Books, blog and other blather

Author: Mark (Page 87 of 90)

Korea Weekend Box Office – Nov. 10-12

A VERY quiet weekend for the movies this past weekend. Box office we way down and spread out, with nothing really capturing people’s attention. Moon Geun-young once again was able to open her film in the top spot, with her melodrama LOVE ME NOT (Sarang Ttauin Piryo Eopseo). But with just 327,000 admissions, that was not a huge accomplishment.

(Funny to think that we now live in an age where 327,000 admissions in three days is mediocre. I remember when Moon’s film TALE OF TWO SISTERS broke records with an opening weekend of something over 700,000 admissions. At the time, it was pretty outstanding. Then the 1-million barrier fell. Then 1.6 million (a bunch of films). Then THE HOST scored 2.6 million in its opening weekend in July.)

DEVIL WEARS PRADA and THE PRESTIGE are continuing to do fairly well, with modest dropoffs from last week, and DEATH NOTE still doing okay, too (all were down about 33%).

This Week Title…………………………………. Release Date Screens Nationwide Weekend Attendance (Seoul only) Total Attendance
1. Love Me Not 11.09 341 82,000 327,000
2. The Devil Wears Prada 10.26 193 68,500 1,255,300
3. The Prestige 11.02 130 60,400 434,500
4. Cruel Winter Blues 11.09 296 56,900 260,900
5. Death Note 11.02 200 48,000 555,000
6. Silent Hill 11.09 165 33,900 115,700
7. Tazza: The High Rollers 9.27 176 32,000 6,684,000
8. Hearty Paws 10.26 210 25,000 901,000
9. Educating Kidnappers 11.02 241 14,000 394,000
10. The Guardian 11.02 101 11,700 150,700

(Source: Film2.0)
Next week looks like it will be similarly slow, but the week after that, things should start improving, with some big holiday releases beginning to roll out, starting with Martin Scorsese’s THE DEPARTED (which, of course, I am quite nerded up about seeing).

Hyolee Moly!

Korea’s most sex pop star, Lee Hyolee, is reportedly on the verge of signing the biggest contract ever for a Korean female singer, over $1.5 million for three years. No word on what exactly that sum would cover, since Ms Lee has never been much about album sales.

(And, yes, I know this news is a few days old. But since nothing has been signed yet and all is speculation, what the hey).

Hyolee is a curious figure (so to speak) in the new Korean music industry. Her albums do not sell particularly well. Her first album sold a tad over 144,000 copies back in 2003, and her second album, DARK ANGEL is not even listed on MIAK (not unusual, though, as often management companies decide for whatever reason not to cooperate with MIAK). In fact, at this point, Hyolee is all about mobile phone downloads and commercial endorsements — like much of the local music business, only more so. She is one of the first post-sales pop stars, thriving in an age where musical success has little to do with moving CDs or filling stadiums.

Her new management company, Mnet Media is an interesting new affiliate of CJ Entertainment, a merger of some websites and GM Management (but strangely, not the TV station M-Net). CJE is certainly not shy about spending money, and this deal is incredibly rich, even by local, star-obsessed standards.

Korea Weekend Box Office – Nov. 3-5

Foreign titles took the top three spots this week (it has been months since that has happened), with THE DEVIL WEARS PRADA at No. 1 for the second week in a row. Never underestimate the power of the SEX AND THE CITY crowd. PRADA has now made about $6.2 million in Korea, and looks like it should top $10 million.

THE PRESTIGE came in at No. 2, based on its Seoul attendance, although nationally it was beaten by the Japanese manga-adaptation DEATH NOTE. Always interesting to me to see what films draw well in Seoul versus what films perform stronger in the small towns and countryside. The regional difference between the two films becomes even stronger when you notice that THE PRESTIGE was playing on 35% fewer screens, which means its per-screen average in Seoul must have been very strong (indeed, the theater where I saw THE PRESTIGE on Thursday night in Seoul was quite busy).

I quite liked THE PRESTIGE… it is so invigorating to see a mainstream movie that is at least trying to do something different. Good looking film, good acting, an engaging mystery but with a story and subject unlike the usual. Got kind of silly toward the end, though.

DEATH NOTE is a bit of a goofy project. Based on a hugely popular Japanese comic book, it is the story of a kid who finds a demonic notebook. If you write someone’s name in that notebook, the person will die in 24 hours. You can even specify the cause. But a big part of the comic book’s appeal is its extremely sharp, high-detail drawings, an effect you totally lose on the screen (of course).

(Oh, and DEATH NOTE just the first of two movies. DEATH NOTE: THE LAST NAME just came out last weekend in Japan to some impressive box office, taking in over $10 million in its first two days. I do not know when it will be released in Korea, though).

DEATH NOTE was also co-produced by Warner Japan. With domestic movie industries on the upswing around Asia, it is interesting to see the Hollywood majors taking an increased interest in local films. Warner, for instance, has invested in DEATH NOTE and some other Japanese movie, the huge Chinese hit THE BLACK STONE, and… uh, has more on the way (not officially announced yet, sorry).

Other notes… TAZZA is still chugging along. It could make it to 7 million tickets if it is lucky. TRACES OF LOVE saw its box office come crashing down in its second week of release. In general, it is a pretty quiet week at the box office, although it is nice to see the pie being divided up a little more widely, with the No. 10 movie pulling in over 10,000 bodies — last week, we only had a top-7, and even then the No. 7 film did not crack 10,000.

This Week Title…………………………………. Release Date Screens Nationwide Weekend Attendance (Seoul only) Total Attendance
1. The Devil Wears Prada 10.26 222 97,400 940,300
2. The Prestige 11.02 130 84,800 246,100
3. Death Note 11.02 200 67,000 290,000
4. Tazza: The High Rollers 9.27 236 53,000 6,509,000
5. Educating Kidnappers 11.02 310 45,000 243,000
6. Hearty Paws 10.26 258 42,700 722,400
7. Righteous Ties 10.19 257 37,000 1,547,000
8. Traces of Love 10.26 243 36,400 611,100
9. The Guardian 11.02 103 27,800 87,300
10. Radio Star 9.27 67 13,800 1,817,700

(Source: Film2.0)

Random Notes and Whatnot

The godfather of Korean rock music, Shin Joong-hyun got a write-up in the New York Times this weekend, by Norimitsu Onishi. It is a nice enough piece, although slightly slight and not breaking any new ground. I would link to a story I wrote about Mr. Shin for the Asian Wall Street Journal in the summer, but like most WSJ stuff, you need a paid subscription to read it (as you will for the NYT story in a week). You can, however, read about my WSJ story in this Korean government website story.

How did I miss this bit of news? It looks like miniskirts and hot pants will no longer be illegal in South Korea. Hard to believe it, but technically both are still no-nos… weird morality-law holdovers from the 1970s, although this law has not been enforced in ages. Korea still has far too many unenforced laws like that one. Like that old saying “Everything is permitted, but nothing is legal.” Now, if only the government would scrap the cabaret laws which destroy Korea’s live music scene.

Asian movie companies are making a bigger presence at this year’s American Film Mart (the biggest film market in North America), although the overall market seems to be rather slow this year.

Nothing to do with Korea or Asian culture, but here is a link where you can look at 100 Hubble telescope pictures of the galaxies. Very cool.

Tokyo in Trouble?

There’s an interesting overview of the Tokyo International Film Festival over at Ryuganji, talking about the problems the Japan fest is facing.

I attending TIFF and its associated film market TIFF-COM last year, but was unable to go this year. But assuming last year’s TIFF was anything like this year’s it is interesting how totally different it feels from the Pusan International Film Festival. Whereas PIFF takes over much of Pusan during its run each year, TIFF is much more overwhelmed by its massive Roppongi Hills home. It is such a happening area, even midweek you can find a large number of cool parties that have nothing to do with the film festival.

Sad to say, I never made it to TIFF’s other locations, so I never got a sense of how busy it is (or is not) there.

Ad-ing Fuel to the Fire

Given that Korean pop music is pretty dreadful, it is always kind of surprising to hear cool music coming from so many advertisements on TV and radio. Sure, there is a lot of pop and mainstream stuff like James Blunt (The Face Shop), Pink (Anycall) and Boa (Olympus). But there is also more interesting stuff like the Clash (LG Telecom), Kings of Convenience (Maxwell House) and The Killers (Shinwha Bank).

Sometimes, however, even cool music can be quite funny (like when LG’s Chai Apartments use Magnetic Fields’ “100,000 Fireflies”, and you hear the line “It makes me want to kill myself”… I doubt that association was what the advertising company was aiming for).

Sometimes, I hear music that I cannot identify, but fortunately we have a couple of websites to help out: www.tvcf.co.kr and www.cfmusic.co.kr. Both sites have a wealth of information about the advertisements currently gracing the Korean airwaves. Unfortunately, you do need to register to have access to most of those sites, and the sites are only in Korean. But if you can dig up an ID and can handle the Korean on the sites, both are extremely useful and fun.

The one ad that has been really bugging me for the last couple of months was the recent Nike ads, featuring Korean and Japanese athletes, and the singer BoA (they made local versions for Korea and Japan, but BoA was in both). I thought the song was really catchy, but had the worst time trying to find out what it was. Googling did not help me out either.

Actually, in this case, even CF-Music and TVCF did not help me enough. Only Naver could help. And even then, “Boa + Nike” did not help at all. But for some reason, “Nike + Boa” brought up the song name in the first hit — Go Team. Good stuff.

Korea Weekend Box Office – Oct. 27-29

THE DEVIL WEARS PRADA was the No. 1 film last weekend, despite a relatively modest rollout (239 screens), thanks to Korea’s plethora of On Style-watching young women. On Style is a TV station in Korea popular with young professional women… the kind of channel that shows a lot of SEX & THE CITY and FRIENDS and OPRAH. Over the last few years, that demographic has become the main driving force of many trends over here. Young Korean women watch more TV than men do, go to Starbucks, eat at TGIFRidays and, of course, shop.

TRACES OF LOVE, the opening film from the Pusan Film Festival, opened in second. I have nothing special to say about this melodrama (I already made a few comments in my PIFF opening story a couple of weeks ago).

TAZZA bounced back to No. 3 this week, and has now topped 6-million admissions, making it the about the eight-biggest movie ever in Korea (depending on who’s counting).

ONE PIECE is some silly Japanese animation. Don’t feel bad if you have never heard of it.

This Week Title…………………………………. Release Date Screens Nationwide Weekend Attendance (Seoul only) Total Attendance
1. The Devil Wears Prada 10.26 239 129,800 479,000
2. Traces of Love 10.26 315 101,900 420,100
3. Tazza: The High Rollers 9.27 367 84,000 6,181,000
4. Righteous Ties 10.19 381 79,000 1,217,000
5. Hearty Paws 10.26 309 76,700 400,700
6. Radio Star 9.27 190 39,400 1,733,700
7. One Piece 10.26 140 9,500 36,300

(Source: Film2.0)

Tazza – More Guppy Than Shark

Movies about gambling have given us some great stories over the years — Paul Newman’s THE HUSTLER, Matt Damon in ROUNDERS, Chow Yun-Fat in GOD OF GAMBLERS… Tom Cruise and Newman again in THE COLOR OF MONEY. (And, of course, there are plenty of movies about the gambling business, Las Vegas and the like, CASINO, BUGSY, THE STING, but I am referring more to movies about gambling itself, about the psychology of gambling, and not so much about movies that use gambling as a backdrop to tell another story).

So I was pretty interested in Choi Dong-hun’s stylish card-shark movie, TAZZA: THE HIGH ROLLERS (also known as WAR OF FLOWER, before CJ Entertainment wisely changed its English name). (And, yes, I am a month late here, but I finally saw the movie last weekend). Much like Choi’s first film, THE BIG SWINDLE, TAZZA offered oodles of style, but unfortunately, it did not offer much more than that, as an inspired opening soon gave way to cliche.

TAZZA certainly has plenty of style. Everyone seems to be dressed in eye-popping colors, with kind of an over-the-top ’70s garish thing going on (but in a good way). And the music is perhaps the best movie soundtrack music I have ever heard in a Korean film. Just avoiding the usual Japanese snorefest or Korean bombast is a step in the right direction, but this really was first rate. Sexy, slinky, totally fit the mood.

The story, however, does not measure up to the style. Here is how CJ Entertainment described the film:

Goni (Cho Seung-woo) leads a boring life working at a small furniture factory. One day he becomes a victim of a con game and loses his family’s fortune. Running away from home, Goni wanders from town to town. By fate, he meets Pyeong (Baek Yoon-shik) who is one of 3 Tazzas (a master Hwatu card player). Under Master Pyeong’s tutorage, Goni aims to also become a Tazza. Nothing is what it seems and no one is to be trusted in the world of high rollers.

So, what do we have? Guy dresses bad, is a weakling and loses at cards. Then he learns from an expert, learns how to fight and starts dressing really well (or at least really flashy). And… that’s about it. Emasculated loser becomes Mr. Big. Nothing particularly wrong with this story, but it is one we have all seen a thousand times before.

There is, of course, a twist or two… none of which thrilled me. Although the train sequence toward the end was pretty amusing (I will not spoil it, though).

My biggest complaint is that the movie never really lets us into the game of hwa-tu, never really lets us into the mind of the players or the dynamics of the game. We see Goni learning how to cheat a lot, but not much else. He learns to deal from the bottom of the deck, how to keep track of the shuffle and a whole bunch of tricks, but we do not learn much about the actual game (an automatic card shuffler like many casinos use these days would pretty much kill this movie). I’m no expert at hwa-tu, but I wonder if the game is inherently limiting in how much drama you can get out of it.

As for the acting… Baek is, as usual, very good. Cho is mostly okay, too. And Kim Hye-soo is surprising good most of the time.

So, to sum up, TAZZA is a run, stylish romp, but do not expect a great story. It was not a terrible story, but it is a little disappointing because it easily could have been so much better.

If you are interested in the game of hwa-tu, there is an online DOS version available here. Unfortunately, www.mrhwatu.com seems to be blocked in Korea. Lots of information and links here.

Kim Il Passes Away

One of Korea’s greatest professional wrestlers, Kim Il has passed away. Kim, who was better known in Japan as Kintaro Ohki, was the man most responsible for bringing pro graps from Japan over to Korea in the 1960s.

Trained by Rikidozan (Kim Shin-rak) in the late 1950s, Kim Il made his debut around the same time as Antonio Inoki (handing Inoki a loss in Inoki’s debut match) and the Giant Baba, although he never acheived the heights of fame and popularity that either of those men did.

While professional wrestling was for many years extremely popular in Korea, it never quite reached the insane levels it did in Japan. And then in the early 1990s, when the local TV stations revealed how wrestling is “fake”, the sport’s popularity plummeted and never really recovered. Now, the WWE does okay when it swings by here once or twice a year, but there is very little local wrestling (despite what THE FOUL KING might have you believe).

I find it incredibly interesting now Korean audiences were never able to come to grips with the unreality of professional wrestling, in a way that never seemed to bother Japanese audiences (or how acknowledging pro wrestling’s scripted side only made the WWE more popular in the late 1990s). Why does that bother some people so much? Who gets upset when they learn that Arnold Schwarzenegger is not really a robot or that the actors playing Romeo and Juliet are not really dead at the end of the play?

(This is not an exclusively Korean problem, of course. In the late Middle Ages/Early Modern era in Europe, when Morality Plays were first catching on, the Church objected to plays largely on the grounds that people would not be able to tell the difference between the story and reality. It is a concern that lives on, from THE LAST TEMPTATION OF CHRIST to THE DA VINCI CODE, from THE PRESIDENT’S LAST BANG to DEATH OF A PRESIDENT). (End of digression).

Professional wrestling, at its best, is extra-large pantomime… telling stories for thousands of people without using any words. Plays might feature a duel or sword fight or whatever to advance their stories, but pro wrestling is basically making the entire play out of the duel, stripping away the words. Sure, it can be vulgar and simplistic and have the air of the Roman Colosseum; but at its best, pro wrestling is fantastic theater.

Anyhow, a Youtube clip of Kim Il versus the Giant Baba, featuring plenty of Kim Il’s famous headbutts. Sweet. Not so sweet, however, is how that Youtube match ends.

(PS: Sorry for the lack of posts, but in this case it is a good thing — the book has been going well. And the book always trumps all over tasks.)

Korea Weekend Box Office – Oct. 20-22

Only a couple of new titles this week, but one of them is the new No. 1 — Jang Jin’s latest, RIGHTEOUS TIES. Jang has had several successes over the past few years, including GUNS AND TALKS (which he wrote and directed), WELCOME TO DONGMAKGOL (he wrote the stage play and the movie, and produced the movie), and MURDER TAKE ONE (wrote the play, wrote the script and directed). On the other hand, he has more than a few “underperformers” next to his name, such as THE SPY, SOMEONE SPECIAL or A MAN WHO WENT TO MARS.

GANGSTER HIGH, on the other hand, had a really impressively poor debut. Just 21,200 tickets sold? (And that includes Thursday night). Given that it was shown on 134 screens, that works out to a $1,000 per screen average. Ouch.

This Week Title…………………………………. Release Date Screens Nationwide Weekend Attendance (Seoul only) Total Attendance
1. Righteous Ties 10.19 476 137,000 631,000
2. Tazza: The High Rollers 9.27 438 129,000 5,689,000
3. Radio Star 9.27 236 69,300 1,538,400
4. World Trade Center 10.12 140 30,000 340,000
5. D.O.A. 10.19 205 27,800 106,800
6. Lady in the Water 10.12 62 10,700 132,600
7. Marrying the Mafia 3: Family Hustle 9.21 181 8,000 3,450,200
8. Gangster High 10.19 134 5,800 21,200
9. Maundy Thursday 9.14 140 2,300 3,140,900
10. Ant Bully 9.27 16 1,600 288,000

(Source: Film2.0)

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