- It’s looking like another crowded weekend at the Hong Kong box office this weekend, with at least 4 wide releases. Debuting at the top is the Hollywood musical Mamma Mia, which opened on 34 screens for an opening day take of HK$395,000. This is likely to attract more adult audiences as the holiday weekend rolls around, so it’s looking to do fairly well. In second place is the Thai horror omnibus 4BIA, which made HK$214,000 from 27 screens on opening day. Not opening so well is the Japanese doggie film 10 Promises with My Dog, which made just HK$206,000 from 35 screens. The distributor is likely hoping that it’ll do solid long-term business like A Tale of Mari and Three Puppies did earlier in the year. Rounding out the wide releases is the Simon Yam-produced Ocean Flames, which made only HK$80,000 from 26 screens. Some multiplexes have already panicked and reduced the number of daily showings for over the weekend.

Actually, two major Hong Kong releases were scheduled to come out for the holiday weekend - Jingle Ma’s Butterfly Lovers and Alan Mak/Felix Chong’s Lady Cop and Papa Crook. However, both films were moved to October, with Mei Ah citing that they never officially scheduled the September release date (despite the fact that they ran promotions with the September date in mind), while Mak and co. citing that their film needs further post-production tweaking. Hence, another holiday weekend goes to waste for HK cinema. More when the numbers are out on Tuesday.

- Japan has announced that they will be sending the recent award-winner Departures (or Okuribito) to try for the Best Foreign Film award at the Academy Awards this year.

-It’s reviews time! First, the Daily Yomiuri’s Ikuko Kitagawa has a review of Departures, then Japan Times’ Mark Schilling has the likely first English review for Tetsuya Nakashima’s latest Paco and the Magic Book, and Variety’s Robert Koehler gives his take on Rian Johnson’s The Brothers Bloom, which is included here because Rinko Kikuchi has a supporting role in the film.

- Johnnie To/Wai Ka Fai’s Mad Detective has picked up another award, this time the Audience Award at the 2nd annual Changmuro International Film Festival. Hur Jin Ho’s Happiness also picked up the Discovery Award.

- This year’s big Japanese pop hit Soba Ni Iru Ne just won’t go away, as now it has been recognized by the Guinness World Record as the song with the most cell phone downloads.

- Kaiju Shakedown’s Grady Hendrix writes a report from the Toronto Film Festival about the screening of Wong Kar Wai’s Ashes of Time Redux and the changes made from the original film.

- Hong Kong is getting another IMAX theater, this time at the far more convenient tourist-friendly neighborhood of Tsim Sha Tsui. The extra-large screen will be part of a 900-seat/5-screen theater that will also include two “premium” screens. Here’s hoping the other two auditoriums will be 200-seat+ large auditoriums.

Originally found on the Hong Kong Film Blog as well.

- The Warner Bros. lawsuit against an Indian studio over the kids film “Hari Puttar” has started, and funny enough, the judge subtly suggests that 20th Century Fox should be suing because it looks more like a rip-off of Home Alone, a charge that the studio has denied because it features musical sequences and animated sequences.

- Under “movies that will open film festivals” news today, Woody Allen’s latest will be opening the always troubled Bangkok Film Festival this year. Meanwhile, the Kazakhstani film The Gifts to Stalin will be opening this year’s Pusan Film Festival.

- Major Asian music presence EMI has decided to shut down its operations in several Southeast Asian territories, including Hong Kong. The affected areas will see their operations turned over to Warner Bros. In Hong Kong, EMI was once home to Gold Label and Denise “HOCC” Ho. On the other hand, Taiwan, where EMI has a fairly huge operation, is not one of the affected areas.

- Bae Yong Joon (aka Yon-sama) is looking at starring in a new drama next year, and his management company is seizing the chance to make money by taking on production duties themselves.

- At the ongoing Asia Media Summit, despite Asia looking at continuing growth, increasing costs and the post-Olympic hangover period mayput a stall on growth. On the other hand, it’s looking like India still has the potential to be the next big thing. Of course, China is still looking to be to be huge, especially in internet media, but a lack of transparency continues to dampen things.

- Guess who just won the weekend box office in Hong Kong again? For the 4th weekend in a row, Journey to the Center of the Earth takes the top spot, making HK$816,000 from 34 screens on Sunday (again, much of it from the higher-priced 3D showings) for a 25-day total of HK$30.92 million. Brendan Frasier is now the most bankable star in Hong Kong this year, with his two films making a total of HK$68 million and counting in Hong Kong.

This means that the Pang Brothers’ remake of Bangkok Dangerous got bumped down to second place, making almost HK$520,000 from 34 screens for a 4-day weekend total of just HK$1.85 million. The film will likely finish on par with the brothers’ recent efforts at around HK$5-6 million. The other only opener that made it to the top 10 is the horror film The Strangers, which made HK$103,000 from 15 screens for a 4-day weekend total of HK$390,000.  According to the Hong Kong Film blog, the three Hong Kong-based films - The Luckiest Man, A Decade of Love, and Rule #1 - made 4-day weekend totals of HK$96,000, HK$80,000, and HK$78,000 from 12, 11, and 5 screens, respectively. The award-winning Rule #1 can be said to be the most successful one, because it’s only play on 5 screens, and at least two of those screens only play the film once a day at 11:45pm.

As for holdovers, Rec barely hangs in there for its second weekend, making HK$295,000 from 28 screens on Sunday for a 11-day total of HK$4.85 million. Cyborg She is showing surprising legs in its third weekend, still making HK$204,000 from 16 screens for an 18-day total of HK$4.47 million. Not hanging in so well are Hana Yori Dango Final, which made just HK$76,000 from 14 screens (with a reduced amount of a screenings) for a 11-day total of HK$1.18 million, and Partick Kong’s Forgive and Forget, which made just HK$59,000 from 22 screens (also with reduced amount of screenings) for a 11-day total of HK$1.53 million.

- In Japan cinema attendance chart, 20th Century Boys have come back from behind for a boost to 1st place in its second weekend, with Ponyo taking 2nd place and Hancock dropping all the way to 3rd place. Sex and the City also got a boost up to 5th place, which shows that it’s got staying power, even if it’s only limited to the urban areas. Nim’s Island debuts at 6th place, while Goo Goo the Cat shows that cats are just not as popular as dogs in the cinema with an 8th place debut.

- In an amazing turn of events, the Taiwanese Academy Awards representative Cape No. 7 saw a boost of 77% in box office gross for its second weekend, and has thankfully now surpassed Kung Fu Dunk as the highest-grossing local film in Taiwan.

- That was quick: Some Summer 2008 dramas are already wrapping up their runs, though the drama ratings aren’t getting any better. First, Sono Otoko, Fukushocho ended with a barely above-average 11.9% rating for its last episode and a season average rating of 11.8%. That’s considerably lower than the 13.5% average of the first series. Yottsu no Uso takes an early ending with only 9 episodes, wrapping up with an above-average 9.6% rating for its final episode and a 9.3% season average. The Takashi Sorimachi-starring flop Loto 6 de 3 Oku 2 Senmanen Ateta Otoko ended up with only a 6.4% rating for its final episode and an embarrassing 6.5% season average. It’s about to be the flop of the season, because Koizora has boosted its season average to 6.4% because of a season-high 7.6% rating for this week’s episode.

Tomorrow wrapped up with an OK-14.1% rating final episode for a season average of 12.6%. Right now, it’s looking to be one of the better-performing dramas of the season, behind Taiyou to Umi no Kyoushitsu (14.1% rating for this week’s episode), Yasuko to Kenji (dropping to a 13% this week after a one-week hiatus), and Code Blue (down to a below-average 14.9% rating for its second-to-last episode). Getting close to the end of the season apparently isn’t energizing the ratings battle any, with only Koizora reaching its season high this week.

All drama information can be found at Tokyograph.

- With its screening at the Toronto Film Festival, the beatdown of the Yu Wai Lik’s Hong Kong co-production Plastic City continues. This time, it’s jury member Johnnie To’s turn to do the beating, quoted by Apple Daily: “I think director Yu Wai Lik has yet to finish making the film. Great cinematography cannot make up the film’s whole.”  He also said that he does not agree with the jury’s pick for Best Actor and the Golden Lion, saying that the Turkish film Milk and Russia’s Paper Soldiers should taken those awards, respectively.

Jury president Wim Wenders also lament that there’s a rule set by the festival that the Golden Lion-winning film cannot also win Best Actor, which explains why Mickey Rourke didn’t pick up Best Actor for The Wrestler, despite being the heavy favorite. When the Japanese press asked Wenders why Ponyo didn’t pick up any prizes, Wenders simply said that he lost sleep over Ponyo because he likes the film very much. He also said that in order to prove their love for Ponyo, the jury members will be singing the theme song for the rest of their lives.

Original story by Apple Daily.

- Variety also cover the snubbing of Asian films at this year’s Venice Film Festival.

- As for Plastic City, its sales company has confirmed that they will work with the filmmakers to recut the film after its screenings at Venice and Toronto. The company blames the rushed post-production process for the film’s bad word-of-mouth and urge potential buyers to wait for the new cut.

- In Toronto, Momoru Oshii’s The Sky Crawlers was acquired by Sony for distribution in North America, Latin America, Australia, and New Zealand. Strangely, Warner Bros. Japan was a major distributor of the film in its native Japan, although Sony actually acquired the rights directly from the film’s production company.

- Korean director Choi Dong Hoon has gotten a hell of a cast in hopes for a third consecutive hit after The Big Swindle and Tezza: The High Rollers. This time, he’ll bring a historical figure into modern times as a superhero from the past fighting supernatural figures.

- Perhaps not as exciting to some people is the official announcement of Utada Hikaru’s second English album, which is now slated for a seond half 2008 release. Actually, I’m kind of excited. But that’s only because I’m a fan that kind of liked her first English album.

- Some Japanese content makers have decided to embrace the internet video format, uploading their own content either on Youtube, or on their own company’s video site. Of course, I must point out that while GyaO allows foreign users to register, they actually do not allow computers from non-Japanese IP address to view their contents, which, for the lack of a better word, sucks.

- Twitch offers up approximately ten seconds from the upcoming animated film Gatchaman, produced by Hong Kong’s Imagi Studios.

- Lastly, Kaiju Shakedown reports that after the failed Azn Television in America, the other Asian-American network ImaginAsian is looking at layoffs after a new CEO took over.  This goes to show that mainstream America just doesn’t care.

- It’s review time! With the Venice Film Festival wrapping up and the Toronto Film Festival just starting, the trade paper film critics are going to be very busy, which also means more review links popping up here on The Golden Rock. First from the Japan Times is Mark Schilling’s review of the award-winning drama Okuribito (or Departures).

From Variety is a trifecta of Japanese film reviews.  From Dennis Harvey is a review for Kenji Uchida’s After School and a review for Koki Mitani’s crowdpleasing The Magic Hour. From the mysterious “Variety Staff” is the review for Mamoru Oshii’s The Sky Crawlers.

From Hollywood Reporter’s Maggie Lee is a review of the wonderful All Around Us and also her take on Hirokazu Kore-eda’s Still Walking.

- Forget about the animation competition going on at Venice. Both Japanese animated films in competition are going home with prizes at the digital cinema competition.

- The Toronto Film Festival has barely started, and sales for Asian film are already starting. I don’t remember Toronto being acquisition-heavy festival, but we’ll keep track of things here.

- After last year’s pop song-inspired Signs of Love, TBS will produce a 3-part drama, with each part inspired by a Mariya Takeuchi song. As expected, the drama will be shown just after the release of her latest compilation album. What a coincidence!

-  Korean president Lee Myung Bak continues his promised deregulation of media by annoucing a series of proposals that will encourage more media congolmerate through the softening of ownership laws and an increase in the budget for cultural promotion, with the former a likely point of contention with naysayers.

- After Taiwan quickly chose its representative at the Oscars this year, Singapore has also made its choice, sending Eric Khoo’s My Magic to the Academy Awards after it represented the nation at this year’s Cannes Film Festival.

- This week’s Teleview column on the Daily Yomiuri takes a digression into CNN’s coverage of the Democratic and Republican Conventions (um….I don’t think Wolf Blitzer makes any editorial calls. His producer does.). But before that is a brief mention of Edo “GU~~~” Harumi’s 110km marathon at last weekend’s NTV 24-hour telethon.

- And just to show that anyone can make up a TV drama nowadays, TV Asahi is putting together a TV movie featuring three stories by three celebrities.

That’s it for the weekend! See you on Monday.

- It’s looking like it’ll be a rather quiet weekend at the Hong Kong box office. The Pang Brothers’ self-remake of Bangkok Dangerous has a first-place opening on opening day. However, it only made HK$307,000 from 34 screens, which means it’ll likely make somewhere in the region of only HK$2 million over the weekend. That’s actually very good, since only 2 out of 5 opening films made it to the top ten on opening day. The other film is the Hollywood thriller The Strangers, which made just HK$60,000 from 15 screens. More when the numbers come out on Monday.

- Despite the delay, The Mummy 3 has opened huge in China, making USD$2 million on opening day. That number is similar to the opening for The Forbidden Kingdom and The Warlords, both of which has gone on to be blockbusters. The opening is also Universal’s best opening day in China. The Hollywood adventure film will end up being profitable thanks to international gross alone, as it has even yet to make USD$100 million in the States.

- Under “the latest way to make Shakespeare spin in his grave” news today, Avex and Kansai TV will collaborate on producing a drama that will consist of several modern versions of Shakespeare’s plays, and all of them will star the idol group AAA.

- It’s trailers time! Nippon Cinema has the trailer for Seven Nights, the latest by The Mourning Forest director Naomi Kawase. Twitch has a trailer for My Dear Enemy, Korean director Lee Yoon Gi’s follow-up to his much-admired Ad Lib Night. This time, he even has award-winning actress Jeon Do Yeon along for the ride. Twitch also has the trailer for Choi Ho’s Go Go 70s, which looks at the music of that turbulent period in contempoary Korean history.

- With the Venice Film Festival wrapping up tomorrow, The Hollywood Reporter looks at a competition happening within the competition films.

- Kaiju Shakedown looks at an American-produced movie that was shot in Hong Kong and didn’t feature a dude in a bat. It does feature zombies, though.

- Lastly, the Associated Press’s Min Lee writes about Taiwansese-American musician Joanna Wang’s success in Asia, which has led to a sales figure 220,000 copies in Asia. Her album was even on the top 10 of the international charts in HMV Japan.

- Eiga Consultant reports more on the opening of 20th Century Boys. As previously reported, the film made 625 million yen from 310 screens, which is actually 114% of the opening for Always 2. This explains why Toho is expecting it to make 5 billion yen, but that depends on whether the comic adaptation attracts a demographic as wide as the family-friendly nostalgic tearjerker and has a similarly good word-of-mouth.

Mr. Texas reports that 57.5% of audiences ranged from age 16-29, which means this may not have the widespread appeal of Always, but he also reports that only 28.5% of the audience cites the comic as the primary reason for going to see the film, which means the film isn’t just attracting the comic’s fans.

- It’s Japanese Oricon charts time! Namie Amuro takes the album chart for the 5th week in a row with her latest compilation. It’s now the best-selling album of 2008, as well as the first female artist album to hold the charts for 5 weeks since Akina Nakamori did it with her 1983 compilation. Amuro’s holdis also attributed to a weak album market, which even saw the mix album by Exile’s DJ MAKIDAI score a number 3 debut.

Meanwhile, KinKi Kids score their 27th consecutive number one single, pushing L’Arc~en~Ciel’s latest single down to second place.

More from Tokyograph

- It’s reviews time! Variety’s Ronnie Sceib looks at the French film Inju: The Beast, which is loosely based on the work of Japanese author Edogawa Rampo. Meanwhile, Eddie Cockrell reviews the Japanese film Departures (or Okuribito), which won the top prize at the World Film Festival Montreal.

- The media apparently loves bad news, which would explain why Hong Kong’s Apple Daily is still covering the fallout from the bad reception for the Hong Kong co-production film Plastic City at the Venice Film Festival. Today’s report points out that while many films received bad reviews, Plastic City is leading the way with the lowest score for a competition film from the panel of 10 critics in the festival’s daily newsletter.  Ouch.

-  In Thailand, where a declaration of a state of emergency usually means the army would engage in a media crackdown, the media is breathing a sigh of relief that the army has chosen to not take sides.

- Looking beyond that, Kaiju Shakedown’s Grady Hendrix looks at similar things happening in different places around the world.

- The Future Film Festival, not taking place until next January, has already announced that they will have a tribute to Japanese horror master Nobuo Nakagawa, whom has been credited for one of the pioneers for Japanese horror.

-  Under “documentary” news today, Nippon Cinema writes about a new documentary that follows a Chinese school in Japan’s Yokohama, wherethe country’s biggest Chinatown is located. Also, Ryuganji writes about Hirozaku Kore-eda’s next film, which will be a documentary following musician Cocoo at her home Okinawa.

- It’s Korean box office time! Strangely, two of the top ten films this weekend are not supposed to open until this week, but preview screenings for them were counted in the box office gross this weekend anyway. One of them is the Korean period epic The Divine Weapon, which attracted 230,000 admissions from the two days of preview screenings alone. Meanwhile, The Dark Knight tops the chart for another week, while The Good, the Bad, and the Weird is officially the biggest film of the 2008 Summer.

More over at Korea Pop Wars.

-  (Via Jason Gray’s blog) Jason Gray writes on Screen Daily about the grosses of 20th Century Boys‘ and Hancock’s opening weekend. Actually, the reason why Hancock sits on the top of the box office chart is because Sony has taken the liberty of including last weekend’s preview screening grosses, which means 20th Century Boys probably won both weekend grosses and per-screen average (625 million yen from a surprisingly small 310 screens). Also, Toho now expects the first film to make over 5 billion yen, which certainly bodes well for parts II and III, considering all three films cost a total of 6 billion yen to make.

- It’s review time! From Twitch are reviews of 20th Century Boys, the Korean film A Man Who Was Superman, and Rian Johnson’s The Brothers Bloom, which is here because Rinko Kikuchi has a supporting role.

From Variety is Derek Elley’s review for the Chinese film Perfect Life, which was a surprise film at the Venice Film Festival.

- Speaking of the super-efficient Yukihiko Tsutsumi, Nippon Cinema has the latest clips for his November release Maroboshi no Yamataikoku.

- Under “awards” news today, two Japanese films have taken major prizes at the World Film Festival Montreal. Meanwhile, Taiwan has already picked Cape No. 7 to be its representative at the Academy Awards this year. Not much hope for their output for the next 3 months already?

- Hong kong director Pang Ho-Cheung goes to his second Asian film market of the year, joining 31 other directors to the Tokyo Project Gathering in late October to pitch his latest project.

- Korean studio Chungeorshm, who had a major hit with The Host, will next produce the big-budget action film 29 Years, which has a surprisingly heavy political and historical tone for a typical blockbuster.

- Who would’ve thunk it? Journey to the Center of the Earth has topped the Hong Kong box office for the 3rd weekend in a row. On Sunday, it made HK$1.41 million from 34 screens for an 18-day total of HK$27.16 million. Much of this gross is attributed to the more expensive 3d screening, which makes Beowulf’s flop in Hong Kong a little perplexing. Maybe Brandan Fraser looks better in 3d? As expected, Rec got second place with HK$609,000 from 28 screens on Sunday, giving the film a 4-day weekend total of HK$2.39 million. The other film that enjoyed a significant boost over the weekend is the Hollywood romantic comedy Made of Honor. On 25 screens, it made HK$430,000 for a 4-day weekend total of HK$1.56 million.

On the other hand, Hana Yori Dango Final didn’t enjoy the boost from some theaters putting it on their bigger screens. In fact, it only earned HK$145,000 from 14 screens on Sunday, which is strange since the film made more from less screens on opening day. The Japanese drama-turned-film (which I still think is the worst Japanese film of the year so far) has a 4-day total of HK$680,000. Another film that didn’t do much better is Patrick Kong’s Forgive and Forget. From 34 screens, the horror-romance made only HK$170,000 on Sunday for a 4-day total of HK$980,000. The Edge of Love had more luck as a limited release, making HK$86,000 from 6 screens for a 4-day total of HK$340,000.

Still hanging in there is Cyborg She, which made a healthy HK$300,000 from 16 screens on Sunday for a 11-day total of HK$3.32 million, which makes HK$5 million within reach. The Dark Knight is already at HK$57.15 million after 46 days, and its IMAX shows are still doing fairly healthy business.

- In the Japan cinema attendance chart, Hancock and 20th Century Boys finally came together and knocked Ponyo off the top spot. Depending on the grosses, but the executives at NTV may not be so happy that the most expensive Japanese film ever made only managed a 2nd place debut, especially with two more films to go. Of course, the quoted 6 billion yen budget may just be spread across three films, which means with international presales, each film just needs to make over 2 billion yen to break even.

- It was a very very quiet week for Japanese drama ratings. Yasuko to Kenji didn’t show up this week because of NTV’s yearly 24-hour telethon. Instead, the Jun Matsumoto-starring drama that was shown during the telethon got a 25.6%. The ratings up and down was fairly boring, with only 33-pun Tantei reaching its season-low rating of 7.0. With the Olympics now over, Gonzo, Seigi no Mikata, Sono Otoko, Fushocho, Yottsu no Uso, and Code Blue all got a bit of a boost. Maybe things will pick up soon as the season reaches an end.

-  It’s reviews time! Variety’s Ronnie Schieb looks at Hayao Miyazaki’s Ponyo on a Cliff by the Sea, while Derek Elley lets out some hate for Yu Lik Wai’s Plastic City.

In Venice, boos were heard at the screening for Plastic City, which was the only Hong Kong film in competition.  Reportedly, the hate comes from the faulty English subtitles and a general feeling of not knowing what the hell is going on. On the defense, director Yu Lik Wai answered that his film is a contempoary fable and that he gives his own effort 69 points because the best he can do is 70 points. On the other hand. Elley said to Apple Daily that out of a score of one to ten, he gives the film a negative 10.

- Under Japanese pop news today, after Speed came together for another reunion, the band Do As Infinity is now also reuniting. However, they don’t be releasing new work until next Spring.  Meanwhile, young female rocker YUI has announced that she will be taking a short break after her next single in oder to “refresh” herself. She’ll be back next year.

- Lastly, Yuya Yagira has released a statement, clearing up that his recent trip to the hospital was not from a suicide attempt. He had simply taken too much tranquilizer after a family argument and actually called for help himself.  He even left the hospital on the same day.

- Very sudden news out of Japan yesterday. Young Japanese award-winning actor Yuya Yagira was rushed to the hospital yesterday after an apparent suicide attempt involving lots of pills. Yagira bursted onto the Japanese film scene by becoming the youngest winner of the Best Actor award at the Cannes Film Festival for Nobody Knows.

- It’s reviews time! Variety’s Jordan Mintzer has the first review of the Pang Brothers’ self-remake of Bangkok Dangerous, starring Nicholas Cage and his bad hair. From Venice are reviews of Takeshi Kitano’s Achilles and the Tortoise, first from Variety critic Derek Elley, then from Hollywood Reporter’s Ray Bennett. From Japan Times is Mark Schilling’s review of Toshio Lee’s Detroit Metal City, starring Kenichi Matsuyama. Also from Derek Elley is the review for Kelvin Tong’s Rule #1, which earned Ekin Cheng and Shawn Yue surely their first Best Actor awards.

- Meanwhile, the Pangs talk to the Hollywood Reporter, telling them that they actually prefer the Hollywood way of systematic filmmaking as opposed to the quick improvisational style of Hong Kong films.

- Jason Gray reports from director Kiyoshi Kurosawa’s appearance at the Foreign Correspondants’ Club of Japan for his award-winning film Tokyo Sonata.

- Nippon Cinema has the first trailer for the Takeshi Kaneshiro starring vehicle K-20. Turns out he’s not the villain - he’s just accused of being one. Looks like some old-fashioned adventure fun.

- Major Japanese network TBS will be offering pay-per-view office through their broadband TV service. The first major offering will be TBS’ latest film, which will be available online even before the film hits theaters.

- Users of iTunes China can rejoices, as the music downloading program has been unblocked by the Chinese authorities. The Songs for Tibet album, however, is now missing, and netizens are getting all irate, screaming for more boycotting and banning.

-I missed out on reporting the Tony Jaa-Ong Bak 2 mess because of work, but now I can finally get a mention in: Tony Jaa has returned to the film, but only as an actor. Word is that Jaa’s mentor and Born to Fight director Panna Rittikrai will be taking over the director’s chair to finish the film.

- This week’s Televiews column looks at Japan’s coverage of the Olympics. With incompetent interviewers and unbearable media pressure on athletes, it sounds like Japan didn’t do all that much better than Hong Kong television’s immature and one-sided coverage.

- Time to look at opening day box office in Hong Kong. Journey to the Center of the Earth continues to hold onto the top spot, making HK$830,000 from 34 screens on Thursday for a 15-day total of HK$23.33 million. However, according to the Hong Kong Film blog, roughly 65% of that Thursday take is from the 3D version, which charges a significantly higher ticket price.

As for opening films, the Spanish horror film Rec has the best debut, making HK$456,000 from 29 screens. With a shorter length, more shows per day, and fairly aggressive marketing, the category III film should attract the younger 18-and-older audience over the weekend. Those who can’t get into Rec may try for Patrick Kong’s Forgive and Forget, but the weak performance of advance screenings last weekend carried over, as the romance-horror film made only HK$211,000 from 34 screens on its opening day. Where Patrick Kong goes from the film’s impending failure should be interesting, as young audiences are either getting tired of his contrived overdramatic teen romance shtick, or they just don’t find Alice Tzeng a good substitute for Stephy.

Attracting older audiences over the weekend will be the Hollywood romantic comedy My Best Friend’s Wedding II Maid of Honor. Even though it only opened with HK$266,000 from 25 screens on opening day, it should still get a good enough boost over the weekend to get it past the HK$1 million mark by the time the weekend’s over.

In more limited releases, Hana Yori Dango Final also joins in to attract the teen audiences (it’s the final weekend before school year starts in Hong Kong, and seems to work. On just 12 screens, the schoolgirls-oriented fantasy romance made HK$184,000. Looking at internet sales, some theaters are already moving to larger screens, which means it might be looking at a pretty big boost over the weekend. Lastly, the British romance The Edge of Love opened on 6 screens for a weak HK$58,000 take. More when the numbers come out on Monday.

-Hayao Miyazaki’s Ponyo on a Cliff By the Sea has passed another major mark, recording over 10 million admissions in Japan on the 41st day of release. In comparison, Spirited Away took 31 days, Howl’s Moving Castle took 44, and Princess Mononoke took 66 days.

- With the first installment of the mega-budgeted trilogy 20th Century Boys opening in Japan tomorrow (thankfully, it will open here in Hong Kong relatively quickly on September 25th), the Daily Yomiuri looks at how the long-planned adaptations came about.

And Jason Gray posted his thoughts on the film during my hiatus.

- Korean public broadcaster KBS has expanded their KBS Film Festival to 10 theaters nationwide for the first time. Also, they will also be making the films available online and through broadband television. In its 4th year, the KBS Film Festival brings over films from around the world that would otherwise never make their way into Korean theaters.

-  Yasufumi Terayaki, the younger half of the Aibou duo, will be leaving the hit detective show after its 7th 6-month season, which is slated to start in October. No word on how the actor’s departure will be dealt with on the show, and no word on whether the show will continue on without one of the show’s two stars.