises, and one for the Jet Li Hollywood B-movie War/Rogue Assassins. From Sanjuro is a review of the Korean family comedy Bunt. The Daily Yomiuri has a review of Ryuichi Hiroki’s M. Isn’t this already his second or third theatrical release of the year?

- China continues to attract outside talent as they just signed co-production deals with two Asian countries. Korea’s CJ Entertainment will be co-producing the latest film by Jacob Cheung (Battle of Wits) - a martial arts epic named Thangka to be released in Lunar New Year 2009 - and they will also be part of a joint venture with 3 other production studios based out of China and Hong Kong to nurture young Chinese filmmakers.

Meanwhile, China and Singapore have sign agreements to help on each other’s film festivals. For example, there will be a Singapore film festival in Beijing, and there will be a section devoted to Chinese films in the next Singapore Film Festival.

- Now to the more negative side of Chinese entertainment, the government has published a new mandate that will pretty much kill the reality talent show genre on Chinese TV. The new rules stipulate that the shows cannot be shown between 7:30pm and 10:30 pm, “scientific judging standards” for the contestants, allowing only live voting, and each show may not last longer than 2 months, or no more than 10 shows at 90 minutes each. Just when you thought things were looking better…

Continuing from yesterday, the following is a compilation of some of the more notable news of the past week.

- It’s reviews time! Part 2! Twitch has a some reviews from Toronto, including the match-up of the Japanese comedians (yawn….), Jiang Wen’s The Sun Also Rises. Also, they have a review of Ryo Nakajima’s This Word of Ours, which I also hold a copy of as well and will review as soon as I can. Meanwhile, we have more reviews of Takashi Miike’s Sukiyaki Western Django, one by Japan Times’ Mark Schilling, and another one by Jason Gray. Lastly, there’s a short review of Edmond Pang Ho-Cheung’s Exodus from the Associated Press.

- The mega-expensive Korean drama Guardian Gods, starring Bae Yong-Joon, premiered in Korea with a very solid 20.4 rating. Then, according to Korea Pop Wars, it even got boosted to a 26.9 rating on nights 2 and 3. It’s not quite indicative of how the rest of the show will be, but it seems pretty clearly that Yong-sama’s spirit lives on.

- Shamo, Soi Cheang’s follow-up to Dog Bite Dog, was apparently done all the way back in May (at least done enough to go to Cannes). However, it has yet to see a release date, despite already getting a category II-B for “strong violence and sexual content” all the way back in May. I’ve been told that it’s not very good (please note that I’m understating this very much), so could that have something to do with it?

- What IS the big deal about this damn thing? Disney’s straight-to-TV movie High School Musical 2 not only broke records for American cable TV, it also broke Disney Channel records in Singapore and Malaysia. It was also the highest-rated program on pay TV in Hong Kong during its premiere.

- On the heels of the international drama awards in Korea, Japan is holding their first International Drama Festival as part of Cofesta (The Japan Contents Festival).

- Several major foreign networks have just been ok’d to broadcast in China, but not only are they not really bragging yet, they are only in hotels with more than 3 stars and home of non-Chinese nationals. And forget the fact that they’re being illegally watched by millions of people anyway.

- For some reason, Michelle Yeoh will be receiving the French Legion of Honor, the highest award for a civilian, and she’ll be receiving in in Malaysian capital Kuala Lampur. What did she ever do for France?

- In production news, Singapore’s Kelvin Tong is shooting his latest film with Ekin Cheng and Shawn Yue in Hong Kong right now. No word on whether Ekin Cheng plans to act or just be wooden throughout the shoot.

Continuing from yesterday, the following is a compilation of some of the more notable news of the past week.

- It’s reviews time! Part 2! Twitch has a some reviews from Toronto, including the match-up of the Japanese comedians (yawn….), Jiang Wen’s The Sun Also Rises. Also, they have a review of Ryo Nakajima’s This Word of Ours, which I also hold a copy of as well and will review as soon as I can. Meanwhile, we have more reviews of Takashi Miike’s Sukiyaki Western Django, one by Japan Times’ Mark Schilling, and another one by Jason Gray. Lastly, there’s a short review of Edmond Pang Ho-Cheung’s Exodus from the Associated Press.

- The mega-expensive Korean drama Guardian Gods, starring Bae Yong-Joon, premiered in Korea with a very solid 20.4 rating. Then, according to Korea Pop Wars, it even got boosted to a 26.9 rating on nights 2 and 3. It’s not quite indicative of how the rest of the show will be, but it seems pretty clearly that Yong-sama’s spirit lives on.

- Shamo, Soi Cheang’s follow-up to Dog Bite Dog, was apparently done all the way back in May (at least done enough to go to Cannes). However, it has yet to see a release date, despite already getting a category II-B for “strong violence and sexual content” all the way back in May. I’ve been told that it’s not very good (please note that I’m understating this very much), so could that have something to do with it?

- What IS the big deal about this damn thing? Disney’s straight-to-TV movie High School Musical 2 not only broke records for American cable TV, it also broke Disney Channel records in Singapore and Malaysia. It was also the highest-rated program on pay TV in Hong Kong during its premiere.

- On the heels of the international drama awards in Korea, Japan is holding their first International Drama Festival as part of Cofesta (The Japan Contents Festival).

- Several major foreign networks have just been ok’d to broadcast in China, but not only are they not really bragging yet, they are only in hotels with more than 3 stars and home of non-Chinese nationals. And forget the fact that they’re being illegally watched by millions of people anyway.

- For some reason, Michelle Yeoh will be receiving the French Legion of Honor, the highest award for a civilian, and she’ll be receiving in in Malaysian capital Kuala Lampur. What did she ever do for France?

- In production news, Singapore’s Kelvin Tong is shooting his latest film with Ekin Cheng and Shawn Yue in Hong Kong right now. No word on whether Ekin Cheng plans to act or just be wooden throughout the shoot.

You may say I took a “break” in blogging this past week, but I was certainly not in a relaxing mood. In fact, it’s more like a “I have no time to blog” week for me. Nevertheless, I’m back now, and posts will continue next week (despite at least 6 short film shoots coming up), and let’s let things get back to normalcy around here. That means a ton of news here and a ton of complaining in the spin-off.

Instead of just going over the news of the weekend. The following are some of the most notable news of the week:

- In Oscar submission news around Asia, South Korea has decided to submit Lee Chang-Dong’s Secret Sunshine as its representative to compete for the best foreign film award at the Academy Awards. Meanwhile, Japan has decided to submit Masayuki Suo’s mainstream successful I Just Didn’t Do It for its best picture nominee, as opposed to Naomi Kawase’s artsy The Mourning Forest. I haven’t seen any of these films, but in terms of award pedigrees, it seems like Secret Sunshine has a better chance of making it.

- It’s reviews time! Lovehkfilm has a review of Pang Ho-Cheung’s dark comedy-drama Exodus and Carol Lai Miu-Suet’s long overdue The Third Eye. Meanwhile, Twitch has a somewhat inexplicably positive review of Alexi Tan’s Blood Brothers (1930s China looks like it only consisted of 5 sets, for crying out loud) and a pretty positive review of Johnnie To/Wai Ka-Fai’s Mad Detective.

As for festival reviews, Variety has one from Toronto for Takashii Miike’s Sukiyaki Western Django, while Hollywood Reporter has one from Toronto for Pang Ho-Cheung’s Exodus (However, I disagree that Pang has been striving for seriousness that hard. Beyond Our Ken has a pretty mean serious streak beneath it, and Isabella has a surprising amount of comedy as well.)

Oh, Hollywood Reporter also has a review for the Korean blockbuster D-Wars, which they dared to open on wide release this weekend in North America. Why didn’t they submit this for best foreign film instead?

- Speaking of Toronto, seems like this year’s best performers are not your usual Western-oriented festival fodder, but rather Asian films. However, it seems like reviews are not out yet for many of these Asian films, so how successful are they exactly?

- Two bad news for the Japanese entertainment world - not only has video sales fallen for the 4th year in a row (probably with some type of correlation with the fact that prices for Japanese home videos have risen), Japanese films have lost to Hollywood films pretty badly this past summer. It’s pretty sad when Monkey Magic is your best performer of the summer.

- While Europeans continue to complain complain complain about piracy problems in China (valid, but honestly very redundant), Taiwanese law enforcers have taken down two peer-to-peer site in a week, pissing off many Taiwanese youths who want free entertainment, I’m sure.

- John Woo’s turbulent shoot of the epic Red Cliff is slated to end on time next month. However, the film(s) still have a long way to go, as it hasn’t found an American distributor yet, who will have to pay a hefty price to help Woo and Co. make back that US$80 million investment. I hope someone doesn’t screw up and lose all the footage while doing the special effects.

Part II, with box office reports and all, tomorrow.

You may say I took a “break” in blogging this past week, but I was certainly not in a relaxing mood. In fact, it’s more like a “I have no time to blog” week for me. Nevertheless, I’m back now, and posts will continue next week (despite at least 6 short film shoots coming up), and let’s let things get back to normalcy around here. That means a ton of news here and a ton of complaining in the spin-off.

Instead of just going over the news of the weekend. The following are some of the most notable news of the week:

- In Oscar submission news around Asia, South Korea has decided to submit Lee Chang-Dong’s Secret Sunshine as its representative to compete for the best foreign film award at the Academy Awards. Meanwhile, Japan has decided to submit Masayuki Suo’s mainstream successful I Just Didn’t Do It for its best picture nominee, as opposed to Naomi Kawase’s artsy The Mourning Forest. I haven’t seen any of these films, but in terms of award pedigrees, it seems like Secret Sunshine has a better chance of making it.

- It’s reviews time! Lovehkfilm has a review of Pang Ho-Cheung’s dark comedy-drama Exodus and Carol Lai Miu-Suet’s long overdue The Third Eye. Meanwhile, Twitch has a somewhat inexplicably positive review of Alexi Tan’s Blood Brothers (1930s China looks like it only consisted of 5 sets, for crying out loud) and a pretty positive review of Johnnie To/Wai Ka-Fai’s Mad Detective.

As for festival reviews, Variety has one from Toronto for Takashii Miike’s Sukiyaki Western Django, while Hollywood Reporter has one from Toronto for Pang Ho-Cheung’s Exodus (However, I disagree that Pang has been striving for seriousness that hard. Beyond Our Ken has a pretty mean serious streak beneath it, and Isabella has a surprising amount of comedy as well.)

Oh, Hollywood Reporter also has a review for the Korean blockbuster D-Wars, which they dared to open on wide release this weekend in North America. Why didn’t they submit this for best foreign film instead?

- Speaking of Toronto, seems like this year’s best performers are not your usual Western-oriented festival fodder, but rather Asian films. However, it seems like reviews are not out yet for many of these Asian films, so how successful are they exactly?

- Two bad news for the Japanese entertainment world - not only has video sales fallen for the 4th year in a row (probably with some type of correlation with the fact that prices for Japanese home videos have risen), Japanese films have lost to Hollywood films pretty badly this past summer. It’s pretty sad when Monkey Magic is your best performer of the summer.

- While Europeans continue to complain complain complain about piracy problems in China (valid, but honestly very redundant), Taiwanese law enforcers have taken down two peer-to-peer site in a week, pissing off many Taiwanese youths who want free entertainment, I’m sure.

- John Woo’s turbulent shoot of the epic Red Cliff is slated to end on time next month. However, the film(s) still have a long way to go, as it hasn’t found an American distributor yet, who will have to pay a hefty price to help Woo and Co. make back that US$80 million investment. I hope someone doesn’t screw up and lose all the footage while doing the special effects.

Part II, with box office reports and all, tomorrow.