- From the city where puppy movies go far, I should’ve seen this coming. After making just HK$110,000 from 20 screens on Thursday, the Disney animal superhero film Underdog rebounded for a pretty damn good HK$400,000 from 20 screens at the Sunday Hong Kong box office. However, after 4 days, it’s only made a total of HK$1.01 million.

Even though it’s only at 3rd place, the vigilante drama The Brave One also saw a rebound, making HK$340,000 from 30 screens for a 4-day total of HK$1.2 million. The third and final opening film on the top 10 is Jiang Wen’s The Sun Also Rises. From 5 screens, the film made HK$50,000 at 8th place for a 4-day total of HK$160,000.

As for holdover films, 1408 is still going relatively strong, making HK$340,000 from 27 screens for a HK$4.13 million 11-day total. Pang Ho-Cheung’s Exodus is fading away slower than I thought (I thought it’d be way down on the top 10 by now), making HK$250,000 from 33 screens for an 11-day total of HK$3.27 million. A good example of a movie fading away is the B-action flick War/Rogue Assassin starring Jet Li. On 28 screens, it only made HK$170,000 for a 11-day total of HK$2.58 million. Expect this to make single digits mid-week.

This coming weekend is a holiday weekend for Hong Kong films, with Lust, Caution and Oxide Pang’s The Detective vying for the top spot. Lust is expected to win, despite being category III and running 159 minutes, but according to Ming Pao, who probably just sent an intern to look at the Broadway Cinema website, presales are only so-so for now. Still, I wonder if that’s a good indicator of how it’ll do this coming weekend. We won’t know until Friday.

HK$7.8=US$1

- South Korea saw a long holiday weekend, but Mark Russell’s Korea Pop Wars was cool enough to report on how the weekend box office is currently doing (apparently, most people have work off until Wednesday). Director Kwak Kyung-taek, who hasn’t had a real bona-fide success since his breakout hit Friend, sees his latest film Love take the top spot with so-so admissions. Meanwhile, as a sign of the resurgence of Korean films (or the gradual weakening of Hollywood films), 7 of the top 10 films are again Korean.

- On the other hand, Japan saw yet another public holiday on Monday (The autumn equinox?), so no box office rankings until tomorrow.

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

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

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

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

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

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

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

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

The Golden Rock just finished his first short film in Hong Kong yesterday, so we decided to take a little break yesterday. Plus, there’s just not enough news to spread out over three days anyway.

- After last reporting that the US-based Viz Media picked up the two Death Note movies, they have also announced that they picked up the film festival-favorite/weirdfest Funky Forest.

In a related note, Grady Hendrix also has an interview with Manami Iiboshi, the Director of Marketing for Viz Pictures, who mentions that Viz is actually building their own arthouse theater is San Francisco to push their Japanese live-action film acquisitions.

- It’s not a first in terms of film, but I guess it’s a first for him. Korean actor Kim Rae Won will be starring in his first Japanese film alongside Japanese actress Mirai Yamamoto. As always, it’s yet another love story between characters whom I presume to be Korean and Japanese, and hey, you won’t have to wait long: the filming already took place this past Spring.

- Two more Asian countries decide on what film to submit to compete for the Academy Awards for the best foreign film - Singapore will send the hit musical 881, while the Philippines will send Donsol, which has won awards at several film festivals.

- This weekend, the Japan Times’ Mark Schilling has a review of Naoko Ogigami’s Megane, her long-awaited follow-up to the indie hit The Seagull Diner.

That’s it for today, but look for a long-awaited entry in the spin-off

You know when I said the Hong Kong box office was really quiet last week? If the figures on Thursday opening day hold up, then get ready for an even quieter weekend in Hong Kong. This week sees 5 new movies opening, with only two of them wide releases. Neil Jordan’s The Brave One, starring Jodie Foster, opened with the number 1 spot. The bad news is that it only made HK$190,000 from 30 screens for that top spot. In fact, Pang Ho-Cheung’s Exodus actually also made HK$190,000, but since it was from 33 screens, that means it just didn’t do as well as Jodie Vigilante. After 8 days, the art film has made HK$2.5 million.

The week’s other wide release is the Disney film Underdog. From 20 screens, it made just HK$110,000, although business is expected to pick up over the weekend since kids don’t go to the movies until the weekend. As for the limited release, Jiang Wen’s The Sun Also Rises made HK$30,000 from 5 screens. Starring Hong Kong actors such as Anthony Wong and Jaycee Chan, the Mainland Chinese art film may see bigger business when we go over the Sunday box office. Also, in two theaters is the Japanese animated film 5 Centimeters Per Second, which made roughly HK$10,000 from its opening day. The only opening film missing is the Japanese film Udon, which is playing in just one theater after it sold out at the summer edition of the Hong Kong International Film Festival.

- After Park Chan-Wook’s Oldboy and Sympathy for Lady Vengeance got relatively wide releases in Japan, his latest I’m a Cyborg but That’s OK is seeing only a limited release in Japan. However, that didn’t stop fans of those involved, as the film managed to attract 821 people/1.26 million yen on opening day, meaning all 6 shows were over full house. With Sunday added, the first two days earned the film 3 million yen on one screen alone. With 2680 advance tickets sold, could this be the year’s limited release hit?

- I know I didn’t really follow the rest of the Summer 2007 drama season, but now that’s it’s one or two finales away from being officially over, let’s look at how they did.

The highest-rated drama of the season is the comic-based Hanazakari No Kimi Tachi He, which ran into a bit of a tough spot in the middle, but came out on top with a 21.0-rated finale and a 17.0 average rating. The biggest disappointment is the Monday 9pm Fuji drama First Kiss, which started strong with a 19.7 rating but fell quickly to a 12.4-rating finale and only a 14.1 average. On the other hand, Fuji continues to find success in their new experimental Saturday nights 11 pm period with second drama Life. It started with just a 11.0 rating, but it kept up over the course of the season. In the end, it scored a 17.0 rating finale (extremely good for that time slot) and a 12.2 average. That’s actually even better than last season’s Liar Game.

With an average of 7.5, I have no idea who’s going to be showing up for the Sushi Ouji movie.

Tokyograph also has a preview of the Fall 2007 dramas already, so start your engines and get to picking which ones to downl…buy in a legitimate fashion when they come out with English subtitles.

- Not that anyone out there needs to be reminded, but the first Japan International Content Festival (CoFestaaaaaa!) started on Wednesday. It had some big opening ceremony (anything even that goes for 40 days and 40 nights ought to), and now the Tokyo Game Show is under way with a record number of exhibitors.

- This is for real - apparently the South Korean government is planning to present North Korea dictator Kim Jong-il, an avid movie buff himself, not only a home theater set, but also a bunch of South Korean movies. One of the possible flicks? D-Wars.

- A personal note of interest: Christopher Nolan’s second Batman film The Dark Knight will be coming to shoot in Hong Kong for 9 days in November, and they’re planning to shoot around Central. Time to mark my Hollywood film production stalking schedule.

- American home video distributor Viz Media has picked up the theatrical and home video distribution rights for the two Death Note movies. This is a surprise to me in that I wonder why Warner Bros., whose Japanese division co-produced the film, didn’t sell the hell out of it for the American release themselves. Then again, Viz Media were great enough to bring Linda Linda Linda and The Taste of Tea to the United States, so maybe they’ll do ok with this one. But no DVD release until Summer 2008? That’s a mighty long wait.

- Lastly, Variety has the reviews for Chinese-American director Wayne Wang’s latest two films, which see the director returning to his indie roots, and both shown at the Toronto Film Festival - The Princess of Nebraska and A Thousand Years of Good Prayers.

I was going to do one of these last night, but since it was close to the end of the weekend, might as well just do the weekend box office today.

- Hong Kong box office was pretty quiet on Sunday, with the Hollywood horror flick 1408 leading the pack with HK$590,000 from 27 screens. Considering it’s just John Cusack, and that a Japanese film with a similar name opened last weekend, this is a really impressive gross. After 4 days, the Weinstein company film has made HK$2.18 million. At second place wit ha so-so HK$450,000 from 33 screens is Pang Ho-Cheung’s Exodus. Probably helped by Friday’s headlines about the film’s curse words (category III-worthy Cantonese curse words in a category II-B film?!), the audience-unfriendly black comedy has made HK$1.55 million after 4 days.

With a better per-screen average is the Hollywood comedy I Now Pronounce You Chuck and Larry. It also made HK$450,000, but from 27 screens. Staying pretty close behind is the Jet Li b-grade action flick War/Rouge Assassin, which made HK$430,000 from 29 screens, and a 4-day total of HK$1.46 million. For some reason, the other weekend opener - Tokyo Friends, starring J-pop star Otsuka Ai - did not get into the top 10. Anyone know how it did?

In holdover, Hollywood musical Hairspray is still strong in the per-screen average department, making HK$290,000 from 17 screens for a 11-day total of HK$2.95 million, which is not bad, considering that its daily average has more than HK$10,000 per-screen. Lastly, score another disappointment for Hong Kong films, as Carol Lai’s teen horror film Naraka 19 made only HK$50,000 from 16 screens for a 11-day total of HK$1.85 million. Ouch for Ah Gil and co.

HK$7.8=US$1

- In South Korean box office, The Bourne Ultimatum came out on top with an OK-485,000 admissions. It’s also pretty amazing to see 7 Korean films taking the top 10 slots, with D-War and May 18 still hanging on that top 10. However, apparently two of those Korean films are looking to be flops.

-Speaking of Korean films, Dragon Wars, aka D-War, is now the highest-grossing Korean film in the US after getting a 2000-screen release this past weekend (how an independent company managed to book that many screens is beyond me). It’s in 4th place, but it only managed to make US$5.3 million for a US$2,363 per-screen average, which is not very good. However, it seems like a Korean newspaper has already managed to make it sound like good news (courtesy of Asian Popcorn)

It was a public holiday in Japan today, so expect numbers to not come in until tomorrow or Wednesday.

I was going to do one of these last night, but since it was close to the end of the weekend, might as well just do the weekend box office today.

- Hong Kong box office was pretty quiet on Sunday, with the Hollywood horror flick 1408 leading the pack with HK$590,000 from 27 screens. Considering it’s just John Cusack, and that a Japanese film with a similar name opened last weekend, this is a really impressive gross. After 4 days, the Weinstein company film has made HK$2.18 million. At second place wit ha so-so HK$450,000 from 33 screens is Pang Ho-Cheung’s Exodus. Probably helped by Friday’s headlines about the film’s curse words (category III-worthy Cantonese curse words in a category II-B film?!), the audience-unfriendly black comedy has made HK$1.55 million after 4 days.

With a better per-screen average is the Hollywood comedy I Now Pronounce You Chuck and Larry. It also made HK$450,000, but from 27 screens. Staying pretty close behind is the Jet Li b-grade action flick War/Rouge Assassin, which made HK$430,000 from 29 screens, and a 4-day total of HK$1.46 million. For some reason, the other weekend opener - Tokyo Friends, starring J-pop star Otsuka Ai - did not get into the top 10. Anyone know how it did?

In holdover, Hollywood musical Hairspray is still strong in the per-screen average department, making HK$290,000 from 17 screens for a 11-day total of HK$2.95 million, which is not bad, considering that its daily average has more than HK$10,000 per-screen. Lastly, score another disappointment for Hong Kong films, as Carol Lai’s teen horror film Naraka 19 made only HK$50,000 from 16 screens for a 11-day total of HK$1.85 million. Ouch for Ah Gil and co.

HK$7.8=US$1

- In South Korean box office, The Bourne Ultimatum came out on top with an OK-485,000 admissions. It’s also pretty amazing to see 7 Korean films taking the top 10 slots, with D-War and May 18 still hanging on that top 10. However, apparently two of those Korean films are looking to be flops.

-Speaking of Korean films, Dragon Wars, aka D-War, is now the highest-grossing Korean film in the US after getting a 2000-screen release this past weekend (how an independent company managed to book that many screens is beyond me). It’s in 4th place, but it only managed to make US$5.3 million for a US$2,363 per-screen average, which is not very good. However, it seems like a Korean newspaper has already managed to make it sound like good news (courtesy of Asian Popcorn)

It was a public holiday in Japan today, so expect numbers to not come in until tomorrow or Wednesday.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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