I guess I should think about adding a weekly box office column, just to be all cool and professional like Ryuganji. Or something like that.

FYI, I am going to use Film 2.0’s stats. Sure, KOFIC is more accurate, but it only looks at 86% of the market. Until they get up closer to 100% (hopefully in a year or so), I will use Film 2.0.

This Week Title…………………………………. Release Date Screens Nationwide Weekend Attendance (Seoul only) Total Attendance
1. Sinking of Japan 8.31 256 99,800 479,000
2. The Host 7.27 308 72,900 12,511,500
3. Like a Virgin 8.31 212 66,000 234,000
4. No Mercy for the Rude 8.24 220 56,800 749,200
5. Woman on the Beach 8.31 170 47,600 133,600
6. Lake House 8.31 133 43,400 103,900
7. Lump of Sugar 8.10 139 24,000 1,384,000
8. Ice Bar 8.24 200 16,800 447,300
9. Banlieue 13 8.24 80 15,900 212,700
10. Holy Daddy 8.24 193 11,200 446,900

(source: Film 2.0)

So, what to make of all this? The Japanese disaster movie SINKING OF JAPAN became the film to finally dethrone THE HOST, after a long and amazing run in No. 1 spot. In fact, this looks to be the best opening for a non-anime Japanese film ever in Korea, and the movie could possibly surpass LOVE LETTER as the top Japanese film ever in Korea (again, not including animation). One factor that could hurt its haul, though, is poor word of mouth. Just like in Japan, people do not seem to like SINKING very much (in the words of one friend, “It’s boring… It doesn’t sink”).

I should point out that Japan did not return the favor. THE HOST opened in Japan last weekend, but came in just a wimpy 7th. Kind of disappointing.

It was, however, a very good opening for Hong Sang-soo’s WOMAN ON THE BEACH. In fact, it was his second-best opening, after WOMAN IS THE FUTURE OF MAN (which had its numbers boosted by its star, Yu Ji-tae). Consider this a statement to Kim Ki-duk that a Korean filmmaker can be arthouse and respected abroad and pull in good numbers in Korea.