Category: Korean movies (Page 21 of 31)

The big-budget, cgi-fest D-WAR continued its strong opening over the weekend, taking in 2.95 million admissions, or about $20.1 million, since its opening Wednesday, according to its distributor Showbox. That works out to the second-best opening ever in Kore, ahead of SPIDER-MAN 3, and just behind THE HOST.

(Note: I have no idea where Film 2.0 got their low numbers from this week. The official boxoffice system, KOBIS, had 2.7 million admissions off of 94% of the national boxoffice. But Showbox’s official number was 2.95 million).

Given the weak word of mouth on D-WAR, I would be surprised if it makes it to 10-million admissions. It will do well, but I think THE HOST’s record is safe.

The No. 2 spot went to CJ Entertainment’s MAY 18, earning nearly $5 million over the weekend to bring its 11-day cum to about $23.2 million (3.4 million admissions, according to CJE).

The Korean horror film EPITAPH, distributed by Studio 2.0, opened a somewhat disappointing fifth, earning about $2 million.

Together, those three films accounted for over 78% of the national boxoffice last weekend, a nice turnaround after three months of Hollywood domination.

Title – Weekend Admissions – Total Nationwide Admissions
1. D-War – 1,931,947 – 2,770,563 (Korean)
2. May 18 – 932,557 – 3,219,124 (Korean)
3. Die Hard 4.0 – 259,631 – 2,956,606
4. Ratatouille – 188,553 – 703,101
5. Epitaph – 185,414 – 296,580 (Korean)
6. Transformers – 115,260 – 7,276,979
7. 1408 – 108,793 – 170,965
8. Harry Potter and the Long Title – 70,703 – 3,652,325
9. Evan Almighty – 26,269 – 228,447
10. Hitcher – 10,873 – 18,268
(Source: KOBIS)

Okay, I was wrong about Shim Hyung-rae’s dragon tale D-WAR. It is not a guilty pleasure movie. It is not a movie for 10-year-olds. It is just plain old bad. Possibly — just possibly — amusing for university sophomore geeks who are really liquored up and/or burning through a garbage full of weed. But even for a mindless dork like myself, it was pretty brutal.

[Shudder…]

Fortunately for the producers and distributors, “good” is not a terribly important quality in getting people to go to the theaters. Exhibit A – HULK. Which, the more that I think about it, is an apt comparison. HULK was a lousy, lousy film, with bad CGI and a non-story. And Shim once starred in the not-so-classic film HYEONG-RAE AND THE HULK.

HULK pulled in $130 million or so at the US box office back in 2003, and D-WAR is apparently going to quite well, too (2.2 million admissions, as of Saturday night).

I assume I do not need to recount the plot at this point. It is widely known already… plus there is not much to recount. Big snake wants girl. TV news guy tries to keep girl from snake. There is much exposition. There are flashbacks. The flashbacks have flashbacks. Words like “Imoogi”, “Baruki” and “Yowijoo” get mentioned a lot, but no one laughs. Finally the special effects kick in.

More than the wooden acting and silly story, the entire film has an odd, through-a-prism feel to it. It looks like an American action/fantasy film on the surface, you can recognize all the bits and pieces… but it feels constantly unreal from start to finish. As if the whole film was out of focus (mentally/metaphorically, that is). It was like an abstraction of an abstraction.

As far as design goes, it totally looked like LORD OF THE RINGS meets CHINESE GHOST STORY.

The best part of D-WAR, hands down, was Craig Robinson (who plays Darryl in THE OFFICE). He must have re-written all his lines, because they are the only natural-sounding, believable lines in the whole film. He was even funny in parts.

Second-best part – it is barely 90 minutes long. Down from the 107 minute version Variety reviewed last November (although it felt even longer than PIRATES OF THE CARIBBEAN 3: AT WORLD’S END).

Luckily, when I got home, I discovered that FOX-TV was showing a 16-hour BATTLESTAR GALACTICA marathon. A few episodes washed away the worst of the mental grime.

….

Against the odds, the expert predictions, and good sense, D-WAR looks like it is going to be a hit in Korea. The $32-million monster movie was released on Aug. 1 with a bang, and it is looking strong. D-WAR made about $2.8 million on Wednesday alone (417,000 admissions), then made another $3.3 million yesterday.

With such a good start, Showbox is now predicting D-WAR will pull in around 2-2.5 million admissions by the end of Sunday (up to $17 million). That’s like THE HOST and SPIDER-MAN 3 money. I don’t think anyone would have predicted an opening that good.

The question now is how well will it sustain. What will the word of mouth be? The story might be weak, but with the kids out of school now, things could be looking good for the creature feature.

And, really, why not? Giant dragons, monsters with rocket launchers attached… Sounds like the stuff of dreams, when I was back in my Lego days.

Sorry, too busy with the book again for more than a quick run-down.

Title – Weekend Admissions – Total Nationwide Admissions
1. May 18 – 284,200 – 1,325,000
2. Die Hard 4.0 – 127,200 – 2,363,800
3. Ratatouille – 82,700 – 279,800
4. Transformers – 63,000 – 6,986,000
5. Harry Potter and the Order of the Phoenix – 53,500 – 3,441,000
6. Evan Almighty – 33,800 – 128,100
7. Muoy – 21,100 – 112,500
8. Alone – 13,900 – 457,500
9. Attack on the Pin-up Boys – 9,200 – 58,100
10. Power Rangers – 4,900 – 89,600

Okay, a couple of brief notes.

This is kind of interesting. At the moment at DVD Empire, THE HOST is the No. 1 selling Blu-ray title. (Is just No. 4 among HD-DVDs, though).

Kind of exciting the other day — I saw my first Blu-ray discs on sale in Korea. At the Evan Records at COEX (same time I saw the Shin Sang-ok collection). It was a sad little collection, though, and I did not see THE HOST among those titles.

Have HD-DVD and Blu-Ray players gone on sale in Korea yet? Last I checked they were not being sold here (at least not legitimately… in Yongsan, anything is possible).

Calling all readers! I could use your help. I am trying to put together a list of the biggest flops in Korean movie history (well, in the last 10 years or so, anyhow), but I am worried about forgetting something obvious (or even not-so-obvious but important). So if you feel like taking a moment to write in your suggestions, I would appreciate it very much.

Of course there is RESURRECTION OF THE LITTLE MATCH GIRL, NATURAL CITY and WONDERFUL DAYS. I have a list of other ideas, but I would be more interested in hearing what you all think. And it does not have to be just financial flops. Films that did so-so commercially but that you think were total dogs could count, too. Whatever you think fits.

Many thanks for your help.

Like many Korean movie fan, I have greatly enjoyed the Korean Film Archives series of classic film releases. But with their latest DVD set, the Archives has really outdone itself. I am, of course, talking about the 5 DVD set of Shin Sang-ok movies that just went on sale a couple of weeks ago.

For just 56,000 won at YesAsia (and less than 50,000 won at Even Records in COEX Mall) you get ROMANTIC PAPA, SEONG CHUN-HYANG, MOTHER & A GUEST, DEAF SAMRYONGI and ONE THOUSAND YEAR OLD FOX.

Perhaps these are not Shin’s most definitive movies — the collection does not include any of his films from the 1950s — but they are not bad at all. ROMANTIC PAPA was a successful home melodrama, and the first movie he produced from Shin Film Company. SEONG CHUN-HYANG was Korea’s first color cinemascope movie. DEAF SAMRYONGI was actually made into a movie in 1929 by Na Do-hyang, but that classic is long since lost; Shin remade the film in 1964. (Incidentally, don’t you wish the Film Archive would have retitled the film DEF SAMRYONGI? Could have made the film much hipper). And finally, ONE THOUSAND YEAR OLD FOX was a rare horror film that was an A-picture, made for first-run theaters like the Myungbo in Chungmuro.

Shin Sang-ok, of course, was one of the most important directors in Korean movie history. He won five Best Picture and Best Director awards at the Asian Film Festival during the 1960s. He worked with the Shaw Brothers and Golden Harvest in Hong Kong. And most famously, he and his wife were kidnapped by North Korea in 1978, where they were forced to make movies until they defected to the West in Vienna in 1986.

And just to add a wonderful coda of the absurd to his life (as if North Korea were not enough), he moved to Hollywood in the 1990s, where he made the THREE NINJA movies.

When I met him at the Pusan Film Festival in 2000, after a screening of his FLOWER IN HELL, he was not at all apologetic about making kiddie films in Hollywood. he said matter-of-factly that he quite enjoyed making movies with good equipment and multiple cameras and the like, which more than made up for the lack of artistic freedom (and commercial indifference) in South Korea.

Also notable was how at that informal Q&A after the screening, Shin moved effortlessly between Korean, English and Japanese, answering whatever questions in whatever language they were posed.

Btw, Shin’s first movie contribution, VIVA FREEDOM, on which he served as production designer, was the first movie issued by the Film Archive. You can still find it online and around Seoul.

Now if only someone will publish Shin’s 1958 film A FLOWER IN HELL…

Well, one minor mystery solved. A few weeks ago, Mike noted in a comment that my chart’s admissions for PIRATES OF THE CARIBBEAN: AT WORLD’S END had actually fallen between weeks. I was interested in the difference, but did not follow up.

However I just figured it out. About three weeks ago, Film 2.0 changed how it compiled box office data. Instead of compiling the charts themselves, the Film 2.0 crew decided to start using the official KOBIS data. KOBIS is much more accurate, but it does not track all the screens in Korea. At the moment, it claims to account for 94% of the nationwide box office. I guess this means I will be using KOBIS, too (although I will use the studios’ numbers when they send me those stats).

Anyhow, once again Hollywood dominated. The movie listings at my local multiplexes basically looked like Die Hard, Die Hard, Transformers, Harry Potter, Harry Potter, Alone, Transformers, Die Hard, Cut. Not a lot of variety going on.

DIE HARD 4.0 (I prefer that title to the American LIVE FREE OR DIE HARD) opened fairly strong, with $10.9 million, which is the biggest ever Fox film in Korea. Whatever that means.

HARRY POTTER, TRANSFORMERS, blah blah blah…

Much more interesting, though, was the No. 4 film, ALONE (called SIAM here, for no good reason I could see). ALONE, a horror film from Thailand, opened pretty strongly — about $2 million or so. I was quite impressed. ALONE’s directors (there are two) had a pretty successful previous film in SHUTTER, but still, for some obscure Thai horror movie to come in fourth? Nice. I hope we will see more international films like that.

Title – Weekend Admissions – Total Nationwide Admissions
1. Die Hard 4.0 – 698,500 – 1,465,100
2. Harry Potter a Side Order of Phoenix – 427,800 – 3,001,600
3. Transformers – 386,800 – 6,508,600
4. Alone (Siam) – 137,400 – 295,800
5. Cut – 71,000 – 529,700
6. Power Rangers Magic Force – 31,100 – 66,000
7. Black House – 6,800 – 1,314,600
8. Descent – 3,500 – 227,900
9. Lady Chatterly – 2,100 – 9,300
10. Shrek 3 – 1,300 – 2,819,600

CJ Entertainment is releasing its big summer blockbuster on Wednesday, a $10 million saga recounting the Gwangju Massacre of 1980 called MAY 18. The Korean title, HWARYEOHAN HYUGA (or “Splendid Vacation”), refers to the code name the military had for their operations in Gwangju at the time.

The Gwangju Massacre (also called the Gwangju Uprising) has been tackled several times in the media, mostly in the 1990s. The most significant was probably in Kim Jong-hak and Song Ji-nah’s television series SANDGLASS, which was one of the highest-rated television shows of all time. In movies, there was Jang Sun-woo’s A PETAL, Lee Chang-dong’s PEPPERMINT CANDY (probably the best one, although I found it a bit too fatalistic for my liking)… And in the early 1990s, there were films with a more political approach, such as the Changsan Gotmae group’s O GUMUINARA (Oh Dreamland) in 1988, Kim Tae-yeong’s HWANGMUJI (The Wasteland) in 1990 and Lee Chung-gook’s BUHALUI NORAE (Song of Resurrection) in 1991.

Anyhow, this version of the Gwangju Uprising story is rather different than all of those. In fact, MAY 18 is pretty much completely apolitical. Instead, it focuses on spectacle and a few interpersonal relationships of some people caught up in the upheaval. Rather like TITANIC, really. Only less political. And less subtle. And less accurate.

The basic set-up of the film is basically fine — protesting students get beaten badly by soldiers, leading to a general uprising of the people of Gwangju.

And I was really impressed by the re-creation of Gwangju in 1980. Not that I was there then. But Gwangju was the first city where I lived in Korea, back in 1996, and many of the events of the movie take place on the same streets I walked. The YMCA is still there, the main intersection in front of city hall. The whole historical look of the movie was my favorite part.

Coincidentally, 1996 was also the year that former presidents Chun Doo Hwan and Roh Tae Woo were put on trial for treason, mutiny and graft. Their trials were inexorably linked to the Gwangju Massacre, and pretty much every day of the trial there were riots down in Gwangju. Big riots. With plenty of tear gas. So watching the events unfold in MAY 18 was really evocative for me, almost hauntingly so.

But the first big showdown on May 20 — the main set piece of the film — is way off. At least as far as I know, the military’s attacks at City Hall featured mostly bayonets and clubs (lots of good information at GUSTS OF POPULAR FEELING, here and here). Just a few shots were fired that day.

But in MAY 18, you get a gigantic hail of gunfire, mowing down hundreds. Considering how the director has said his whole reason for tackling this subject was to educate the younger generation about what happened in Gwangju in 1980, that excess is pretty disappointing.

Of course, hundreds of people who die at Gwangju, many of them by gunfire, but the bullets were not really flying until a few days later when the military retook the city.

That exaggeration, though, is in keeping with the generally shallow portrayal of events. Although the movie tries hard to be apolitical, its understanding of events and motivations is quite shallow: soldiers=evil, Gwangju people=good. Like watching a STAR WARS movie.

One thing that really leapt off the screen at me was just how cliche and simple the story was. Just like WELCOME TO DONGMAKGOL, in terms of having happy, apolitical villagers living their innocent, happy lives, when suddenly they are set upon by evil forces beyond their control. Which makes me wonder how much of DONGMAKGOL was anti-American and how much was just crappy writing.

(On the other hand, if you like that sort of writing, you need not wait long for more — the movie version of THE BRIDGE AT NO GUN RI looks like it will be more of the same when it is released in October).

I also found the movie a little confusing. Considering how director Kim Ji-hoon said that he wants the movie to educate younger people who do not know about the Gwangju Massacre, that is a little disappointing, too. As a fan of history, I am all for examining the past, warts and all. I just wish Korean artists showed an interest in looking at the past with more subtlety and insight.

To be honest, I have no idea how well this movie is going to be received by people in Korea. CJE is convinced it will open big (thanks to its usual huge advertising blitz, the kind of thing that CJ is great at), but how the movie sustains in subsequent weeks will determine how it ends up performing. Much like THE HOST last year, I could see MAY 18 piggybacking off of Hollywood fatigue and capturing much of the local box office. Who knows?

(Btw, many of the historical photos here come from the POPULAR GUSTS blog, with many thanks).

UPDATE: I just found Don Kirk’s article about the Gwangju Massacre, his memories of those events and the movie here. He was one of the journalists there, and you can even see him in a couple of photographs from the period.