- It was another active day at the Hong Kong box office on Thursday opening day. However, the bad news is that only one film actually did well. Granted, all 5 opening films got into the top 10 slots, but none of them opened on more than 30 screens. That’s why the top film was the box office flop Evan Almighty. On 29 screens, the Steve Carell-starring comedy made HK$780,000 on its opening day. Very far behind is yet another box office flop, The Invasion starring Nicole Kidman. On 28 screens, the remake of The Invasion of the Body Snatchers made just HK$360,000, doomed to repeat the same fate it did in the United States. Even the Thai horror film Alone, which I’m sure got some publicity from having its ads and trailers censored, got a better per-screen average, making HK$250,000 from 16 screens.

Now we’re down to the floppers. Not even the Wu and Woo names could get audiences to go catch Blood Brothers (I did though). On a meager 20 screens, the period action-drama made just HK$130,000. Doing a little better on the per-screen is the Japanese animated film The Girl Who Leapt Through Time, featuring the voice of pop star Janice Vidal (er…last I checked, she couldn’t even speak Cantonese properly) on 15 out of its 16 screens, made just HK$110,000. Expect one of these to do better during the weekend, and it ain’t the one I’ve seen.

As for the holdovers, Rush Hour 3 is good as dead with just HK$310,000 on 34 screens for an 8-day total of HK$5.43 million (remember Jackie Chan himself has a stake in this, as he owns the distribution rights for the Chinese-speaking regions), and Wilson Yip’s Flash Point with Donnie Yen is not looking to get to the HK$10 million mark with HK$8.28 million after 15 days. I thought it was good enough to make more, but hey, that’s just me.

- With the news yesterday about the new Japanese film database by Eiren, Jason Gray shares a few more already existing Japanese movie databases. Yay, more references to cross-check.

- China box office is on the rise, expecting to make 3 billion yuan. However, quite a big chunk of that has been from those really huge Hollywood movies, though a lot of that is expected to be from the high-profile Chinese films at the end of the year.

- It’s from those guys at Oriental Daily again, which is strange because they keep picking up the only stories that at least two other major Hong Kong newspapers don’t pick up. This time, Soi Cheang’s Dog Bite Dog has been sold to be remade in India. I’m hoping that no song and dance is involved, and that the assassin won’t be from Pakistan (props to those who get the reference).

By the way, producer Sam Leung is apparently looking to do a sequel to Dog Bite Dog with the original cast. Having watched the film, how the hell are they going to pull that off?

- In more reports from Chinese newspapers, The Pye-Dog starring Eason Chan, which has yet to get a release in Hong Kong, will be heading to three different films festivals - Stockholm International Film Festival, the Asia Oceanic Film Festival (?), and the German International Innocence Films Festival (???).

- With Takeshi Kitano’s Glory to the Filmmaker (Kantoku Banzai) heading to Venice, the organizers have decided to establish a new award, and Kitano’s getting it. The name of the award? “Glory to the Filmmaker!”

- It was another active day at the Hong Kong box office on Thursday opening day. However, the bad news is that only one film actually did well. Granted, all 5 opening films got into the top 10 slots, but none of them opened on more than 30 screens. That’s why the top film was the box office flop Evan Almighty. On 29 screens, the Steve Carell-starring comedy made HK$780,000 on its opening day. Very far behind is yet another box office flop, The Invasion starring Nicole Kidman. On 28 screens, the remake of The Invasion of the Body Snatchers made just HK$360,000, doomed to repeat the same fate it did in the United States. Even the Thai horror film Alone, which I’m sure got some publicity from having its ads and trailers censored, got a better per-screen average, making HK$250,000 from 16 screens.

Now we’re down to the floppers. Not even the Wu and Woo names could get audiences to go catch Blood Brothers (I did though). On a meager 20 screens, the period action-drama made just HK$130,000. Doing a little better on the per-screen is the Japanese animated film The Girl Who Leapt Through Time, featuring the voice of pop star Janice Vidal (er…last I checked, she couldn’t even speak Cantonese properly) on 15 out of its 16 screens, made just HK$110,000. Expect one of these to do better during the weekend, and it ain’t the one I’ve seen.

As for the holdovers, Rush Hour 3 is good as dead with just HK$310,000 on 34 screens for an 8-day total of HK$5.43 million (remember Jackie Chan himself has a stake in this, as he owns the distribution rights for the Chinese-speaking regions), and Wilson Yip’s Flash Point with Donnie Yen is not looking to get to the HK$10 million mark with HK$8.28 million after 15 days. I thought it was good enough to make more, but hey, that’s just me.

- With the news yesterday about the new Japanese film database by Eiren, Jason Gray shares a few more already existing Japanese movie databases. Yay, more references to cross-check.

- China box office is on the rise, expecting to make 3 billion yuan. However, quite a big chunk of that has been from those really huge Hollywood movies, though a lot of that is expected to be from the high-profile Chinese films at the end of the year.

- It’s from those guys at Oriental Daily again, which is strange because they keep picking up the only stories that at least two other major Hong Kong newspapers don’t pick up. This time, Soi Cheang’s Dog Bite Dog has been sold to be remade in India. I’m hoping that no song and dance is involved, and that the assassin won’t be from Pakistan (props to those who get the reference).

By the way, producer Sam Leung is apparently looking to do a sequel to Dog Bite Dog with the original cast. Having watched the film, how the hell are they going to pull that off?

- In more reports from Chinese newspapers, The Pye-Dog starring Eason Chan, which has yet to get a release in Hong Kong, will be heading to three different films festivals - Stockholm International Film Festival, the Asia Oceanic Film Festival (?), and the German International Innocence Films Festival (???).

- With Takeshi Kitano’s Glory to the Filmmaker (Kantoku Banzai) heading to Venice, the organizers have decided to establish a new award, and Kitano’s getting it. The name of the award? “Glory to the Filmmaker!”

- Jia Zhangke’s award-winning Still Life finally hit the arthouse screen of Japan. In the 204-seat theater, the film attracted 1811 people and 2.34 million yen in its opening Saturday and Sunday. With 5 shows a day, that’s 181.1 people per show, and apparently all shows on Sunday (except the last one) were sold out. I never knew Jia Zhangke had that many fans in Japan.

- Some reports are reporting that two stations under the Japanese satellite TV provider SkyPerfect TV has been ordered to pay copyright owners of some Chinese dramas because they were shown without any permission or compensation. However, those two stations are actually revealed to be China-based TV stations, not Japanese.

- Eiren, or the Motion Pictures Producers Association of Japan, have started a Japanese movie database containing information on all Japanese films made after the year 2000. Don’t worry, they’re working to make an even more complete database in the future. The only problem is that the database is in Japanese, so no luck to my fellow foreign Japanese film fans.

- the first teaser for Lee Myung-Se’s M is up, and while it looks really beautiful (shot in digital?), I’m always afraid of films that look beautiful because they turn out crappy (Natural City, anyone?).

- On the heels of the resurgence of local films in South Korea, thanks to D-War and May 18, the upcoming Sookmyeong is now the most expensive distribution deal for a Korean film to Japan this year. Don’t pop the champagne open yet, though, its US$2 million price tag is only half of what Korean films got at the height of the Korean wave in Japan.

- To complete a trifecta of Korean film news, Kaiju Shakedown introduces an overdue Korean film about cooking.

- After Wild Mama, there’s another dubiously named character-based drama coming this fall. This time it’s Mop Girl, which is about exactly what the title suggests.

- Despite being reported this week, the badly named Zhang Ziyi/Jang Dong-gun starrer Laundry Warrior has not been shooting since May because Jang is injured, and Zhang is already off shooting the new Chen Kaige movie. However, the star of Chen Kaige’s film Leon Lai is off shooting the latest Chang Siu-Tung film with Kelly Chan and Donnie Yen, so who’s where?

- Under “films we don’t really care about” today, some Asian actors has joined the cast of The Pink Panther 2, where they will most likely just play some type of Asian stereotype.

- The complete lineup for the Toronto International Film Festival is out, but it’s way too long for me to pick out what’s worth mentioning, so I’ll leave that to you all.

- Taiwanese New Wave director Edward Yang, who recently passed away, will receive the Filmmaker of the Year award at the Pusan International Film Festival. There will also be a retrospective of Yang’s films as well.

I don’t like to pimp out the new Spin-off blog, The Golden Gate Meets The Lion Rock, but I just wrote a brief review of Alexi Tan’s Blood Brothers there, so check it out.

- Jia Zhangke’s award-winning Still Life finally hit the arthouse screen of Japan. In the 204-seat theater, the film attracted 1811 people and 2.34 million yen in its opening Saturday and Sunday. With 5 shows a day, that’s 181.1 people per show, and apparently all shows on Sunday (except the last one) were sold out. I never knew Jia Zhangke had that many fans in Japan.

- Some reports are reporting that two stations under the Japanese satellite TV provider SkyPerfect TV has been ordered to pay copyright owners of some Chinese dramas because they were shown without any permission or compensation. However, those two stations are actually revealed to be China-based TV stations, not Japanese.

- Eiren, or the Motion Pictures Producers Association of Japan, have started a Japanese movie database containing information on all Japanese films made after the year 2000. Don’t worry, they’re working to make an even more complete database in the future. The only problem is that the database is in Japanese, so no luck to my fellow foreign Japanese film fans.

- the first teaser for Lee Myung-Se’s M is up, and while it looks really beautiful (shot in digital?), I’m always afraid of films that look beautiful because they turn out crappy (Natural City, anyone?).

- On the heels of the resurgence of local films in South Korea, thanks to D-War and May 18, the upcoming Sookmyeong is now the most expensive distribution deal for a Korean film to Japan this year. Don’t pop the champagne open yet, though, its US$2 million price tag is only half of what Korean films got at the height of the Korean wave in Japan.

- To complete a trifecta of Korean film news, Kaiju Shakedown introduces an overdue Korean film about cooking.

- After Wild Mama, there’s another dubiously named character-based drama coming this fall. This time it’s Mop Girl, which is about exactly what the title suggests.

- Despite being reported this week, the badly named Zhang Ziyi/Jang Dong-gun starrer Laundry Warrior has not been shooting since May because Jang is injured, and Zhang is already off shooting the new Chen Kaige movie. However, the star of Chen Kaige’s film Leon Lai is off shooting the latest Chang Siu-Tung film with Kelly Chan and Donnie Yen, so who’s where?

- Under “films we don’t really care about” today, some Asian actors has joined the cast of The Pink Panther 2, where they will most likely just play some type of Asian stereotype.

- The complete lineup for the Toronto International Film Festival is out, but it’s way too long for me to pick out what’s worth mentioning, so I’ll leave that to you all.

- Taiwanese New Wave director Edward Yang, who recently passed away, will receive the Filmmaker of the Year award at the Pusan International Film Festival. There will also be a retrospective of Yang’s films as well.

I don’t like to pimp out the new Spin-off blog, The Golden Gate Meets The Lion Rock, but I just wrote a brief review of Alexi Tan’s Blood Brothers there, so check it out.

After a slow news day comes a really busy one.

- As usual, let’s look at Japan’s Oricon charts. During a slow week for the singles chart, veteran pop star Kazumasa Oda tops the chart with his latest single, selling just over 48,000 copies. With this, Oda now has the dubious honor of being the oldest artist to have a number 1 single at 59 years and 11 months old. Meanwhile, pop group Tokio follows closely at second place with 45,000 copies of their latest single sold, and the latest million-seller Sen No Kaze Ni Natte is still on the top 10 at 6th place with another 23,000 copies sold. Expect a more active singles chart next week, with Aiko’s latest expected to take the top spot.

On the album chart, Hideaki Tokunaga (whom you might remember for giving a borderline-creepy cover of Mika Nakashima’s Yuki Na Hana) takes the number one spot with his latest cover album, selling 115,000 copies. However, the two Zard compilations (as in a way to cash in on fans’ grief by charging them double for songs they probably already have) sold a combined 175,000 copies for second and third place, respectively. Next week, expect Tokunaga to take the top spot again, but with the usual drop in sales.

- In Chinese box office, Alexi Tan’s Blood Brothers opened quite well, with its opening gross being 104% of Flash Point’s opening 2 weeks ago. Then again, Flash Point’s gross actually went up in its second week, which is not looking like it will happen to Blood Brothers. Oh, if anyone cared, Alfred Cheung Kin-Ting’s Contract Lover starring Richie Ren and Fan Bing Bing opened with one-third of Blood Brothers’ gross, although I have no idea on how many screens it opened.

- Ang Lee’s Lust, Caution continues to prepare for its invasion of arthouses around the world with yet another film festival slot, this time as the opening film at Turkey’s Eurasia Film Festival.

- I was hoping to be the first to break this, but both Kaiju Shakedown and AP News beat me to it. Anyway, according to the not-very-credible Oriental Daily in Hong Kong (still the best-selling newspaper though), Fruit Chan confirmed that he will be making “Kowloon City,” a film produced by Terence “John Woo’s right-hand man” Chang about two young martial arts students that immigrated overseas during the 50s. One of them happens to be Bruce Lee. Chan is considering a wide talent search for his Bruce Lee, and would even abandon the project if he can’t find a suitable actor for the role.

- At this year’s New York Korean Film Festival, a panel of directors and scholars will sit down and once again discuss whether the Korean Wave is dead. I’m almost sure the answer will be “no, but __________”

- Warner Brothers, who dipped into Asian film in Taiwan and Japan, will now attempt to break into the Indian market with the film Made in China. Before you think it’s a satire on Chinese exports, the film will actually take on a crappier storyline about a cook mistaken for a martial arts hero.

- After Paris Je T’aime got me all hot for omnibus films about cities, I’ve been looking very very forward to the Michel Gondry/Leos Corax/ Bong Joon-Ho omnibus “Tokyo!” Now it’s been revealed that Yu Aoi and Teruyuki Kagawa will be starring in Bong’s short, about a shut-in that falls in love with a pizza delivery girl.

- I’ve seen the trailer for Peter Chan Ho-Sun’s The Warlords at almost every movie I’ve been to so far in Hong Kong, but I somehow can’t really get too excited about it. I know, it has Andy Lau, Takeshi Kaneshiro, AND Jet Li, plus a whole lot of killin’, but I don’t know how many more big-budget period epics I can take. Looking at how mediocre Curse of the Golden Flower did around the world, I’d say even the rest of the world are kind of tired. That’s not stopping Chan from rushing to finish his film and show it somewhere to get it eligible for a best foreign film Oscar, though.

- The two winners of the Chinese film competition are going to Hollywood to meet studio executives and visit film sets. I can’t wait to buy pirated copies of their movies.

- There isn’t much details, but a live-action version of the Studio Ghibli classic Grave of the Fireflies is in the works. Like all the versions of the story, this will be adapted from the original pseudo-nonfiction novel and be very very depressing.

- I never thought it would happen, but a program by Hong Kong’s TVB actually got nominated for an international emmy award. No, it’s not for a drama, but for a news programming, which is probably what TVB is best at anyway.

- I won’t be translating the whole thing, but there’s a Chinese review of Walt Disney China’s The Magic Gourd on the Chinese movie blog (what the shit is a gourd anyway?). Essentially, the review compares the film with an educational fantasy fairy tale for children, and that it does what it intends to do effectively. Basically, it’s not all bad, it’s just….you know, for the kids.

After a slow news day comes a really busy one.

- As usual, let’s look at Japan’s Oricon charts. During a slow week for the singles chart, veteran pop star Kazumasa Oda tops the chart with his latest single, selling just over 48,000 copies. With this, Oda now has the dubious honor of being the oldest artist to have a number 1 single at 59 years and 11 months old. Meanwhile, pop group Tokio follows closely at second place with 45,000 copies of their latest single sold, and the latest million-seller Sen No Kaze Ni Natte is still on the top 10 at 6th place with another 23,000 copies sold. Expect a more active singles chart next week, with Aiko’s latest expected to take the top spot.

On the album chart, Hideaki Tokunaga (whom you might remember for giving a borderline-creepy cover of Mika Nakashima’s Yuki Na Hana) takes the number one spot with his latest cover album, selling 115,000 copies. However, the two Zard compilations (as in a way to cash in on fans’ grief by charging them double for songs they probably already have) sold a combined 175,000 copies for second and third place, respectively. Next week, expect Tokunaga to take the top spot again, but with the usual drop in sales.

- In Chinese box office, Alexi Tan’s Blood Brothers opened quite well, with its opening gross being 104% of Flash Point’s opening 2 weeks ago. Then again, Flash Point’s gross actually went up in its second week, which is not looking like it will happen to Blood Brothers. Oh, if anyone cared, Alfred Cheung Kin-Ting’s Contract Lover starring Richie Ren and Fan Bing Bing opened with one-third of Blood Brothers’ gross, although I have no idea on how many screens it opened.

- Ang Lee’s Lust, Caution continues to prepare for its invasion of arthouses around the world with yet another film festival slot, this time as the opening film at Turkey’s Eurasia Film Festival.

- I was hoping to be the first to break this, but both Kaiju Shakedown and AP News beat me to it. Anyway, according to the not-very-credible Oriental Daily in Hong Kong (still the best-selling newspaper though), Fruit Chan confirmed that he will be making “Kowloon City,” a film produced by Terence “John Woo’s right-hand man” Chang about two young martial arts students that immigrated overseas during the 50s. One of them happens to be Bruce Lee. Chan is considering a wide talent search for his Bruce Lee, and would even abandon the project if he can’t find a suitable actor for the role.

- At this year’s New York Korean Film Festival, a panel of directors and scholars will sit down and once again discuss whether the Korean Wave is dead. I’m almost sure the answer will be “no, but __________”

- Warner Brothers, who dipped into Asian film in Taiwan and Japan, will now attempt to break into the Indian market with the film Made in China. Before you think it’s a satire on Chinese exports, the film will actually take on a crappier storyline about a cook mistaken for a martial arts hero.

- After Paris Je T’aime got me all hot for omnibus films about cities, I’ve been looking very very forward to the Michel Gondry/Leos Corax/ Bong Joon-Ho omnibus “Tokyo!” Now it’s been revealed that Yu Aoi and Teruyuki Kagawa will be starring in Bong’s short, about a shut-in that falls in love with a pizza delivery girl.

- I’ve seen the trailer for Peter Chan Ho-Sun’s The Warlords at almost every movie I’ve been to so far in Hong Kong, but I somehow can’t really get too excited about it. I know, it has Andy Lau, Takeshi Kaneshiro, AND Jet Li, plus a whole lot of killin’, but I don’t know how many more big-budget period epics I can take. Looking at how mediocre Curse of the Golden Flower did around the world, I’d say even the rest of the world are kind of tired. That’s not stopping Chan from rushing to finish his film and show it somewhere to get it eligible for a best foreign film Oscar, though.

- The two winners of the Chinese film competition are going to Hollywood to meet studio executives and visit film sets. I can’t wait to buy pirated copies of their movies.

- There isn’t much details, but a live-action version of the Studio Ghibli classic Grave of the Fireflies is in the works. Like all the versions of the story, this will be adapted from the original pseudo-nonfiction novel and be very very depressing.

- I never thought it would happen, but a program by Hong Kong’s TVB actually got nominated for an international emmy award. No, it’s not for a drama, but for a news programming, which is probably what TVB is best at anyway.

- I won’t be translating the whole thing, but there’s a Chinese review of Walt Disney China’s The Magic Gourd on the Chinese movie blog (what the shit is a gourd anyway?). Essentially, the review compares the film with an educational fantasy fairy tale for children, and that it does what it intends to do effectively. Basically, it’s not all bad, it’s just….you know, for the kids.

A really slow news day today, so this entry is mercifully shorter than usual.

- The Japanese box office numbers show that the weekend match-up between Ocean’s 13 and Harry Potter was much closer than I thought. Despite Ocean’s 37 % drop (in comparison to Potter’s 27%), the difference between the two films were only a little more than 2 million yen. Nevertheless, Ocean benefited from the holiday week, with 1.75 billion yen already in the bank. Plus, both these films are released by Warner Bros., so they win either way.

Like everywhere else it played, Ratatouille is holding on based on word-of-mouth, losing only 7% of its business from last weekend. The biggest drop again goes to the latest Naruto movie. Meanwhile, Isao Yukisada’s latest Into the Faraway Sky failed to attract audiences based on Yukisada’s name alone, making only 26 million yen from 121 screens.

The only opening that made it to the top 10 is Fumihiko Sori’s animated film Vexville. On 181 screens, the film only made 42 million yen. That’s only 66% of Fumihiko’s producing effort Appleseed’s opening. However, the film has been sold to 129 countries for distribution, so I’m sure these guys will make their money back.

- A bit outdated, but Stephen Chow’s latest is no longer called A Hope, but CJ7, which would be a more literal translation from the film’s Chinese name, which i have no idea how to type in pinyin.
- Aya Ueto is going to be playing her first role as a mother in the fall Fuji TV drama Wild Mama. Apparently she will be a stepmom that argues with a lot of people. How does that make good TV again?

- In an effort to make you look more forward to the awards and not concentrate on its redundancy, the Asia Pacific Film Awards (to take place in Australia, not Asia) has just completed a complementary program featuring interviews with a lot of big-name Asian directors. Well, at least big names to me, alright?

- Any amateur game developers now have a new goal to reach - a win at the Amateur Division of the Japan Game Awards.

- Major South Korean entertainment firm Sidus (and I say major because I see its logo quite often) is penetrating the US market by buying a slice of Asian-American-targeted cable network Imaginasian TV. This means expect more Korean entertainment on American cable television, and that ain’t bad.

See? mercifully short.

A really slow news day today, so this entry is mercifully shorter than usual.

- The Japanese box office numbers show that the weekend match-up between Ocean’s 13 and Harry Potter was much closer than I thought. Despite Ocean’s 37 % drop (in comparison to Potter’s 27%), the difference between the two films were only a little more than 2 million yen. Nevertheless, Ocean benefited from the holiday week, with 1.75 billion yen already in the bank. Plus, both these films are released by Warner Bros., so they win either way.

Like everywhere else it played, Ratatouille is holding on based on word-of-mouth, losing only 7% of its business from last weekend. The biggest drop again goes to the latest Naruto movie. Meanwhile, Isao Yukisada’s latest Into the Faraway Sky failed to attract audiences based on Yukisada’s name alone, making only 26 million yen from 121 screens.

The only opening that made it to the top 10 is Fumihiko Sori’s animated film Vexville. On 181 screens, the film only made 42 million yen. That’s only 66% of Fumihiko’s producing effort Appleseed’s opening. However, the film has been sold to 129 countries for distribution, so I’m sure these guys will make their money back.

- A bit outdated, but Stephen Chow’s latest is no longer called A Hope, but CJ7, which would be a more literal translation from the film’s Chinese name, which i have no idea how to type in pinyin.
- Aya Ueto is going to be playing her first role as a mother in the fall Fuji TV drama Wild Mama. Apparently she will be a stepmom that argues with a lot of people. How does that make good TV again?

- In an effort to make you look more forward to the awards and not concentrate on its redundancy, the Asia Pacific Film Awards (to take place in Australia, not Asia) has just completed a complementary program featuring interviews with a lot of big-name Asian directors. Well, at least big names to me, alright?

- Any amateur game developers now have a new goal to reach - a win at the Amateur Division of the Japan Game Awards.

- Major South Korean entertainment firm Sidus (and I say major because I see its logo quite often) is penetrating the US market by buying a slice of Asian-American-targeted cable network Imaginasian TV. This means expect more Korean entertainment on American cable television, and that ain’t bad.

See? mercifully short.

If you haven’t noticed the link section by now, I now officially announce the opening of The Golden Gate Meets The Lion Rock. As I wrote in the first post, this spin-off blog is a result of a realization that the daily The Golden Rock entries are getting way too long. I will move all movie reviews and general Hong Kong observations into that blog, so expect reviews of some of the films I’ve seen here in Hong Kong and probably better pictures. Either way, it’ll be fun.

- If these stats are right, it was a pretty busy Sunday at the Hong Kong box office. Pixar’s Ratatouille pulled a surprising victory over Jackie Chan’s Rush Hour 3, making HK$1.07 million on 33 screens, passing the HK$20 million mark after 18 days. While Rush Hour 3 won Thursday, its weekend bump wasn’t enough, making only HK$1 million on Sunday for a 4-day weekend total of just HK$3.52 million. Then again, a few people at the screening I went to (out of a meager 15 or so) seemed to have enjoy it. Maybe they were high. The other opening film of the weekend, Walt Disney China’s The Magic Gourd, rebounded from its weak Thursday opening for a Sunday gross of HK$310,000 from 16 screens for a 4-day total of HK$840,000, ensuring that the film will indeed pass the HK$1 million mark. I walked by one of the theaters showing it on Sunday, and the monitor showed that the film was actually at at least 80-85% capacity, so I’m not surprised it did so well that day.

As for returning films, The Simpsons Movie leads the pack with HK$700,000 on 36 screens for an 11-day total of HK$8.07 million. It should pass the HK$10 million mark this coming week, especially for a cartoon that I’ve never seen shown on HK television (is it on HK television? Let me know). The Bourne Ultimatum managed to retain some word-of-mouth and rebounded on Sunday with HK$550,000 on 30 screens for a HK$6.88 million 11-day total. Another action film getting word-of-mouth but still being pushed out is Wilson Yip’s Flash Point (which I will review on the spin-off). Screens are dwindling down, and a lot of exhibitors are only showing this three times or less a day, but it still made HK$460,000 on 28 screens for a 11-day total of HK$7.35 million.

- Holy shit, this D-War thing is getting crazy. After its third weekend, the dragon-in-LA blockbuster has now accumulated 7.45 million admissions and is now the 7th biggest film of all time in Korea. the “historical” film May 18 ain’t doing so bad, either, with over 6 million admissions already. With Korean films taking the top 4 spots this weekend, does that mean local films are making a comeback, or just a weakening Hollywood lineup?

- We won’t have any numbers for Japan until tomorrow, but admission rankings shows Harry Potter overtaking Ocean’s 13 to become number 1 again. Under “disappointing openings” today, Fumihiko Sori’s Vexville opens at 9th place.

- In a brief roundup of drama ratings, Papa To Musume No Nanakakan wrapped up on Sunday with a 14.5 rating after scoring a season-low 11.9 rating last week. In the end, the Freaky Friday-clone scored an OK-average of 13.9, making it the 4th highest-rated drama of the season if things hold up. Meanwhile, the highest-rated drama of the season title was between First Kiss and Hana Zagari no Kimitachi he, but both are suffering from season-low ratings. Actually, everything is suffering from falling ratings, but Hana happened to have started high enough to stay on top.

Lastly, Sushi Ouji, the drama that had such high expectations that a movie was greenlit before the drama even began airing, has fallen to a 5.9 rating in its 4th week after premiering it with an 8.8. Who do they exactly expect to see the movie now?

- Wow. Sonny Chiba’s directorial debut is set to be released this Friday, and I had no idea. Oyaji stars Sonny Chiba as a loving father who dies in a family that ends up tearing his family apart. However, he suddenly returns the life, and I guess kicks a lot of ass with a shovel. It’ll only play in one Tokyo theater for one show a night, but it actually looks pretty good. Hell, I’ll buy an advance ticket just for that lighter.

And yes, I realize from the trailer that Chiba is only co-directing it, but I would guess that applies to scenes he’s not in, so that makes it a pretty big deal.

- Vietnamese-French director Tran Ahn Hung (Cyclo) is working on a new film, and it actually features a pretty major Panasian cast. I know Josh Harnett isn’t anything exciting, but it also features Shawn Yu (an actor I’m coming to like more and more), Lee Byung-Heon, and Japanese drama king Kimura Takuya. The story doesn’t sound that good, but I can’t help but hope for the best.

- And they wonder why Hong Kong people can’t accept Mainland Chinese movies. The chairman of China Film Group was reported saying that China needs more films that promote nationalism and are “ethically inspiring.” The quote that pissed me off the most? “‘The reality of this country’s economic reforms is that the country, the race, is prospering…There can’t be anyone who makes fun of it. People who do either have ulterior motives or they’re mentally challenged’” He really sounds like an American right-winger when he says that; maybe he should move to the American South and let the people who know what they’re doing (i.e. the filmmakers) do their jobs.

- Hell, even Jet Li is pissed at the way movies work in China. After attempting to make movies with positive messages that still fail to get into China, Li is speaking out about his annoyances.

- In a related note, Zhang Ziyi will star in a movie called Laundry Warriors.

- The US trailer for Johnnie To’s Exiled is up from Magnolia Pictures, and they sure make it look better than your usual Hong Kong action film trailer. Still, what’s up with all the shots of the girl in her underwear? Those are all from the same scene.

- The India film industry not-so-politely ask you all to stop calling their film industry Bollywood. And I politely ask them to stop remaking movies and just add sing-and-dance scenes into it.

- They’re so in love! While Wilson Yip’s next film is a co-directing effort that puts Donnie Yen as a horror-action hero, they’re already working on their film after that. What’s scary is that Yen will play Wisely, a legendary modern literary character that one can compare as the Sherlock Holmes of Hong Kong - but with supernatural aspects. In case you don’t know, the last Wisely movie was Wesley’s Mysterious Files. Now I know what kind of expectations to put on this.

- There’s a review for one of this year’s major Japanese drama adaptation films Unfair: The Movie. Caution, it does contain some spoilers, including one major plot twist.

- Chinese audiences are in love with contrived reality, as the reality gimmick show Wife Swap is a hit. And yet they’re not allowed to watch Chow Yun-Fat play a Singaporean.

- This remains unconfirmed, but Pang Ho-Cheung, whose award-nominated Exodus is coming out next month, will be producing with Chapman To on a new film after the critical success of Isabella, the first film under their production company. This new film will make up 8 stories of different genres (all to be directed by Pang?) and its initial cast list include Chapman To himself, Edison Chen, Shawn Yue, Isabella Leung, and Gillian Chung.

Source: Oriental Daily.

If you haven’t noticed the link section by now, I now officially announce the opening of The Golden Gate Meets The Lion Rock. As I wrote in the first post, this spin-off blog is a result of a realization that the daily The Golden Rock entries are getting way too long. I will move all movie reviews and general Hong Kong observations into that blog, so expect reviews of some of the films I’ve seen here in Hong Kong and probably better pictures. Either way, it’ll be fun.

- If these stats are right, it was a pretty busy Sunday at the Hong Kong box office. Pixar’s Ratatouille pulled a surprising victory over Jackie Chan’s Rush Hour 3, making HK$1.07 million on 33 screens, passing the HK$20 million mark after 18 days. While Rush Hour 3 won Thursday, its weekend bump wasn’t enough, making only HK$1 million on Sunday for a 4-day weekend total of just HK$3.52 million. Then again, a few people at the screening I went to (out of a meager 15 or so) seemed to have enjoy it. Maybe they were high. The other opening film of the weekend, Walt Disney China’s The Magic Gourd, rebounded from its weak Thursday opening for a Sunday gross of HK$310,000 from 16 screens for a 4-day total of HK$840,000, ensuring that the film will indeed pass the HK$1 million mark. I walked by one of the theaters showing it on Sunday, and the monitor showed that the film was actually at at least 80-85% capacity, so I’m not surprised it did so well that day.

As for returning films, The Simpsons Movie leads the pack with HK$700,000 on 36 screens for an 11-day total of HK$8.07 million. It should pass the HK$10 million mark this coming week, especially for a cartoon that I’ve never seen shown on HK television (is it on HK television? Let me know). The Bourne Ultimatum managed to retain some word-of-mouth and rebounded on Sunday with HK$550,000 on 30 screens for a HK$6.88 million 11-day total. Another action film getting word-of-mouth but still being pushed out is Wilson Yip’s Flash Point (which I will review on the spin-off). Screens are dwindling down, and a lot of exhibitors are only showing this three times or less a day, but it still made HK$460,000 on 28 screens for a 11-day total of HK$7.35 million.

- Holy shit, this D-War thing is getting crazy. After its third weekend, the dragon-in-LA blockbuster has now accumulated 7.45 million admissions and is now the 7th biggest film of all time in Korea. the “historical” film May 18 ain’t doing so bad, either, with over 6 million admissions already. With Korean films taking the top 4 spots this weekend, does that mean local films are making a comeback, or just a weakening Hollywood lineup?

- We won’t have any numbers for Japan until tomorrow, but admission rankings shows Harry Potter overtaking Ocean’s 13 to become number 1 again. Under “disappointing openings” today, Fumihiko Sori’s Vexville opens at 9th place.

- In a brief roundup of drama ratings, Papa To Musume No Nanakakan wrapped up on Sunday with a 14.5 rating after scoring a season-low 11.9 rating last week. In the end, the Freaky Friday-clone scored an OK-average of 13.9, making it the 4th highest-rated drama of the season if things hold up. Meanwhile, the highest-rated drama of the season title was between First Kiss and Hana Zagari no Kimitachi he, but both are suffering from season-low ratings. Actually, everything is suffering from falling ratings, but Hana happened to have started high enough to stay on top.

Lastly, Sushi Ouji, the drama that had such high expectations that a movie was greenlit before the drama even began airing, has fallen to a 5.9 rating in its 4th week after premiering it with an 8.8. Who do they exactly expect to see the movie now?

- Wow. Sonny Chiba’s directorial debut is set to be released this Friday, and I had no idea. Oyaji stars Sonny Chiba as a loving father who dies in a family that ends up tearing his family apart. However, he suddenly returns the life, and I guess kicks a lot of ass with a shovel. It’ll only play in one Tokyo theater for one show a night, but it actually looks pretty good. Hell, I’ll buy an advance ticket just for that lighter.

And yes, I realize from the trailer that Chiba is only co-directing it, but I would guess that applies to scenes he’s not in, so that makes it a pretty big deal.

- Vietnamese-French director Tran Ahn Hung (Cyclo) is working on a new film, and it actually features a pretty major Panasian cast. I know Josh Harnett isn’t anything exciting, but it also features Shawn Yu (an actor I’m coming to like more and more), Lee Byung-Heon, and Japanese drama king Kimura Takuya. The story doesn’t sound that good, but I can’t help but hope for the best.

- And they wonder why Hong Kong people can’t accept Mainland Chinese movies. The chairman of China Film Group was reported saying that China needs more films that promote nationalism and are “ethically inspiring.” The quote that pissed me off the most? “‘The reality of this country’s economic reforms is that the country, the race, is prospering…There can’t be anyone who makes fun of it. People who do either have ulterior motives or they’re mentally challenged’” He really sounds like an American right-winger when he says that; maybe he should move to the American South and let the people who know what they’re doing (i.e. the filmmakers) do their jobs.

- Hell, even Jet Li is pissed at the way movies work in China. After attempting to make movies with positive messages that still fail to get into China, Li is speaking out about his annoyances.

- In a related note, Zhang Ziyi will star in a movie called Laundry Warriors.

- The US trailer for Johnnie To’s Exiled is up from Magnolia Pictures, and they sure make it look better than your usual Hong Kong action film trailer. Still, what’s up with all the shots of the girl in her underwear? Those are all from the same scene.

- The India film industry not-so-politely ask you all to stop calling their film industry Bollywood. And I politely ask them to stop remaking movies and just add sing-and-dance scenes into it.

- They’re so in love! While Wilson Yip’s next film is a co-directing effort that puts Donnie Yen as a horror-action hero, they’re already working on their film after that. What’s scary is that Yen will play Wisely, a legendary modern literary character that one can compare as the Sherlock Holmes of Hong Kong - but with supernatural aspects. In case you don’t know, the last Wisely movie was Wesley’s Mysterious Files. Now I know what kind of expectations to put on this.

- There’s a review for one of this year’s major Japanese drama adaptation films Unfair: The Movie. Caution, it does contain some spoilers, including one major plot twist.

- Chinese audiences are in love with contrived reality, as the reality gimmick show Wife Swap is a hit. And yet they’re not allowed to watch Chow Yun-Fat play a Singaporean.

- This remains unconfirmed, but Pang Ho-Cheung, whose award-nominated Exodus is coming out next month, will be producing with Chapman To on a new film after the critical success of Isabella, the first film under their production company. This new film will make up 8 stories of different genres (all to be directed by Pang?) and its initial cast list include Chapman To himself, Edison Chen, Shawn Yue, Isabella Leung, and Gillian Chung.

Source: Oriental Daily.