Note: This blog expresses only the opinions of the blog owner, and does not represent the opinion of any organization or blog that is associated with The Golden Rock.
- 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.
- 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.
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.
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.
- 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!
- 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.
- 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.
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.
- 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.
- 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.
- 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.
- 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 (seethemhere) 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.
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.
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.
- 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.
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.
- 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.
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.
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.
- 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.
- 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.
- 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.
- 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.
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.
It’s now 2009 here in Asia, and that means it’s time to wrap up the year. This year was a huge moviegoing year for me, having finally had the chance to go wild at film festivals and spending lots of time at the theaters, as well as my movie critic work. And since I’m leaving my Hong Kong film thoughts for the LHKF awards, here are my thoughts for things that LHKF doesn’t cover.
Remember, this is only one man’s opinion, and that man doesn’t nearly watch as many movies or listen to as much music as he should anyway, so take it with a grain of salt.
BEST PANASIAN MOVIES VIEWED IN 2008 (which means some might’ve been released in 2007). In no particular order:
The Chaser (Korea) - An exciting and powerful serial killer movie that shows Korea still has emerging talent.
Fine, Totally Fine (Japan) - Hilarious and crude without losing its simple charm, this is Japanese comedy at its best.
Life is Cool (Korea) - This is how you do a gimmick without getting lost in it: by remember to tell a story first.
God Man Dog (Taiwan) - Compelling cinema that has a surprisingly bright charm coming from out of left field in the third act. This was the beginning of the Taiwanese cinema resurrection for me.
Tokyo Sonata (Japan) - Compelling and haunting, this family drama was sorely undermined by the Japan Academy Awards. Then again, maybe it was the third act that didn’t work for them.
I Just Didn’t Do It (Japan) - A straightforward legal drama that uses truth to provoke audience response. An excellent shift of tone by Masayuki Suo.
The Magic Hour (Japan) - Classy and still funny, Koki Mitani’s follow-up to Suite Dreams is less ambitious, but still very funny and even more touching.
After School (Japan) - Kenji Uchida’s forward-backwards comedy-mystery sometimes appears clever for clever’s sake, but clever is clever, and it’d be unfair to dismiss that.
Milkyway Liberation Front (Korea) - Funny and surreal, this is a indie Korean comedy that would only work for those who know about the movies. Doesn’t mean I didn’t find it funny.
Yasukuni (China-Japan) - A documentary that shows the controversial Yasukuni Shrine as is, even though most of its staff is Chinese. As balanced as one can get for a Yasukuni Shrine movie made by a Chinese filmmaker living in Japan.
HONORABLE MENTIONS:
Radio Dayz (Korea) Girl Scout (Korea) All Around Us (Gururi no koto) (without subtitles, which is the only reason why it’s here and not higher) Parking (Taiwan) Gachi Boy (Japan) Detroit Metal City (Japan) Suspect X (Japan) Cape No. 7 (Taiwan) Glasses (Japan) The Rebirth (Japan) (Because I made through it without sleeping)
The worst
Shaolin Girl (Japan) Cherry Tomato (Korea) L:Change the World (Japan) Open City (Korea) Kung Fu Dunk (It counts because it’s Taiwan)
(Dis)honorable mention - only because I never bothered watching a subtitled version and never watched the TV show:
Hana Yori Dango Final.
I have to say I was pretty disappointed with Hong Kong music this year, with not nearly enough good albums to make a good top 10 list. Hell, there’s not even that many memorable songs to make a top 10 list. While HK pop fans were all ga-ga-ing about albums like Kay Tse’s Binary and Leo Ku’s Guitar Fever, I didn’t think they were all that ear-catching. Then again, that might just be me.
Nevertheless, I still have a top 5 Hong Kong albums, and some honorable mentions:
HONG KONG MUSIC
Juno Mak - Words of Silence - Leave it the rich boy of Hong Kong pop to show how to do an album of Karaoke ballads.
Denise Ho - Ten Days in the Madhouse - HOCC’s most ambitious album of her career is an album that’s actually about something important, and we’re all appreciative of it.
Khalil Fong - Wonderland - It came out late last year, but it didn’t find its audience until this year. An excellent R&B album that happens to be in Chinese. Fong is the best Hong Kong-based musician you’re probably not paying attention to.
Chet Lam - Travelogue 3 - Nice and breezy, and wonderfully folksy.
Fama- Richest in the World - Hong Kong’s most fun hip-hop duo is back with an album surprisingly mostly produced within a week or so. Easily the most entertaining HK pop album of the year.
Notable mentions:
Khalil Fong - Orange Moon
Kay Tse - Binary
Jan Lam - 30mething QK
24 Herbs
Eason Chan - Don’t Want to Let Go Bianca Wu - Still…A Wonderful World.
OUTSIDE HONG KONG:
Notable mentions:
Utada Hikaru - Heart Station
Jam Hsiao - Debut album
Jero - Covers
Orange Range - Panic Fancy
Kanye West - 808s and Heartbreak - this deserves a special mention for showing what happens when an egomaniac like Kanye West essentially takes apart his shell-like ego and expose all of his heartbreaks and tragedies in his music. It’s really the perfect album who’s hated Kanye’s music before this. Just drop your bias against the auto-tune stuff and listen.
The former went from a Taiwanese idols show contestant to this year’s Chinese pop sensation, while the latter made the fading enka genre relevant for young people again while sweeping all the major awards.
BEST CONCERT VIEWED IN HONG KONG (tie):
Fama
Chet Lam - One Man Live
Fama rocked the packed house, with their audience standing almost the entire time rapping along. You can’t buy an audience like that with flashy stage lights; you earn it with talent and royalty.
Meanwhile, Chet Lam managed to run an entire 2-hour concert with only him and a looping machine. Meanwhile, he doesn’t forget to tell touching stories and sing great songs.
With brand-new remixes and three solid new tracks, this is a compilation that tries to be good to the fans by providing things they may not have. It actually makes its existence almost OK.
BEST SOUNDTRACK (tie):
Fine, Totally Fine, Sparrow
The former album helped give a comedy a relaxing groove, and the other helped turn a stylistic Hong Kong film into a 60s French film. Both stood out while complementing the film they’re written for.
MOST ANNOYING TRENDS IN 2008 ASIAN POP CULTURE:
Rewarding stupidity (Japan) - One of the most dead-on Western perception of Japanese game shows was on the Simpsons, when the Japanese game show host said that the difference between Western and Japanese game show is that one rewards intelligence while the other punishes ignorance. While that is still the case for Quiz Hexagon II, where the team that fails a challenge having to dunk one member into water, some of its worst players have been put together into pop music units by Fuji TV. Instead of six dumb talentos scraping by a living, they’re now pop sensations that have no business in having any kind of musical careers. The male group - Shuchishin - even scored the 5th best-selling single in Japan this year, which surely says something about the taste of the Japanese general public.
Irresponsible criticisms on the web (China, South Korea) - In China, web bullies have gotten so powerful against anyone that disagree with them that people are making comparisons to Red Guards and Cultural Revolution. In South Korea, hurtful messages about celebrities reportedly helped drive one to suicide. These cannot be fixed with limiting internet rights and taking away internet annoymity. It starts with educating the people.
Disclaimer: This blog has, over the course of the year, given fairly harsh criticism. However, there has been no particular effort to hide who I am, and I have asserted that they are purely my own opinion, nor did I ever make any unreasonably hostile comments or threats against the people I criticize.
BEST TRENDS IN ASIAN POP CULTURE:
MTVs for songs without the singers (Japan) - Some of this year’s biggest hit songs feature popular pop stars’ voices, but not their faces. Instead, these videos tell complete stories with actors, and they actually work as their own short films. They seemed to have been a Korean trend, and now, it’s moved to Japan.
It’s been done with songs like March 9th by Remioromen a few years ago:
And it’s been a huge thing in 2008 Japanese pop songs such as Exile’s Ti Amo (the newly-awarded Song of the Year):
Or GReeeeN’s Kiseki (my vote for the most touching MTV of the year):
Or the surprise pop hit Kimi No Subete Ni by Spontania and Juju:
Either Japanese music video directors are all trying out to be film directors, or these are all done by the same guys. Either way, they do what they’re supposed to do - express the feeling of the songs - and yet, they can tell something that resembles a complete story that works without being as melodramatic as the Koreans. Well done.
Resurgence of Taiwanese films (Taiwan) - It’s not all thanks to Cape No. 7. In addition to the mega-blockbuster, Taiwan has produced some fine films this year not made by Hou Hsiao Hsien. Parking was a great dark comedy with a touch of film noir that marked a promising film debut, while God Man Dog was an excellent ensemble film. Hopefully, the young directors of these films can balance art and commercialism and bring back Taiwan as a formidable cinematic force in Asia.
EEG making respectable movies (Hong Kong) - This year (let’s count January 1st, 2009 as well), Emperor Motion Pictures, who once released movies like Bug Me Not!, the Twins Effects movies, and is still trying to release Jeff Lau’s The Fantastic Water Babes, were responsible for Run Papa Run, The Beast Stalker, Connected, and Chen Kaige’s Forever Enthralled. Even though Connected was not a particular great motion picture, it was at least more respectable than say, Twins Effects 2. Hopefully, EEG will just leave the pop star fodder to Gold Label and stick to making good Hong Kong movies that just happens to have Chinese money. I wish I can say the same about their music and management division, but that’s a different award…..
BEST DISCOVERY
The PIA Film Festival (Japan) - It started last year when I watched Ryo Nakajima’s This World of Ours. As more PIA films started coming to Hong Kong, to the point that the Asian Film Festival gave it its own retrospective, I began to respect this fesival for staying alive every year, despite losing money and having difficulty finding sponsors every year. I also admiring them for not letting financial difficulty stop them from discovering good films and making good films with their annual scholarship films. This is a film festival worth discovering, and its award films are worth searching out for.
WORST DISCOVERY
Jazz Hip Jap. A parody of the worst In Living Color soundtrack of all time. I don’t know why it’s still on my shelf.
THE GOLDEN ROCKS OF THE YEAR
These are the thing or the people who have made the biggest impression over the year and deserve all the recognition they can get:
Cape No. 7 - The one film that has been credited for resurrecting an entire film industry and got people to care about Taiwanese films again. It’s not great, but it is an immensely entertaining film that has seemed to really connect with people. And if it did finally get Taiwanese people back into the cinemas, then good for them.
Jero - a young African-American, 1/4 Japanese man goes to Japan and becomes a singer of his grandmother’s favorite genre of enka. He opens the year telling people that his dream is to get on Kohaku Uta Gassen for his dead grandmother. His debut single is the no. 16th best-selling single of the year in Japan. He wins multiple newcomer awards, including one at this year’s Japan Record Awards.
On December 31st, 2008, he appeared on Kohaku Uta Gassen and sang with his mother in the audience.
What success story coming out of 2008 Asian entertainment has a better ending than the one of Jerome White Jr.?
SPECIAL LIFETIME ACHIEVEMENT AWARD
This award goes to someone whose entire career has dominated newspapers and internet news throughout 2008. And by entire career, it means his career is already over:
Any man who could ruin Hong Kong’s most popular pop duo, get on international gossip headlines, and bring this blog its largest amount of traffic for getting too friendly with his camera and too stupid to just throw away the computer full of those pictures ought to get some kind of recognition, especially since this will be the most contribution he’ll make with his career in this lifetime.
That is, unless he makes it in Hollywood. But it won’t be LoveHKFilm’s problem by then anyway.
And so wraps up a busy year in Asian entertainment. Please remember not to take these awards seriously, as they are just one partially-informed man’s opinion. If you feel I missed out on anything worth mentioning in 2008, feel free the comment.
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