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.
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.
This blogger would like to apologize for missing two weeks of blogging. Being a student means times like these take away precious time to blog.
Then the blogger would like to thank everyone for letting this blog survive past the two year-mark now. My 2009 resolution: Try not to take so many breaks.
- The dust has settled after the crowded and chaotic Christmas weekend at the Hong Kong box office. Wilson Yip’s Ip Man takes the second weekend with HK$1.23 million from 39 screens on Sunday for a 11-day total of HK$14.02 million. It’ll likely break past the HK$20 million mark and become the Christmas champion, despite the upcoming opening of Lady Cop and Papa Crook, Ong Bak 2, and Forever Enthralled.
Not too far behind is the animated film Madagascar 2, with HK$1.16 million from 41 screens for a 10-day total of HK$12.52 million. These two should surpass current holiday season box office leader The Day The Earth Stood Still, which is quickly losing business with a 18-day total of HK$18.27 million.
Leading among the Christmas openers is Suspect X (The Galileo movie version), which made HK$917,000 from 34 screens for an impressive 5-day total of HK$6.29 million. With a large audience here for the drama and Panasia releasing it before the pirates can upload it online, it should break the HK$10 million mark for another Japanese film success for the distributor. Behind it is Disney’s Bedtime Stories, which made HK$809,000 from 39 screens for a 4-day total of HK$4.44 million. At least it’s doing better than the average Adam Sandler movie.
The other two Christmas openers didn’t do nearly as well. The Tale of Desperaux made only HK$448,000 from 35 screens for a 4-day total of just HK$2.04 million, despite having TVB “it” boy Wong Cho-Lam as the voice of the protagonist. Lastly, Feng Xiaogang’s If You’re the One will definitely not do Mainland China-level business, with just HK$51,000 from 8 screens for a 4-day total of $260,000.
- In Korea, Scandal Makers continue to top the box office, with over 3.8 million admissions and counting. Meanwhile, Ponyo isn’t doing so great.
- Some may not know that Akira Kurosawa’s Rashomon had a source material of the same name, but its groundbreaking structure was actually from another short story named In a Grove. Now, another film will be borrowing from In a Grove, though they’re only borrowing one of the major characters.
- Under “film financing” news today, Hong Kong’s Mei Ah is still losing money. But thanks to Red Cliff, they’re losing less this year. Yay.
- The Day the Earth Stood Still scored one of the biggest opening weekends this year at the Hong Kong box office. On Sunday, the sci-fi drama made HK$2.62 million from 86 screens (That’s a 10 screen increase from opening day) for a 4-day weekend total of HK$10.57 million. It should have no problem crossing the HK$20 million mark, unless Ip Man puts a dent in it next weekend along with that poor word-of-mouth.
Only one other film on the top 10 broke the HK$10,000 per-screen average on Sunday. From 3 screens, the Japanese film Ikigami made HK$37,000 on Sunday for a 11-day gross of HK$450,000. Meanwhile, the opening films didn’t get much of a boost over the weekend. Romantic comedy Four Christmases made only HK$231,000 from 26 screens for a 4-day weekend total of HK$820,000. Tsui Hark’s All About Women did only slightly better from its disasterous opening day, making HK$109,000 from 18 screens for a 4-day weekend total of HK$410,000.
The Golden Horse Awards last weekend didn’t help its award winners here in Hong Kong. Cape No. 7 continues its gradual decline with HK$125,000 from 23 screens on Sunday with HK$7.28 million after 25 days. Herman Yau’s True Women for Sale (whose star Prudence Lau took Best Actress at the awards)also lost about 50% of its audience with just HK$22,000 from 5 screens on Sunday for a 11-day total of HK$440,000.
As for other films, Dante Lam’s The Beast Stalker is now at HK$7.5 million after 18 days, making the HK$10 million mark extremely unlikely now. Wu Jing’s Legendary Assassin is at HK$2.08 million after 11 days. Patrick Kong’s Nobody’s Perfect, another Gold Label film, is at HK$3.1 million after 18 days (the 24 days included the weekend previews), and What Just Happened is at HK$620,000 after 11 days.
- On the Japanese box office attendence chart, Wall-E retains its number 1 spot while two other animated films enter at 2nd and 3rd place. However, since they are animated films that would attract a large kids audience, their places on the box office gross chart may end up lower. More when the numbers come out.
-The comic-turned-TV drama-turned film Mr. Tadano’s Secret Mission dropped to 7th place in the second week. However, that didn’t stop TV Asahi from bringing back for its 4th season. They’ll even move it from the late night 11pm slot to 9pm, even though it means they’ll have to cut down on the sex.
- No Japanese TV drama ratings yet, but the Mainichi News reports that the NHK period drama Atsuhime scored a 28.7% rating for its final episode for an average of 24.5%, the highest for NHK in the last decade.
- Even though Korean superstar Rain didn’t make much of an impression with Speed Racer, this stunt reel found on Twitch proves that he’s ready for his starring role in Ninja Assassin. Girls, you may scream……………….now.
- Also, the website for Vincent Kok’s Lunar New Year comedy All’s Well’s End Well 2009 has uploaded a half making-of, half teaser. It mainly consists of a lot of people laughing and making funny faces.
- Japanese box office champ Toho has announced its 2009 lineup, which includes the new film by Isshin Inudo (more details from Ryuganji) and Kankuro Kudo’s latest.
- Japanese film distributor Toho declares that 2008 is their biggest year ever, thanks to Hayao Miyazaki’s Ponyo On a Cliff by the Sea, the 7 billion yen-plus take of Hana Yori Dango Final, and other successful TV-to-silver-screen film adaptation.
- The assistant director of the Olympic opening ceremony is taking John Woo’s Red Cliff and making it an opera for the stage. However, he hasn’t revealed how exactly he’ll pull it off yet.
- This week’s Televiews column on the Daily Yomiuri looks at the upcoming historical dramas and other programs coming to Japanese TV this month before the end of the year musical extravaganza Kohaku Uta Gassen.
- Representing Asia at the CineMart market during the International Film Festival Rotterdam in January 2009 are Korea’s Gina Kim, Japan’s Nobuhiro Yamashita, and China’s Zhang Yuan.
- Thanks to the extra IMAX gross and opening on 76 screens, the sci-fi film The Day the Earth Stood Still dominated opening day box office in Hong Kong. It made HK$2.11 million, which puts it as probably the biggest opening day Hong Kong has had in since The Dark Knight (I forgot how big the opening for The Mummy 3 because I didn’t blog at the time). It should have no problem making HK$10 million by the weekend’s over.
Sadly, its domination also meant the other films losing screens and audience. Four Christmases could only open at 3rd place with HK$107,000 from 28 screens, though Reese Witherspoon and Vince Vaughn are not exactly big box office draws here. Even worse off is Tsui Hark’s All About Women (half a good film, totally overlong). From a modest 19 screens, the comedy made only HK$60,300, which is even lower than Missing’s opening from earlier in the year. Now it’ll have to rely on the Mandarin speaking terroritories to make its money back, although that was probably the plan all along. That’s all for the opening films, more on Monday when the numbers are out.
-Thanks to their three album releases this year - two of them compilations - Exile is the best-selling Japanese artist of the year, with 5.2 million copies of their releases sold. Arashi, however, also took the spotlight by having three singles in the top 10, while the biggest surprise is the game show-based “baka trio” Shuchishin having the 5th best-selling single in Japan this year.
- I was wrong about Thelma Aoyama and Soulja’s Soba Ni Iru Ne as the best-selling single (although it was at 7th place). Instead, it was the most downloaded song for cell phones in 2008. Mind you, that’s only the legal downloads.
- It’s trailers time! Two new discoveries on Youtube. First it’s the trailer for Andrew Lau’s Look For a Star, starring Andy Lau (welcome back to modern films), Shu Qi, and Denise “HOCC” Ho. It looks pretty, and it’ll probably open during Lunar New Year in Hong Kong.
- The big thing at this year’s CineAsia convention in India is digital projection, which is looking to be the next big thing especially with China’s efforts to push that along with 3D films. On the other hand, 3D cinema only received a mixed reception, since Journey to the Center of the Earth seems to be the only true success story of the format in Asia so far (not sure if those 3-d animated films were successful because of the 3d or they were going to be successful regardless of the dimensions).
- I’m a few days behind, but in case you haven’t heard, the comic-style Japanese comedy TV drama Nodame Cantabile is going to the big screen. Twice. The show was fun and all, but does it still need two feature films after a 5-hour TV special and a 11-episode drama?
- Dante Lam’s The Beast Stalker captured the top spot at the Hong Kong box office for the second weekend in a row. On Sunday, the melodramatic thriller made HK$539,000 from 34 screens for a 11-day total of HK$6.02 million. This is a 37% drop from last Sunday’s take, and signals that it’s slowing down a little quicker than Connected. Getting to the HK$10 million mark will be tough, but considering how Hong Kong films have done this year, this is a modest success for Emperor.
Cape No. 7 may have gotten a slight boost from its wins at the Golden Horse Awards, losing only 20% of last Sunday’s business for a take of HK$395,000 from 25 screens. After 18 days, the Taiwanese music-based romance has made HK$6.4 million. At this rate, the HK$10 million mark is looking more and more probable. On the other hand, Herman Yau’s True Women For Sale didn’t quite get the boost it needed from Prudence Lau’s Best Actress win. From 5 screens, the dramedy made HK$51,000 for a 4-day weekend total of HK$180,000.
The opening film with the best per-screen average is the Japanese film Ikigami. From just 4 screens, the high concept drama made HK$59,900 for a 4-day weekend total of HK$210,000. On the other hand, the best-performing opener was Wu Jing’s co-directorial debut Legendary Assassin. From 31 screens, the action film made just HK$336,000 at 3rd place for a 4-day total of HK$1.23 million. I guess all those Gold Label stars showing up didn’t help much. The other Gold Label film , Patrick Kong’s Nobody’s Perfect, made another HK$189,800 from 34 screens, losing 45% of last Sunday’s gross. After 11 days, the identity-switching comedy has made HK$2.69 million.
The distributor of the American indie comedy What Just Happened? is probably asking that same question. From 13 screens, the Berry Levinson film made HK$111,000 on Sunday for a 4-day total of just HK$410,000. Quantum of Solace has made HK$18.91 million after 32 days, Beverly Hills Chihuahua has made HK$2.89 million after 18 days, and Burn After Reading has made HK$2.98 million after 25 days.
- Over to the Japan attendance figures, where Wall-E and the disaster film 252 finally came together to knock Red Cliff of its top spot for first and second place, respectively. The TV drama/comic-based spinoff Tokumei Kakaricho Hitoshi Tadano film (which looks terrible) got a 5th place debut. Surprisingly, Yukihiko Tsutsumi’s Where the Legend Lives saw a boost to 7th place this weekend after almost being knocked off the top 10 chart last week. However, like last week, its placing may end up being lower on the box office gross chart because it attracts an elderly audience, who pay a lower ticket price. More when the numbers are out.
- After months of production turmoil and coming in the midst of a political shuffle, Ong Bak 2 opened last Friday and is now projected to be the top local film this year. Kaiju Shakedown looks at some initial reviews, which reveal that it sets up for Ong Bak 3. I’ll be watching this in Hong Kong just after New Year.
- In addition to the Golden Horse Awards, there was also a Taipei Projects Market (refer to my interview with Kenneth Bi to hear about how these things work), where two films had to share the top prize. A lack of high-profile projects (except for the Eat Drink Man Woman sequel NOT by Ang Lee and Pang Ho-Cheung’s The Bus) made it hard to find extended reports about it, but here ya go.
- If you want to know what the most popular songs in Japan are, you should check out DAM’s (that’s a Karaoke machine) top 20 2008 Karaoke ranking because people tend to sing what they like, especially in a Karaoke-heavy country like Japan. As Tokyograph reported, here are the top 10 Karaoke songs of 2008:
- Under “Japanese drama casting” news today, Arashi leader Satoshi Ohno will be doing his first comedic role in a TV drama next season. Meanwhile, major film actor Koji Yakusho and popular actress Eri Fukatsu will be starring in a made-for-TV movie (I guess a drama special if you want to get all specific with names) with a script written 30 year ago.
Thanks to the magic of reruns, This blogger will be watching The Golden Horse Awards rerun after he returns from a concert. So from 11:30pm Hong Kong time (you’ll have to figure out what that time is in your own time zone), I’ll be live-blogging the rerun of the show with simultaneous commentary. That means you can first read the more-informed, more professional, and more-read Variety Live Blog before coming here for this idiot’s comments. I was hoping to get Kozo to do it, but obviously he’s the brains of the operation by not doing it.
Of course, I won’t be cheating by checking out the results first. The coverage this year should be less interrupted since I won’t be watching it on a free TV network, which hopefully means no abrupt commercial breaks.
But before that, here are some predictions:
Best Original Song: Cape No. 7 Best Original Film Score: Cape No. 7 (though I would like to see Sparrow take it) Best Action Choreography: The Warlords or The Assembly
Best Make up and Costume Design: Warlords or Red Cliff
Best Art Direction: Red Cliff
Best Visual Effects: CJ7
Best Cinematography: Cape No. 7 (though it’d be nice for Sparrow to win this too)
Best Adapted Screenplay: The Assembly (I want Pang Ho-Cheung to win for Trivial Matters, and why isn’t The Warlords in this category?)
Best New Performer: Johnny C.J. Lin - Cape No. 7
Best Supporting Actress: No prediction
Best Supporting Actor: Ma Ju-Lung - Cape No. 7
Best Actor: Jet Li - The Warlords
Best Original Screenplay - The Warlords screenwriting committee
Best Actress - Too close to call
Best Director - Wei Te-sheng - Cape No. 7
Best Film - Cape No, 7
So that’s a prediction of 7 awards for Cape No. 7, because Taiwan will probably riot if it doesn’t win at least one major award.
11:29 pm: OK, all logged in and ready to go. The concert got out later than expected, and I had to sacrifice a MacDonald’s run. Instead, I have a pack of peanuts and a bottle of milk tea. The sacrifices I make for this blog.
The original live broadcast isn’t over yet, so I’m going to set some ground rules:
I don’t speak very good Mandarin, and my listening is worse, so forget about translating. I’ll just be explaining what’s going on with some comments.
11:34 pm: Show still not over yet. OK, I guess I’m not sleeping ’til 3:35 am.
11:37pm: Struggling not to watch the live show for spoilers…………
11:40 pm: Show still not over. Maybe I should’ve gone to MacDonald’s…
11:46 pm: Live broadcast over, waiting for rerun now.
11:50 pm: Here we go. Lin Chi-ling starts off with a dancing performance while lip-syncing.
11:51 pm: Nice wire-work.
11:54 pm: Now I get it - It’s a dance performance for each nominated Best Picture.
11:57 pm: Ultra-serious epic Warlords interpreted in modern dance with Lin Chi-Ling shaking a stick. Let’s move on.
11:58 pm: Good, it’s over. Hong Kong’s Dodo Cheng and the host of Channel V’s girl-based talent show are the hosts. It’s gonna be a struggle hearing Dodo work through her Mandarin lines.
12:00mn: Mark that: 10 minutes for the first mention of Cape no. 7
12:02 am: OK, first award time: Presenters are…Vivian Hsu and Ando…..you know who I’m talking about.
Ando’s been studying Chinese for three months, so either he’s good at remember his rehearsed lines, or it’s actually not that bad.
The first award is for Best Sound Effects.
And the award goes to: Steve Burgess for Tsui Hark’s Missing.
12:05 am: Looks like the award is edited to save time. Good, it won’t be such a long night.
12:07: Miao Miao’s Fan Chih-Wai and Annie Liu come out to present the second award. Man, Annie Liu’s Mandarin is good.
Wait, she’s from Taiwan? That would explain it.
OK, the award is for Best Documentary. My teacher Angie Chen’s This Darling Life is one of the nominees.
The award goes to…….Up the Yangtze. Sorry, Angie.
The director is Canadian-Chinese, and gives his speech in English. “Long live Chinese cinema, long live Chinese documentary.” Seeing that he said that in Taiwan, I wonder who would interpret that in a political way.
12:12 am: Fan and Liu stay to present the Best Short Film Award.
And the winner is……Hopscotch.
12:15: It’s amazing that it’s been 15 minutes since anyone mentioned Cape No. 7.
12:16 am: Skipping another commercial break, Gao Jie and David Chiang comes out to present the award for…..they’ve been talking for 2 minutes now. And now we know it’s for Best Cinematography. Mark that it was 18 minutes of no mention of Cape No. 7.
The award goes to……Sparrow. This was the one I wanted to win!
12:20 am: The two stay to present another award. Best editing. I don’t think I predicted this one, and I don’t know why.
And the award goes to………Connected.
There’s been more people accepting awards for the award winners than award winners there!
12:23 am: Vicky Zhao and Cheng Chen present the Best Supporting Actress Award.
And the award goes to……..Orz Boyz’s Mei Fang.
Mei fang has been acting for 45 years, and extremely excited to get the award. It’s quite touching, actually. No cynicism here.
12:29 am: The two stay to present Best Supporting Actor. Cape No. 7 resurfaces, and has won no award as of yet.
And the award goes to………..Ma Ju-lung, for the first Cape no. 7 award of the night!
Ma delivers his speech in Taiwanese. There goes the Greater China audience.
12:32 am: Vanness Wu and Jaycee Chan present the award for……why the hell is Vanness wearing a bowler hat?! And he should probably shave. Jaycee, on the other hand, has a nice Khalil Fong look going with the thick black glasses.
Vanness praises Jaycee’s performance in Police Story. Ouch.
The award is for Best Action Design. Of course, there’s one DOOOOOOONNNNIIIEEEE movie in there (Empress and the Warriors)
And the award goes to…..Connected. Wow, that’s a bit of a surprise. And of course, Nicky Li is not there to pick up the award. Legendary Assassin needs all the promotion it can get.
12:38 am: Oh, good, a small break: It’s a martial arts performance, as the Golden Horse Awards further the Chinese-language cinema stereotype.
Channel V-produced boy band Lollipop tries to outdo Jay Chou’s theme song for Fearless by enunciating! Oh, it’s with completely new lyrics.
12:44am: They’re trying to sing the Game of Death theme song in Cantonese. This is freaking hilarious. It’s over after one verse. I wished it lasted longer just for laughs.
12:47am: Oh, good, it’s over. Kevin Chu (on my black list for Kung Fu Dunk, and thankfully NOT nominated for anything tonight) and Kelly Lin present the award for……….Chu asks Kelly whether she wants to pull a Lust, Caution. All HK film fans would thank him for this contribution, unlike say…..Kung Fu Dunk.
OK, the award is for Best Art Direction. The award goes to………..Parking! This is a surprise.
The two stay to present Best Make-up and Costume. The award goes to: Candy Rain. At least it awarded it for the only thing the movie had: style.
12:52 am: Eason Chan and Coco Lee present the award for……….first, they kiss each other’s asses, then Coco asks Eason the Hong Konger to explain Trivial Matters’ Chinese title to segue into talking about the importance of the award. Oh, damn it, I missed the pun in the middle of being annoyed.
Ok, the award is for Best Film Score. The award goes to……….Cape No. 7. How can THE Taiwanese movie of the year that’s also about music not win this award?
12:58 am: uh-oh. Audio problem with one of the mics onstage.
The two stay on for another award: Best Original Song. Wait, no live performance of the songs?
and the award goes to……….Cape No. 7’s South of the Border. Again, no surprise. That’s 3 awards so far for the Taiwanese blockbuster.
1:02 am: Someone please fix that damn mic.
1:05 am: Mathieu Amalric and Karen Mok present the award for the International critics award to Parking.
1:10 am: Who’s Marco Tempest? And why is he on Taipei 101? Let me google him.
OK, he’s an illusionist, and he’s about to pull off some kind of trick.
So he just brought himself from Taipei 101 to the awards 168 km away within a minute while putting a map right in front of a DV cam with a live feed. And now he’ll take the next few minutes to advertise himself.
Ok, the live tricks are nice, but what does this have to do with the movies?
1:14 am: Oh, I get it. He’s going to present the Best Visual Effects awards?
Oh, more tricks first.
Oh, come on, he’s not even presenting the damn award. And he just revealed that the Taipei 101 stuff was actually on TV with him pointing the camera at it.
1:20 am: OK, Guey Lun-Mei and Kitty Zhang present the Best Visual Effects award.
And the award goes to……….The Warlords. That’s the first award of the night for Peter Chan’s film.
1:22 am: Finally, the first commercial break of the rerun.
1:26 am: Back from commercial break. Now either the Special Contribution Award or the Lifetime Achievement Award.
1:31 am: I feel bad for not paying attention to what the presenters are saying. This is for the Lifetime Achievement Award for Cheng Fang. Sorry, I’m not paying attention to what he’s saying, either.
1:35 am: Now the Special Contribution Award to Huang Ren.
1:40 am: Sorry, these kind of awards are always the down time for me. I mean no disrespect to the award winners.
Ok, now the Audience Award. Wu Jun and Cape No. 7’s Johnny Lin present the award.
The award goes to……..Cape No. 7. No surprise at all, of course.
1:47 am: Lin Chiling presents an award from the audience stands. That’s a nice……..and very small dress.
She’s presenting the Best New Actor award. And the award goes to……………Suming Chiang of Hopscotch. Having Cape No. 7 take up two nominations probably spread out the votes for it.
1:53 am: Coco Lee performs a song about loving movies. They took out the Best Original Song performance for this and a magic performance instead?
1:57 am: So the performance is doubling as the In Memoriam segment as well.
2:01 am: Time for the Best Screenplay awards, with Eric Tsang and Karena Lam are presenting the award. Eric Tsang gives a shoutout to Winds of September, which he produced.
First the Original Screenplay. The award goes to……………Winds of September. Eric Tsang jumps for joy.
And now time for Adapted Screenplay with a very very happy Eric Tsang. The award goes to…………The Assembly. Disappointed as a Pang Ho-Cheung fan, of course.
Assembly screenwriter makes a crack Trivial Matters being “no matter” now, but says he liked the film very much.
2:13 am: A montage devoted to Taiwanese films. Oh, it’s a gag montage with other young Taiwanese film people, including Chen Bo-lin and the star of Island Etude.
They’re sitting around talking about how to make the next Cape No. 7. Fairly amusing.
2:15 am: A “to be continued” screen with a pigeon. Nice.
Kevin Chu pitches a film that combines the name of all the big Chinese films this year. After getting rejected for funding, he says “Taiwanese film will not die!” Kung fu Dunk didn’t help any.
Even Dodo Cheng joins in on the fun. She refers the hero to Ma Ju-lung playing a gangster-like loan shark. There’s even a part 3 coming.
2:22 am: Ang Lee and Brigette Lin come together on stage (the first time in a decade for Lin, according to her) to present the award for the Formoz Filmmaker Award.
And the award goes to………..Wei Te-Sheng, as expected. That’s the 5th cape No. 7-related award of the night.
The two stay for the Formoz Film Award. Remember the potential riots if you-know-what doesn’t win.
2:28 am: And the award goes to…………Cape No. 7, its 5th of the night.
Good thing they’re getting to the major awards now. These things are exhausting.
2:33 am: Never mind - Part 3 of the comedy short.
Comic sound effects are the least funny things in comedy EVER.
Peggy Chiao cameos as an aspiring actress………and gets casted. Movie name: Sea Horse No. 45.
Doze Niu of What on Earth did I Do Wrong show up and asks why Cape No. 7 could do it and not him.
And it ends with a voiceover by Ang Lee, identifying himself as a director born in Taiwan.
2:40 am: Johnny C. J. Lin does his erhu thing AND sings a Taiwanese folk song………………very off-key.
Of course, this year is all about Taiwanese film pride, so now comes a montage on the history of Taiwanese films.
2:45 am: Already crediting Cape No.7 with the resurrection of Taiwanese film is a little premature, no?
And the movie’s song gets its own live performance. The drumming is completely off-beat. Ouch.
Meanwhile, the movie’s group of musicians sing songs from classic Taiwanese films. I know Cape No. 7 is like the best thing since sliced cheese, but the ceremony is getting a little long.
And Van is not really a great singer.
They really don’t have to re-introduce the members one by one. Most people who care already saw a 2-hour movie about them. Why the hell are they singing the song they screwed up again?
Ok, the Cape No. 7 musical celebration ends without a performance of the award-winning song.
2:57 am: Shu Qi and Feng Xiaogang come out to present Best Actor. Feng thanks the awards for allowing him the opportunity to hold Shu Qi’s hand. Then he lets go.
A quick cutaway shot shows Johnny C.J. Lin’s seat is under his character’s name in Cape No. 7, as if no one will know his real name. Ouch.
The award goes to……….Zhang Hanyu, a real surprise! Feng Xiaogang gets to hand the award to his leading man.
3:04 am: Finally the home stretch. Sandra Ng and Peter Chan Ho-sun come out to present the Best Actress Award. Peter Chan wonders why he has to hold Sandra Ng’s hand. By the way, Ng is the mother of his child.
This is the toughest category to call. I’m sure the anticipation was intense, at least when it was live.
The award goes to………………Prudence Lau for True Women for Sale! Really, any of these win would’ve been a surprise. Hopefully, it’ll help its box office in Hong Kong for the rest of the week.
3:10 am: OK, two awards left. Zhou Xun and John Woo present the Best Director Award. What a slap to the face, by having Woo present the award he got snubbed for. Even though I didn’t think Red Cliff was as great as it could’ve been, Woo’s work deserved at least a nomination.
Will Cape No. 7 pick up the majors and complete this year’s Taiwanese film celebration?
And the award goes to……………Peter Chan Ho-sun! This doesn’t bode well for Cape No. 7.
Peter Chan says “this award did not come easily” in front of John Woo. I’m pretty sure Red Cliff was harder to make than Warlords.
Is it my imagination, or does Woo look bitter in the background?
3:18 am: OK, the final award of the night. Best film is being presented by Huang Tong and Michelle Yeoh. Yeoh thanks the Golden Horse Awards for not fogetting her. I didn’t forget Silver Hawk or The Touch, either.
The audience root for the Taiwanese nominees. Least applause goes to The Assembly.
Here we go. The award goes to…………………….The Warlords, in a comeback! It was called most overrated film of 2007 by the Lovehkfilm committee for a reason.
3:23 am: Final tally - Cape No. 7 picked up six awards (and another one for Cape No. 7 director Wei Te-sheng), and Warlords picked up three. Even though Cape No. 7 took the most awards as expected, its thunder sort of got stolen with The Warlords taking away the two most important awards.
All in all, the show is still too long and overblown. It even ran longer than last year’s ceremony.
Anyway, until the next big award ceremony, that’s it for now here in Hong Kong. Thanks to Boss Kozo and Variety’s Marcus Lim for stopping by. I need some sleep.
- The attendance ranking for the Japanese box office looks a bit different from actual grosses. While the top three films match on both charts, Death Race actually made enough money to overtake the Pretty Cure movie for 4th place. This is most likely because Pretty Cure attracts younger audiences, which means Pretty Cure may have attracted more audiences, but it sold tickets at lower prices. The same happened to Suspect X, which apparently attracted more audience than Saw V, but ended up taking in less money. Which one is a more accurate gauge of success at the box office? You decide.
As it is the case after a holiday weekend, all the films on the top 10 took a considerable drop. Red Cliff lost more audiences than the war crimes drama I’d Rather be a Shellfish (31.6% vs. 26.6%), which lost the least business out of all the films on top 10. However, it didn’t lose enough to lose its first place standing. John Woo’s period epic has now topped the box office for five weeks, and 58% of Walker Plus users who saw the film gave it 5 out of 5.
The film that lost the most business on the top 10 is Blindness, whose gross dropped by 50% in the second week. In fact, Where the Legend Lives attracted enough elder audiences that it bumped Blindness off the top10 on the attendance chart.
- In Korea, five of the top 10 films are Korean, with two of those films taking the top spots. However, one of them is only for a series of preview screenings, and its true opening will be next weekend.
- At the Chinese box office, local film Fit Lover scores a strong opening, though last week’s top earner Desire of the Heart lost only 20% of business. Dante Lam’s Beast Stalkers amazing lost only 0.2% of its opening weekend business and may become a pretty damn profitable film for all the production companies involved. Hellboy II also saw a very small drop of about 7%, which must be good news for those who want to bring more fantasy films into China.
The biggest drops also go to Hollywood films - Quantum of Solace lost 60%, while Babylon A.D. lost a disastrous 75%. However, one has already made nearly 140 million RMB, and the other one has only made 7.75 million RMB.
- On the Japanese Oricon music charts, the variety group Exile (only two out of the seven member sing - the rest dance in the background) scores a new number 1 single with their cover of Last Christmas (seriously, when will Japanese people get tired of that song? The last cover was Yuji Oda’s for the drama of the same name back in 2004). The enka song Ai no Mama de climbed back up to 9th place, making enka singer Junko Akimoto the oldest female singer/enka singer to have a top 10 single.
Mika Nakashima’s latest album debuts on top of the album chart, while Shota Shimizu’s 2nd place debut got the media searching everywhere for a new record for him to break.
- The boost of Ai no Mama de in sales may be due to its win at the Japan Record Awards as one of the 12 Gold Awards of the year. Other winners include Jero as one of the five Best New Artists, Namie Amuro’s compilation taking Best Album (how can a compilation be a Best Album when it’s compiled from a bunch of other albums?), and Ponyo poised to pick up some kind of award
Worth noting is that Hong Konger Agnes Chan will be getting a special award. Agnes Chan was born in Hong Kong and was first known in Asia after she acted in to of Chang Cheh’s films. Then she went to Japan for a singing career and it mostly stayed there ever since. Over the last decade, she also became a scholar(a Ph.D from Stanford!), a professor, a novelist, a United Nations ambassador, a TV personality, and a radio host. Despite being in Japan, she never forgot about Hong Kong, either.
- Cape No. 7 was supposed to open in a few weeks in China, but its release has now been postponed indefinitely, despite being approved by the censors. However, no one really knows the true reason. Some say the Taiwanese-Japanese aspect of the film could cause a nationalistic backlash (as in people reading too much into it), and some say it’s a simple matter of the subtitles not being done on time because of all the languages involved.
- Alan Mak and Felix Chong, whose latest film Lady Cop and Papa Crook will finally be released in January (though in a trucated, China-approved version), are already working on a new project about police eavesdropping that will be produced by Derek Yee. Sounds promising.
- Under “Japanese drama” news today, the NHK period drama hit Atsuhime hit a peak of 30.8% rating, a mark that private network dramas have not hit since Karei Naru Ichizoku did it in March 2007 with its final episode.
With struggling drama ratings even during prime time, TBS will be canceling their daytime drama slots and the news show programmed around them for a 4-hour daytime news show. Honestly, these news show are all the same anyway, no matter how long they are or what network they’re on.
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