Category: Korean movies (Page 7 of 31)

Oops, I nearly forgot about the box office this week. Sorry about that.

As I predicted, TERMINATOR SALVATION did ridiculously well in Korea last weekend, must as TERMINATOR 3 did a few years ago, making 9.3 billion won ($7.4 million) over Fri-Mon, and a total of 11.1 billion won ($8.8 million) if you include Thursday when it opened. That over 1.4 million admissions (1.7 million including Thursday), easily making it the biggest opening of the year so far in Korea.

Expect a huge drop-off for TERMINATOR next weekend (it was a pretty mediocre film, and there is some big competition looming), but an impressive opening nonetheless.

The top Korean film of the weekend was MY GIRLFRIEND IS AN AGENT (7 Geup Gongmuwon) in third, earning another 1.8 billion won to bring its five-week total to 23.2 billion won ($18.4 million).

In fourth was CASTAWAY ON THE MOON (Gimssi Pyoryugi), earning 1 billion won to bring its total to 3.7 billion won.

Other Korean films in the top 10 were THIRST (Bakjwi) in seventh, INSADONG SCANDAL in eighth and Hong Sang-soo’s LIKE YOU KNOW IT ALL (Jal Aljido Mot Hamyeonsa) in ninth.

I saw LIKE YOU KNOW IT ALL last weekend and quite liked it. Not as much fun as WOMAN ON THE BEACH, but similar in tone. Maybe a little “deeper.” Maybe a little too long. But fun and full of some amusing perspectives on film festivals and artists. It is playing with English subtitles at the CGV Yongsan in Seoul and is totally worth checking out.

(Stats courtesy of KOFIC, as always)

I have no idea how well Bong Joon-ho’s new film MOTHER (Madeo) will do (although as I write this, it handily has the biggest advance sales on the Internet), but it opens Thursday this week. And it too is playing with English subtitles at Yongsan. Funny, the film had great reviews at Cannes pretty much across the board, but apparently the jury members for the section it was in all hated it.

Oh, the Korean title is Madeo. Does that sound like “Mother” to you? Or more like “Murder”? Probably just a coincidence, but the thought amused me.

No big surprises at the box office last weekend. The new film based on Dan Brown’s “symbology” professor Robert Langdon ANGELS AND DEMONS landed in No. 1 with 4.5 billion won ($3.6 million), or 5.2 billion won ($4.1 million) if you include Thursday. Actually, I heard that they never really made a movie, but the Illuminati conspired to boost its box office and make it No. 1 anyway.

MY GIRLFRIEND IS AN AGENT (7 Geup Gongmuwon) continues to do well, taking in another 2.8 billion won ($2.22 million) to bring its total to 20.4 billion won ($16.2 million).

New Korean movie CASTAWAY ON THE MOON (Gimssi Pyoryugi) opened in third, earning 1.8 billion won ($1.4 million), or 2.1 billion including Thursday.

STAR TREK dropped to fourth from second, but it is still doing pretty well for a Star Trek movie in Korea. It made 1.8 billion won to bring its total to 5.6 billion won ($4.4 million).

THIRST (Bakjwi) fell to fifth, although it has squeaked past 2 million admissions. It has now made 13.5 billion won ($10.7 million).

Other Korean films this week include INSADONG SCANDAL and CYBORG SHE. Well, depending on whether you consider CYBORG SHE a Korean film. It was written and directed by Kwak Jae-young, but it is a Japanese-language movie with a Japanese cast and was completely financed by Japanese companies. Welcome to globalization… nations coming together to make utter dreck.

Any way you look at it, this May is shaping up to be much, much better than last year, when Korean films dropped to just 7.8 percent of the box office. That was brutal.

It is just too bad that Bong Joon-ho’s MOTHER is not coming out until the 28th. I bet that film is going to do huge business; if it came out a week earlier, it could have helped Korean movies have their strongest Mays in years.

As it is, I am guessing TERMINATOR 4 is going to do some huge business here. TERMINATOR 3, if you recall, had what was then the biggest opening weekend ever in Korea. And that film was terrible. TERMINATOR 4 looks brilliant and plenty of fun, so should be pretty strong.

Korea is getting plenty of coverage in The Hollywood Reporter at this year’s Cannes Film Festival. Not surprising, really, given all the Korean films there this year.

There is a Q&A with Bong Joon-ho here, and another one with Park Chan-wook.

There is also this interesting story about the state of Southeast Asian cinema. And this overview of the Japan film industry. And this Q&A with Ang Lee.

I’ll add more stories as I come across them.

(Note: If you check out some of the following stories, you might notice that none of them are by me. I have been very slow to mention it here, but I actually stopped writing for THR some months ago, and have instead been putting my energies into some other projects. Which I should talk about soon).

Good news folks — the new Park Chan-wook film THIRST and the new Hong Sang-soo film LIKE YOU KNOW IT ALL are both being shown with English subtitles, beginning tomorrow at the CGV Yongsan theater.

If you can maneuver in Korean, you can see them listed on the CGV website. If you don’t know Korean and don’t know anyone who knows Korean, it would probably be easiest just to head on down to the theater and checking out the timetable while you are there. There are plenty of ways to kill time at the Yongsan Mall if you miss your film’s starting time. Sorry, but the films have a different schedule every day, so I cannot list the start times here.

LIKE YOU KNOW IT ALL is supposed to be one of Hong’s funnier films, at least according to a couple of people close to Director Hong. And it is long — 126 minutes. But if it is funny, like WOMAN ON THE BEACH, then I am okay with the extra time.

I may not be a big fan of THIRST, but I know a lot of people always want to see Park Chan-wook’s films, so good luck seeing it.

And of course, MY GIRLFRIEND IS AN AGENT continues to screen at the Cinus theaters in Seoul with English subtitles (and Japanese).

I just stumbled across these subtitled screenings on the CGV website. There was no official announcement and I cannot find anything about these screenings on Naver, so if I have made a mistake, please let me know.

UPDATE: Paul over at the Hub of Sparkle blog has apparently taken the trouble of listing the screening times and locations of all the English-subtitled films for this weekend. Very nice of him.

So, with big-budget Hollywood summer films filling theaters, along with the high-concept, hotly anticipated Park Chan-wook movie, what film takes the top spot last weekend? MY GIRLFRIEND IS AN AGENT (7-Geup Gongmuwon), the silly action-comedy. Not sure if that makes me shudder or if it warms my heart. A bit of both.

AGENT made 2.9 billion won ($2.2 million) over the weekend, bringing its total to 16.2 billion won ($12.5 million). Or 2.47 million admissions, if you prefer. Regardless, it is definitely a hit. Will be interesting how it holds up over the next couple of weeks. I think 3 million admissions should be safe, but 4 million might be asking too much of it.

The JJ Abrams reboot of STAR TREK did fairly well, considering how Trek-averse the Korean market usually is, making 2.6 billion won over the weekend ($2 million), and 2.9 billion won total since Thursday.

Park Chan-wook’s THIRST (Bakjwi) dropped pretty dramatically from last week, making just 1.9 billion won ($1.5 million) over the weekend — that is down from 5.6 billion won last weekend. With 1.75 million admissions so far, it looks like it will pass 2 million, but 3 million will be a reach (unless perhaps it does very well at Cannes).

INSA-DONG SCANDAL keeps chugging along, again in fourth, earning 1.4 billion won to bring its total to 6.0 billion won.

WOLVERINE dropped a lot, too, earning just 1.3 billion won last weekend, after making 3.4 billion won last weekend.

There were no other Korean films in the top-10, but we did have a Japanese film in seventh (the anime KERORO GUNSO THE SUPER MOVIE 4: GEKISHIN DRAGON WARRIORS) and a French film in ninth (also animated, WHITE TUFT, THE LITTLE BEAVER).

Park Chan-wook’s THIRST (Bakjwi) opened strong last weekend, easily taking the No. 1 spot with 5.61 billion won ($4.4 million). THIRST had 821,000 admissions over the weekend (and 1 million since Thursday), far surpassing the 472,000 for I’M A CYBORG BUT THAT’S OKAY, and just slightly less than the 870,000 for LADY VENGEANCE.

In second is the second week of MY GIRLFRIEND IS AN AGENT (7 Geup Gongmuwon), which made 3.50 billion won ($2.7 million) to bring its 10-day total to 10.4 billion won ($8.1 million).

WOLVERINE opened only in third, but it was a relatively good opening for the franchise — 3.40 billion won ($2.7 million) for WOLVERINE versus 3.66 billion won for X-MEN 3 ($2.9 million).

INSADONG SCANDAL opened in fourth, with 2.38 billion won over the weekend for a total of 2.89 billion won ().

With Korean films taking in three of the top four spots at the box office, looks like they will not tank as badly as they did last May, when Korean movies accounted for a paltry 8 percent.

Something else I found interesting is how many screens are now available for movies. A few years ago, when THE HOST opened on over 800 screens, a lot of people complained about big movies “monopolizing” the theaters. But this week, even though THIRST was on over 600 screens, AGENT and WOLVERINE had over 500 and INSADONG had over 400. Even the rest of the top-10 films all had plenty of screens.

So how well will THIRST do? Well, it’s biggest competition in the coming weekend is the new STAR TREK film — which, while it looks good, has never been a strong franchise in South Korea. But the following week, the competition will really ramp up. If I were to venture a guess, THIRST might squeak over 3 million admissions, but it is going to be tough.

One interesting sign, though — when I look at the movie ticket reservation chart, as of Tuesday morning, AGENT is ahead of THIRST, 22.64% to 22.63%. Not a lot, but it suggests that AGENT is getting stronger word of mouth and could do better over the long haul.

Yesterday I went to see Park Chan-wook’s new film, THIRST (Bakjwi in Korean). And like most of his films, this one is heavy on atmosphere and light on logic, as much blood is spilled in exotically retro buildings, but for little purpose.

As you have probably heard, THIRST is a vampire movie. Song Gang-ho stars as a Catholic priest named Sang-hyun who goes to Africa to participate in a strange medical vaccine experiment and comes back to Korea a vampire. In Korea he meets up with an old childhood friend has an affair with his friend’s odd wife (Kim Ok-vin, spelling her name just as oddly).

I will try to avoid spoilers in this little review, but take care, depending on how sensitive you are about such things.

Many people are calling it a return to form for Park, and it is much more reminiscent of OLDBOY and his violence trilogy, at least in terms of visuals and “shocking” scenes. THIRST definitely looks great (thanks to the always amazing design work of Ryoo Seong-hee) and the editing and shooting are extremely well done. In fact, this is probably Park’s best camerawork yet, with almost every scene presented very creatively and interestingly.

I also thought this was the most David Cronenberg-like film Park has made, with the medical/science overtones of the film, the plentiful and gross wounds (a la VIDEODROME) and the nasty broken fingernails (a la THE FLY).

However, there was a lot about THIRST that I did not like. Most seriously, the story is very silly and for the first 90 minutes it is quite dull (although it does pick up in the last 30 minutes). Because all the characters in THIRST are so stylized and odd, I had little concern for or interest in any of them. And nothing makes a film less shocking than when a director is deliberately trying to shock (with the possible exception of Peter Jackson’s MEET THE FEEBLES, which was truly and wonderfully revolting).

One problem I had with Park’s previous film, I’M A CYBORG BUT THAT’S OKAY was that, despite the film being set in a mental institution, it felt like Park did not know anything about mental illness. This time, despite the vampire theme, it seems like he does not know much about the vampire genre. He does not add anything new to the mythos, or use vampirism to make any interesting comments on society, religion or the like.

Sang-hyun’s “descent into depravity” was not even terribly deprave really. He has a bunch of sex, drinks some blood, sucks some toes… Not much to write home about. The story really, really drags for the first 90 minutes rather pointlessly.

**SPOILER COMING, KIND OF**

The film only really picks up when woman Tae-ju changes, about 30 minutes before the end of the film. Again, this is nothing we have not seen before, but at least it is pretty amusing and she gives the movie a lot more action and energy. Kim’s acting here is quite good, and she plays evil quite well.

**SPOILER OVER**

Despite the spike in energy for the last 30 minutes, the end does not really work either. Sure it looks nice, but it makes little sense if you think about it. And the final shot is quite reminiscent of several other vampire movies.

Oh, and I really disliked just about everything with Shin Ha-kyun. Usually he is such a good actor, but in this role he was quite the ham. Not sure, though, how much of that was his acting and how much was the character he was playing.

Will you like the film? Hard to say… Even if you are a hard-core Park Chan-wook fan, this is an odd film. There is not much action or horror in it for genre fans, nor many ideas to think about for the arthouse crowd. But I have never been a huge fan of director Park (mostly because I think he is so talented, he should be using his talents on better scripts), so many I am missing something his fans appreciate. Certainly Park’s camerawork is more athletic than ever, and often is quite breathtaking. But overall, I thought THIRST was quite poor… and too often outright ridiculous.

UPDATE: Kim Kyu Hyun over at Darcy’s website has his review up of THIRST. Quite positive and an interesting contrast to my (more accurate) review.

UPDATE 2: Derek Elley of Variety has also weighed in about THIRST, and apparently has felt much the same way that I did about it.

* * *

On a totally different note, kudos to Home CGV for showing the old virus film OUTBREAK today, as the world worries about a potential outbreak of swine flu. Kind of funny, I thought. I just wish they had dedicated the day to showing all virus-related films, like 28 DAYS LATER or even the old classic PLAGUE.

Sorry to be late with the box office this week. Traveling to the Far East Film Festival in Udine, Italy had me a tad busy.

And as long as I am apologizing, sorry about slagging MY GIRLFRIEND IS AN AGENT last week. The film did not officially open until May 22. AGENT’s seventh-place showing last week was all pre-sales and sneak previews. I should have noticed that, but apparently reading a calendar is too complicated for me.

This week, however, MY GIRLFRIEND IS AN AGENT opened strongly in No. 1, with nearly 4 billion won ($3.0 million) over the weekend on 555 screens. Credit Kim Ha-neul with giving the film some pretty broad appeal around the peninsula.

Other Korean films were SHADOW KILL (Geurimja Salin) in fourth, with 1.1 billion won ($815,000) over the weekend for a total of 11.8 billion won ($8.7 million). BREATHLESS (Ttongpari) landed in seventh at 204 million won ($151,000) for a total of 499 million won ($370,000).

BREATHLESS, btw, is the latest small film to break out of the arthouse ghetto, thanks to good reviews and strong word of mouth. I doubt it will do OLD PARTNER business, but it is still good to see smaller movies doing well.

It was also quite a week for international cinema in Korea — BANLIEUE 13: ULTIMATUM of France was in fifth, THE LEGEND OF IP MAN of Hong Kong was in ninth and THE ADMIRAL of Russia was in tenth.

By the way, Park Soo-mee wrote a very interesting article about Academy-Award-winning films in the Korean market for The Hollywood Reporter. Basically, the point of the article is how, after years of poor box office, the big Oscar-winners have done relatively well this year. Park’s key points:

With few exceptions–such as the Oscar winners “Chicago,” which sold 1.4 million tickets here in 2003, and “American Beauty,” which sold 400,000 tickets in Seoul alone in 2000–Oscar films that celebrate story, acting and craft typically are passed over for Hollywood blockbusters that showcase action, effects and animation.

On the whole, Korea’s taste for non-mainstream films has thinned over the last decade, widening the gap between commercial film fans and art house fans, leaving little to no room on the marquee for Oscar films whose sensibilities often fall right in between.

So what is a film distributor to do? A Mary Poppins strategy of a spoonful of sugar to help the medicine go down — the medicine in this case being artsy films, and the sugar being smut:

When local film promotion company Ruby Kino planned the Korean marketing for the March release of the Oscar winner “The Reader,” the company had to find a way around a common pitfall.

The film, about an affair between a teenage boy and an older woman in post-war Germany, was seen as too radical for mainstream Korean tastes. No matter that Kate Winslet won an Oscar for her performance. Oscar nominees, even winners, have seldom become hits here.

To avoid the same lackluster commercial fate as many past Oscar winners, Ruby Kino needed a marketing strategy. It decided to focus on the film’s nudity and the response was almost immediate.

“The Reader,” which was scheduled to release March 26th on 150 screens, instead went wider–to 204 screens–and has sold an unusually large number of matinee tickets to Korean stay-at-home wives.

Nicolas Cage’s KNOWING was really the top film in Korea last weekend? Really? That’s kind of depressing. And with 462,254 admissions (3 billion won)?

Also depressing is the big opening of MY GIRLFRIEND IS AN AGENT (7-Geup Gongmuwon). But considering it opened on “just” 225 screens, I guess the theater owners were smelling a dog.

In general, a really bad week for Korean movies. Just three in the top-10, with SHADOW KILL (Geurimja Salin) in No. 2, MY GIRLFIREND IS AN AGENT in No. 7 and WHY ARE YOU HERE IN OUR HOUSE? (Uri Jibe Wae Wassni) in No. 8. Overall, the Korean share of the box office has fallen to 44.6 percent.

Although in the absence of Korean films, it was not all Hollywood — BANLIEUE 13: ULTIMATUM from France was third and THE LEGEND OF IP MAN from Hong Kong was in fifth.

Aha — at last Jun Ji-hyun’s BLOOD: THE LAST VAMPIRE has a date for the Korean cinemas. June 11, at least according to Cine 21.

And so does Hong Sang-soo’s new film, JAL ALJIDO MOTHAMYEONSEO — it comes out May 14.