- This week, a new music chart to cover: The Taiwan G-Music chart, which makes up the retail sales of three retail chains in Taiwan. It’s updated every Friday night, so I’ll be covering them in the weekend entries.

This week, three debuts lead the charts: The new album from Taiwanese boy band Fahrenheit gets 10% of total sales, Japanese diva Ayumi Hamasaki’s latest takes up 6.7%, and another boy band 5566’s latest album takes up 4.4% of total sales. Last week’s winner, TV-made boy band Lollipop (yes, I do have Channel V at home), drops down to 4th place this week with only 4% of total sales. Hong Kong-based Mandarin artist Khalil Fong’s first album in Taiwan actually went up one spot this week from a quiet 16th place debut last week, making up 0.92% of total sales (up from 0.84 % last week).

- The Hong Kong press is reporting today that Lust, Caution will not be going uncut in Japan. With strict laws about showing the pubic regions, Ang Lee’s erotic drama will go still out with an R-18 rating (no one under 18 admitted), despite suffering 6 cuts that include the now-infamous shot of Tony Leung and shots where pubic hair can be seen. While they don’t really kill the impact of the film (I suspect some shots will simply cut before it reaches the offending regions), it’s sad when any film cannot be shown in their entirety.

Source: Oriental Daily (no link), Apple Daily (who inexplicably link it with a story about the WGA awards. Maybe they ran out of space in the paper)

- Speaking of censorship, Lost in Beijing director Lu Yi talks about her film being banned after already suffering multiple cuts and a theatrical release.

- Japan Times’ Mark Schilling reviews Giniro No Season, the new film from the director of Umizaru: Limit of Love that probably won’t repeat the latter’s success.

-  In box office news, I want to correct my earlier report that Trivial Matters only made HK$2.37 million. A friend corrected me that it had made HK$3.33 million when it dropped out of the top 10. Also, some theaters previously showing the horror flop Yes, I Can See Dead People are now taking it off screens and replacing it back with more showings of Pang’s omnibus comedy. Hell, I didn’t even expect it to be playing after two weeks, which makes me happy that it’s enjoying good enough word-of-mouth to have such legs after the crowded Christmas market.

A fairly short entry today, since this blogger is still recovering from the trauma that was Johnnie To’s Linger.

- Though To’s latest Linger is not likely to see any festival play, another seemingly finished film of his (I say seemingly because he’s been shooting the damn thing for years), Sparrow, will be heading to the competition section of the Berlin Film Festival. Another Asian film heading there is Yoji Yamada’s latest Kabei. The festival will run from February 7th to the 17th, and this blog will of course follow any news from the festival.

-  Apparently there are at least a million people who aren’t creeped out by Japanese singer/songwriter Hideaki Tokunaga’s covers of pop songs by female artists: his latest cover album has now sold more than 1 million copies.

- Variety’s Derek Elley reviews the twisty Korean thriller 7 Days, starring Lost’s Kim Yun-Jin.

- Japanese film magazine Kimema Junpo has announced their list of the top 10 films of 2007. To no one’s surprise, films like Soredemo Boku wa Yattenai (”I Just Didn’t Do It) and Sad Vacation are on the list, but one inclusion that did surprise me is the quiet comedy-drama Shaberedomo Shaberedomo, which I reviewed here. I thought Sakuran is a more accomplished film (Despite its weakness in storytelling), but I guess they’re a conservative bunch.

It was also good to see Zodiac and Babel on the foreign films list as well.

-  Strong sales for both the Nintendo DS and the Wii (thanks to the Wii Fit) has helped sent video game sales to a record high in 2007. The way this keeps going, I might have to buy a DS myself.

- The year’s first Oricon charts see the “Kohaku effect,” as songs there were feature in the annual musical showcase tend to enjoy a boost in sales afterwards. Only one of the top 3 singles is actually new, and the other two were favorites of this year’s show (I know, because my mother called all the way from America during my trip to ask me to pick up the Masato Sugimoto single). Even Kobukuro’s Tsubomi, which was released in March last year, saw it being boosted back up to the top 20.

The other big news of the charts is Ayumi Hamasaki’s latest album making only a second place debut behind Kobukuro’s album, though the 20,000-copy loss may be because the album was released on New Year’s day.

Report by Tokyograph

- Lust, Caution has been placed in Top Ten Hall of Shame by America’s Women Film Critics Circle. Specifically, it’s there because of its depiction of: “Adam and Eve in Old Shanghai. Female-assisted destruction of a nation while falling in love with torturer/rapist.” At least now Ang Lee can’t complain that it didn’t win anything in America.

See the rest of the winners/losers here.

Source: Apple Daily

- A random search on Youtube have led me to the final trailer for Stephen Chow’s CJ7. While the voiceover is in English, the dialogue are all Cantonese. For some reason, I’m not quite excited about this one. Maybe it’s the over-reliance on special effects, though Kung-Fu Hustle suffered from that as well.

While the January 31st release date is still set in several regions, its release date in North America has apparently been pushed back to March 7th, after it was supposed to be the first place to open it. Be happy, guys, it’s still only two months behind.

-  Continuing with reports about China’s crackdown on everything dirty (except the streets and the air), authorities reportedly confiscated 149 million magazines, discs, and other publications that were deemed pornographic.

- The Associated Press’ Min Lee gives a review for Wong Kar-Wai’s English-language debut My Blueberry Nights. I saw it today, it was OK. That’s about it.

- Manami Konishi, who I last saw in Udon, will make her singing debut with the ending theme for her latest film, Sweet Rain: Shinigami No Seido, co-starring Takeshi Kaneshiro as the God of Death (Seems like Warner Bros. Japan has found their niche!). You can hear the song in the trailer.

- Someone who attended one of the early screenings for Lawrence Lau’s new film Besieged City (his first since My Name Is Fame) submitted a review to Kaiju Shakedown. The review starts off promising (the writer gave it a standing ovation at the screening), but then ultimately decides that he/she doesn’t really like it. Ouch.

- Affected by continuing lowering record sales (yet another 17% decline this year), Hong Kong’s IFPI has decided to once again lower the standards for a gold and platinum album. What? You mean My Cup of T didn’t sell well enough to be a gold album?!

- This year’s Rotterdam Film Festival’s competition section has a fairly strong Asian presence this year, as six of the 14 competing films hail from Asia.

- With the general population continuing to grow older, Japanese television networks are slowly making their programming appeal more to an older audience while also cutting down on kids programming. Next year at Kohaku: More enka, less Johnny’s groups!

- Thai director Apichatpong Weerasethakul might have been bullied around by the Thai government last year for his film Syndromes and a Century, but no government censorship is going to keep a man down, as he has produced a short video on Youtube called Prosperity for 2008.

- Korean producers are trying to pressure the government to impose harsher penalties for piracy. Right now, the fines for intellectual property violations are apparently too low to have a lasting effect for violators, who provide illegal downloads on various internet sites.

- Oh, look, there’s a new post on the spin-off.

-  On my Japan trip report, I lamented missing the Nodame Cantabile special on TV, which was shown on the 4th and the 5th over two nights. The first night’s rating of 18.9% kept to the series’ average of 18.8%, and part 2 managed to hit 21%, which is lower than the finale, but would still qualify as the series’ second-highest episode.

- In related ratings news, the yearly Japanese New Year’s eve musical extravaganza Kohaku has seen its ratings slip year after year, and it continued to stay relatively low this year with an average rating of 36.15%, which is the second-lowest rated Kohaku on record. Just as the report writes, since NHK is a public broadcaster, ratings are simply a matter of pride, and as long as it continues to beat the competition (it seems to be the  highest-rated non-sports TV program of the year), it’ll stick around for a while.

Or they should just have Smap perform half the damn show.

- Last thing about Japanese TV ratings, I promise: Fuji Television reigns supreme again as the highest-rated network for the 4th year in a row, scoring the highest-rated program of the year with the figure skating championships. They also got the highest-rated drama of the year with the first episode of Galileo.

- Anyone who thinks China is slowly becoming progressive with their films because The Matrimony, The Warlords, or Assembly got made is bullshitting. No progressive country would ban local filmmakers for two years at a time.  And no progressive country would certainly play the morality police by starting a 3-month campaign to crack down on “vulgar” products.

- Then again, I would appreciate the Japanese government cracking down on crappy adaptations of classic Japanese cartoons.

-  Korea Pop Wars’ Mark Russell takes a look at the Korean horror film Hansel and Gratel, which promises a lot, but delivers seemingly very little.

- I’ve been trying to post this for days - it’s the first trailer for Empress and and the Warriors, starring Donnie Yen, Kelly Chan, and Leon Lai. I’ve been suffering from big-budget period film fatigue since I saw The Warlords on Thursday so badly that I really wish a few of these things flop so we’d see something new. Then again, this will probably be a hit anyway, and we’ll probably see more big-budget martial arts flick co-produced with China for years to come, keeping famous action choreographers working. At least this one looks like it’ll be in Cantonese.

- Jason Gray checks out the Japanese indie comedy Zenzen Daijobu, starring Arakawa Yoshiyoshi, and he seems to like it. Too bad it won’t be in theaters when I’m in Japan.

- The cast list for the Stephen Chow-produced Hollywood version of Dragonball is shaping up, with Emmy Rossom having just signed on. Sorry, I still have quite a bit of doubts about whether this movie is going to work or not.

- Japan Times has an interview with Ken Watanabe, who just took a year off and is coming back out to do the Japanese narration for the documentary Planet Earth.

- Meanwhile, Twitch has an interview with Pen-ek Ratanaruang, the director of Last Life in the Universe and Ploy.

- There’s also a feature on Korean actress Kim Yun-Jin, who has hit it big in both Korea and America since her role in the series Lost.

- I’m assuming that Takeshi Kaneshiro is done with his latest film about death, because he has just signed on to star in Fiend With Twenty Faces with Takako Matsu. Kaneshiro will play a master criminal and Matsu his victim. Does that mean he’ll be playing a villain? Interesting….

- Another Japanese movie you can look forward to is Homeless Chugakusei (Homeless Middle Schooler), an autobiography by a comedian recalling his days in poverty. The book achieved one million sales within two months, which would explain why the movie was announced within three months of the book’s release.

- Apparently, Jackie Chan has finally arrived in Japan to start work on Derek Yee’s latest The Shinjuku Incident. No word, however, on when the film will start filming or how long it will take.

- Korean director Im Kwon-taek is in Dubai recieving a lifetime achievement award at the local film festival.

- In a preview of Wednesday’s report on the Oricon charts, Exile (which is just two guys singing and 4 backup dancers) announces their latest album has shipped one million copies, and has sold hundreds of thousands of those copies since its release on Wednesday.

Cantonese film is sadly dying a slow death. Last year, the Mandarin film Curse of the Golden Flower ruled the box office, though Andrew Lau/Alan Mak’s Confession of Pain gave it a run for its money. This year, the big Chinese flick is once again a Mandarin film, though the director and one of its star are Hong Kong-based. Thankfully, Pang Ho-Cheung comes to the rescue with Trivial Matters - an adaptation of seven short stories Pang wrote and directed himself. This time, Pang and producer Chapman To called in all their favors and got a ton of young stars - including Eason Chan, Edison Chan, Juno Mak, Gillian Chung, Stephy Tang, Stephanie Chang, Chapman’s wife Crystal Tin, Jan Lam, Shawn Yue, Conroy Chan, and even director Feng Xiaogang and composer Peter Kam.

The films themselves range from 3 minutes to 15-20 minutes, and push the limits of the II-B rating. It’s amazing that they would give Mad Detective a category III for an ear slicing when Trivial Matters got passed with a II-B, despite Cantonese curse words, nudity, sex, and drug content.

There are short clips from almost all the short stories floating around online, but I won’t post them here. I can assure you that not watching these clips actually help the enjoyment of the film, though they really helped raise expectations. I can also tell you that the good shorts far outweigh the bad. The only one that really didn’t need to be there is the short 3-minute film (more “scene” than “film”, really) with Edison Chan and Stephanie Chang that is completely in English. Amusing, but needless.

So instead of watching a ton of money spent on screen blowing shit up, why not spend a few bucks to support the last true Hong Kong movie of the year? I highly recommend Trivial Matters.

I apologize for the incomprehensible front page blurb yesterday, and kids: remember to actually click “publish,” even when you’re too sleepy.

-  It’s review time! Twitch has two reviews of Peter Chan’s The Warlords: review one, review two.

I know no one wants to know what I think about The Warlords, but I’ll say it anyway: Battle of Wits was a better war movie. The Warlords had better drama. You know what that means? Peter Chan: Stick to what you know best.

Japan Times’ Mark Schilling has a review for the Japanese tearjerker Little DJ, and Kaori Shoji reviews the French-Chinese film Les Filles du botaniste, which is actually banned in China for its depiction of homosexuality.

The review of the last film also comes with an interview with the director.

- From the Daily Yomiuri is the Teleview column’s yearlong Teleview Awards, who gives the best drama award to the Winter 2007 hit drama Haken No Hinkaku.

- One drama that will probably not end up winning a Teleview Award is the Japanese drama adaptation of My Sassy Girl coming in the Spring starring SMAP member Tsuyoshi Kusanagi and Rena Tanaka. Still, it might actually be entertaining for what it is, or it could contrived and needlessly melodramatic. In case of most Japanese dramas, it’ll probably be both. They’ve got a SMAP member playing a Marine Biology Professor, for crying out loud.

That’s it for today. Tomorrow - perhaps a short review of Pang Ho-Cheung’s latest Trivial Matters. We’ll see how we recover.

- It’s reviews time! Japan Times’ Mark Schilling looks at Yoshimitsu Morita’s remake of Tsubaki Sanjuro, which he says passes the grade, though Kurosawa did it better. Twitch’s Todd Brown reviews Makoto Shinkai’s 5 Centimeters Per Second, which I loved even when I saw the trailer. I might review this when I have the time.

I don’t know if it counts as a review, but Daily Yomiuri has a report about the hit Japanese teen romance Koizora, though it seems like a hybrid of a plot description and a film review. The fact that my girlfriend hated the original “cell phone novel” doesn’t seem promising to me.

- The Korea Export Insurance Corp. will apparently now offer partial compensation through an export insurance policy for films targeted at an international market and/or has secured pre-sale deals that flops. I assume D-War doesn’t need that insurance.

- Japanese short film Frank Kafka’s A Country Doctor by Koji Yamamura picks up the Grand Prize at the animation festival I Castelli Animati in Italy.

- This weekend in Japan is the first film festival to feature films made entirely on cell phones. I expect the whole festival either to be on very small screens or on big screens filled with pixelated images.

- Somewhat related is the Daily Yomiuri’s Wm Penn pointing out the importance of cell phones in Japanese dramas this past year, including rescue tool, romantic triangle symbol, and character coding device.

- According to the official website,  Stephen Chow’s latest CJ7 is opening in North America 2 weeks earlier than Hong Kong. I know they want to open it in time for Lunar New Year in Hong Kong, but what’s up with that?

- If you’re in Los Angeles, be sure to check out the Toho Festival, featuring old Japanese monster flicks 4 weeks in a row!

- Japan Times’ David McNeill has a 2-part feature on the slew of films looking at the Nanjing Massacre this year from Chinese, Japanese, and Western perspective. Too bad the only Japanese perspective one seems like it might be a right-wing nut job (Seeing how “Japanese people don’t mistreat corpses like that, it is not in our culture” isn’t exactly the best evidence against the massacre). Then again, it’s not like the Chinese ones are going to be completely fair either.

Stay reading for the blog’s live coverage of the Golden Horse Awards.

Before we go on to our usual Wednesday posts (Oricon charts), let’s look at how Johnnie To/Wai Ka-Fai’s Mad Detective is doing mid-week.

- On Tuesday discount day in Hong Kong, Mad Detective kept going strong with nearly HK$620,000 from 35 screens for a 6-day total of HK$5.01 million. With this pace and almost no competition this coming weekend, this could become the most successful Milkyway film since summer’s Hooked on You, and may even be Milkyway’s first film to hit the HK$10 million mark since the Election flicks. Everything else did not so well. Maybe more this weekend if now.com uploads the Thursday numbers.

-The Oricon charts were pretty quiet this week, with Tokio’s new single winning the top spot by selling just 46,000 copies. Erika Sawajiri, seemingly still trying to recover from her PR nightmare a few months ago, could only sell 26,000 copies of her latest single for a 7th place debut.

On the albums chart, Kazumasa Oda beats his own record by being the oldest artist to have a number 1 album with his latest, selling 176,000 copies in the first week.

More details at Tokyograph

- Yoshimitsu Morita’s remake of Akira Kurosawa’s Tsubaki Sanjuro might have debut at 4th place with just 160 million yen, but its opening was 54% of the opening for Yoji Yamada’s Love and Honor, which made a total of 4 billion yen. As for the audience breakdown, Eiga Consultant reports that the male-female ratio is 39:61 (!!!), those in their 40s made up 37.1 % of the audience, those in their 30s took up 22%, and those in their 20s took up just 17.2 %. Not sure how old those other 23.7% of the audience was, though.

When polled why they decided to watch it, 28.2% of the audience said it was because they were fans of star Yuji Oda, and 25.8% thought the content looked interesting. Period dramas such as Tsubaki Sanjuro tend to have stronger legs in the long run, so it looks like it will make it to 1 billion after all. It all depends on word-of-mouth, as is the case for most films in Japan that couldn’t open big.

- All Soi Cheang fans out there take note: his latest film Shamo, which has been stuck in limbo since it played at the Cannes market, is not likely to be released until March 2008, despite scoring 3 nominations at the Golden Horse Awards.

- Under “waste of time in a society based on timeliness” news today, you can watch Japanese comedy clips while waiting for your drink to come out of the vending machine. Does that mean now it’ll take 30-60 seconds for a drink to come out of the damn vending machine?

- It’s reviews time! From Variety’s Russell Edwards (this guy seems to make a daily appearance in this blog) is a review for Matsuo Suzuki’s Welcome to the Quiet Room. From Twitch/Lovehkfilm guest reviewer JMaruyama is a review of the hit Japanese drama Hero.

- I wonder if any fans of Korean movies ever sat there and thought that Korea needed disaster movies, because those people just had their wishes come true.

- Courtesy of Jason Gray, the website for Hayao Miyazaki’s latest film Ponyo on a Cliff is now open. However, there’s not much on it.

- Twitch has a trailer for the Korean serial killer flick Rainbow Eyes. And that’s all I have to say about that.

- NHK last scored a huge hit with Korean drama star Bae Yong-Joon when they aired Winter Sonata. Nearly 4 years later, they’re hoping for another hit with his latest period drama The Four Guardian Gods, which will also play in Japanese cinemas on a weekly basis in addition to the TV airings.

- Last week, we reported several Taiwanese films flopping on home turf and elsewhere. Kaiju Shakedown now introduces a few non-teen-targeted Taiwanese films this year, not including the two we mentioned last week.

- The Japan Media Arts Festival revealed their winners, with the sleeper animated hit Summer Days With Coo winning the grand prize in the Animation Division. The more surprising winner is Wii Sports picking up the Grand Prize in the Entertainment division.

- Under “Just for kicks” news today, here’s a clip of the least talented person to go on Bistro Smap ever. By the way, they call that bubble bursting thing “Paris Reaction,” which I can you can say the same for quite a few guys. Not me, though.

- In Japanese drama ratings (one day late), many of the dramas that hit their season-low managed to bounce back. That does include the gradually failing Hatachi No Koibito, which finally saw a week with improving ratings as it bounced back by 0.2%. Hell, even Joshi Deka finally saw a rise in rating, bouncing from an abysmal 7.8 last week to a 9.3 this week. The same goes for Iryu 2, which went up from a 14.1 to a 16.6 for its 8th episode. The hit Fuji Saturday night drama SP, however, dropped to its season-low this past weekend. A preview for next week: Galileo drops to its season-low.

- Just before Mad Detective had its massive opening weekend in Hong Kong, IFC (Independent Film Channel) picked up the North America distribution rights last Friday. They will show it in theaters, for also make it a day-and-date release for video on demand, which is wise since the Hong Kong DVD would be out by then.

- When you buy legit copes of American movies on Chinese DVDs, you’ll get a refrigerator magnet with Jackie Chan’s face thanking you for buying legit products. Wouldn’t that make me want to buy them less?

- In case anyone in Japan (or planning to download) wants to know, this is the full Kohaku lineup this new year’s eve.

- Let me ask a hypothetical question: say you’re a South Korean director and you would like to receive the French Legion of Honor. What do you do? Make over 100 movies and win a few prizes.

- The Taiwanese film The Wall picked up the best film prize at the India International Film Festival, which screened 176 films from 46 countries.

- Kaiju Shakedown, which was kind enough to recommend you all to this blog today, compiles a sample set of reviews for the Japanese failed blockbuster Midnight Eagle. Here’s also a compiled set of reviews from Rotten Tomatoes.

- According to Apple Daily in Hong Kong, Wong Kar-Wai’s English film debut My Blueberry Nights will open in Hong Kong on January 3rd, apparently a whole month ahead of the American release.  There’s even a real pretty website up now.

- An animation house named Animation Innovation Tokyo is doing what their name promises by setting up a new channel on Youtube to upload clips of potential anime series. Potential investors can watch these clips and decide to invest to make them into feature length films. They’re already asking for submissions for the 7th group of pilots.

-  While Yu Aoi getting cast in a Japanese TV drama is news, the bigger news here is it’s a 12-part series by 4 directors, and each director has complete freedom over the 3 episodes they’re in charge of - as long as they’re about lies.

- It’s reviews time! Variety has a review of Happily Ever After - or Jigyaku No Uta - by Russell Edwards.