Welcome to our weekly rundown of the best new music — featuring big new singles, key tracks from our favorite albums, and more. This week, Doja Cat shares a Teezo Touchdown-assisted B-side, and Vampire Weekend delivers some gangster guitar magic. Plus, a sweet highlight from Young Miko’s debut album, new music from Charli Xcx, Omar Apollo, and a previously unreleased Prince track.
Doja Cat feat. Teezo Touchdown, “Masc” (YouTube)
Young Miko, “Princess Peach” (YouTube)
Vampire Weekend, “Prep-School Gangster” (YouTube)
Charli Xcx, “B2b” (YouTube)
Prince, “United States of Division” (YouTube)
Omar Apollo,...
Doja Cat feat. Teezo Touchdown, “Masc” (YouTube)
Young Miko, “Princess Peach” (YouTube)
Vampire Weekend, “Prep-School Gangster” (YouTube)
Charli Xcx, “B2b” (YouTube)
Prince, “United States of Division” (YouTube)
Omar Apollo,...
- 4/5/2024
- by Rolling Stone
- Rollingstone.com
The historial action drama has become the biggest film of 2023 at the local box office.
Historical action drama 12.12: The Day has surpassed 12 million admissions and $90m at the South Korea box office as of today (January 2), according to the Korea Box-office Information System (Kobis).
The Korean film has been revitalising the local box office, where the only stand-out hit of 2023 had been Don Lee’s crime action franchise film The Roundup: No Way Out, with 10.6 million admissions and $79.8m.
12.12: The Day, released by Plus M Entertainment on November 22, ended the year with more than 11.8 million admissions and $88m,...
Historical action drama 12.12: The Day has surpassed 12 million admissions and $90m at the South Korea box office as of today (January 2), according to the Korea Box-office Information System (Kobis).
The Korean film has been revitalising the local box office, where the only stand-out hit of 2023 had been Don Lee’s crime action franchise film The Roundup: No Way Out, with 10.6 million admissions and $79.8m.
12.12: The Day, released by Plus M Entertainment on November 22, ended the year with more than 11.8 million admissions and $88m,...
- 1/2/2024
- by Jean Noh
- ScreenDaily
Netflix’s latest gift to its loyal binge-watchers was the live-action adaptation of Yu Yu Hakusho, which followed the story of Yusuke Urameshi, a human who was resurrected as a spirit detective to stop evil Yokai from devastating the human world. The anime had no shortage of villains, with the likes of Elder and Younger Toguro, Goki, Bui, and many more. But none of them were more sinister and conniving than Sakyo. Unlike the other villains, Sakyo was a human, but with a sinister motive that posed a tremendous threat to the human world. Sakyo wanted to open a portal and see the end of humanity. If you still haven’t streamed Yu Yu Hakusho, do it now.
Spoilers Ahead
What Did Sakyo Want From The Sinkhole?
Yu Yu Hakusho introduced Sakyo as a man in his mid-thirties sporting a black suit and long hair. He was a casino owner...
Spoilers Ahead
What Did Sakyo Want From The Sinkhole?
Yu Yu Hakusho introduced Sakyo as a man in his mid-thirties sporting a black suit and long hair. He was a casino owner...
- 12/15/2023
- by Rishabh Shandilya
- Film Fugitives
Jordan Peele is staying in business with Universal Pictures, as the studio has just set an untitled fourth film from the “Nope” writer/director for release on Dec. 25, 2024. Additionally, an untitled horror/thriller from Peele’s Monkeypaw Productions will open in theaters on Friday, Sept. 27, 2024.
Other movies dated for Christmas 2024 include James Cameron’s third “Avatar” movie and the third movie in the “Sonic the Hedgehog” film franchise. Recently, Broadway adaptation “Wicked, Part 1” scooted out of the Christmas timeframe to occupy a new Thanksgiving slot. “Wicked,” like the Peele project, will be released by Universal.
Peele’s feature directorial debut, “Get Out,” was released by Universal in 2017 and grossed over $255 million against a budget of just $4.5 million. On top of being an astounding commercial success, it netted Peele a Best Original Screenplay Oscar with additional nominations for Best Picture, Director and Actor. That Academy Award-winning screenplay, about a Black man...
Other movies dated for Christmas 2024 include James Cameron’s third “Avatar” movie and the third movie in the “Sonic the Hedgehog” film franchise. Recently, Broadway adaptation “Wicked, Part 1” scooted out of the Christmas timeframe to occupy a new Thanksgiving slot. “Wicked,” like the Peele project, will be released by Universal.
Peele’s feature directorial debut, “Get Out,” was released by Universal in 2017 and grossed over $255 million against a budget of just $4.5 million. On top of being an astounding commercial success, it netted Peele a Best Original Screenplay Oscar with additional nominations for Best Picture, Director and Actor. That Academy Award-winning screenplay, about a Black man...
- 3/20/2023
- by Drew Taylor and Adam Chitwood
- The Wrap
Prolific Japanese film director Miike Takashi and Indonesian genre specialist Kimo Stamboel will be among the star names in the ‘On Screen’ section of the Busan International Film Festival given over to TV series.
Miike has made “Connect,” a Korean-language crime fantasy thriller about a man who is kidnapped and has one of his eyes removed by a gang of organ harvesters and transplanted into the body of a notorious serial killer. The unwilling donor now has terrible visions as he witnesses terrifying attacks on the residents of Seoul. The show was written by Nakamura Masaru and Heo Dam (“Monstrum”).
It features Korean talent including Jung Haein in the lead role and Ko Kyungpyo as the serial killer, and Kim Hyejun as the mysterious Irang.
The 6-part, 45 mins per episode series is produced by Studio Dragon and is to be presented as a Star Original on the Disney+ streaming platform.
Miike has made “Connect,” a Korean-language crime fantasy thriller about a man who is kidnapped and has one of his eyes removed by a gang of organ harvesters and transplanted into the body of a notorious serial killer. The unwilling donor now has terrible visions as he witnesses terrifying attacks on the residents of Seoul. The show was written by Nakamura Masaru and Heo Dam (“Monstrum”).
It features Korean talent including Jung Haein in the lead role and Ko Kyungpyo as the serial killer, and Kim Hyejun as the mysterious Irang.
The 6-part, 45 mins per episode series is produced by Studio Dragon and is to be presented as a Star Original on the Disney+ streaming platform.
- 9/7/2022
- by Patrick Frater
- Variety Film + TV
Sometimes a film gets stuck in release hell due to events out of the production and distribution companies’ hands. Kim Ji-hoon’s “I Want to Know Your Parents” is one such feature. A production that has been ready since 2017, long before Kim’s latest release which was last year’s “Sinkhole”, but had to be shelved because of allegations of sexual harassment against actor Oh Dal-su in the early days of Korea’s #metoo movement. However, since his name was cleared by the courts in Korea, films involving him are starting to find their way into theatres and “I Want to Know Your Parents” is easily the most high profile of the gestating projects.
Synopsis
Kim Geon-woo, student of the prestigious Haneum International Middle School attempts suicide, but not before naming four of his classmates for incessantly bullying him and driving him towards the step. All four perpetrators are children...
Synopsis
Kim Geon-woo, student of the prestigious Haneum International Middle School attempts suicide, but not before naming four of his classmates for incessantly bullying him and driving him towards the step. All four perpetrators are children...
- 4/6/2022
- by Rhythm Zaveri
- AsianMoviePulse
Sales of cinema tickets rose but exports plummeted across a second year impacted by the pandemic.
South Korea’s film industry slowed a decline in takings during the second year of the pandemic with market earnings down 3.5% to $842.6m.
A report by the Korean Film Council (Kofic) into sales and distribution on all platforms as well as exports of rights and services revealed that takings were down year-on-year from an estimated $872.5m in 2020.
However, it is far from the dramatic drop of 58% experienced after the first year of the pandemic, when takings fell from the $2.07bn recorded in 2019.
The main...
South Korea’s film industry slowed a decline in takings during the second year of the pandemic with market earnings down 3.5% to $842.6m.
A report by the Korean Film Council (Kofic) into sales and distribution on all platforms as well as exports of rights and services revealed that takings were down year-on-year from an estimated $872.5m in 2020.
However, it is far from the dramatic drop of 58% experienced after the first year of the pandemic, when takings fell from the $2.07bn recorded in 2019.
The main...
- 3/3/2022
- by Jean Noh
- ScreenDaily
Sales of cinema tickets rose but exports plummeted.
South Korea’s film industry slowed a decline in takings during the second year of the pandemic with market earnings down 3.5% to $842.6m.
A report by the Korean Film Council (Kofic) into sales and distribution on all platforms as well as exports of rights and services revealed that takings were down year-on-year from an estimated $872.5m in 2020.
However, it is far from the dramatic drop of 58% experienced after the first year of the pandemic, when takings fell from the $2.07bn recorded in 2019.
The main cause of the decline last year was the...
South Korea’s film industry slowed a decline in takings during the second year of the pandemic with market earnings down 3.5% to $842.6m.
A report by the Korean Film Council (Kofic) into sales and distribution on all platforms as well as exports of rights and services revealed that takings were down year-on-year from an estimated $872.5m in 2020.
However, it is far from the dramatic drop of 58% experienced after the first year of the pandemic, when takings fell from the $2.07bn recorded in 2019.
The main cause of the decline last year was the...
- 3/3/2022
- by Jean Noh
- ScreenDaily
South Korean cinema last year squeezed out a gain of 14% compared with 2020, but 2021’s major box office honors went to foreign movies, not the normally dominant local film sector.
Aggregate gross revenues hit KRW584 billion ($488 million) in 2021, earned from 60.5 million ticket sales, according to Kobis, the data service operated by the Korean Film Council (Kofic). In 2020, revenues were KRW510 million ($426 million), earned from 59.5 million spectators.
In pre-covid times, South Korea was the world’s fourth largest box office market, behind only North America, China and Japan, due to Koreans’ high per capita cinema attendance rate. But Korea has failed to enjoy the same strength of theatrical recovery seen in many other major markets, and both 2021 and 2021 figures are substantially lower than the pre-covid era.
The Korean film industry’s woes at home also stand in sharp contrast to the growing overseas success of Korean music and TV drama overseas.)
The...
Aggregate gross revenues hit KRW584 billion ($488 million) in 2021, earned from 60.5 million ticket sales, according to Kobis, the data service operated by the Korean Film Council (Kofic). In 2020, revenues were KRW510 million ($426 million), earned from 59.5 million spectators.
In pre-covid times, South Korea was the world’s fourth largest box office market, behind only North America, China and Japan, due to Koreans’ high per capita cinema attendance rate. But Korea has failed to enjoy the same strength of theatrical recovery seen in many other major markets, and both 2021 and 2021 figures are substantially lower than the pre-covid era.
The Korean film industry’s woes at home also stand in sharp contrast to the growing overseas success of Korean music and TV drama overseas.)
The...
- 1/5/2022
- by Patrick Frater
- Variety Film + TV
Woo Moo-chi was once the leader of a band of outlaws. He and his right-hand man, Kang Seob, must team up with a motley crew of pirates led by captain, Hae Rang, to embark on a treacherous ocean voyage searching for the lost treasure of the Goryeo royal family. The pirates find themselves fighting for the hidden treasure against rebel, Bu Heung-soo.
This swashbuckling period adventure, also known as The Pirates: Goblin Flag, is a spiritual sequel to the 2014 box-office hit The Pirates. Kim Jeong-hoon (The Accidental Detective) takes over as director with the story by Chun Sung-il, one of the screenwriters from the first movie. It also features a star-studded cast led by Kang Ha-neul (Waiting for Rain), Han Hyo-joo (The Sun Does Not Move), Lee Kwang-soo (Sinkhole), Kwon Sang-woo (Hitman: Agent Jun), Kim Sung-oh (Night of the Undead), Chae Soo-bin (Sweet & Sour) and K-pop idol Sehun from...
This swashbuckling period adventure, also known as The Pirates: Goblin Flag, is a spiritual sequel to the 2014 box-office hit The Pirates. Kim Jeong-hoon (The Accidental Detective) takes over as director with the story by Chun Sung-il, one of the screenwriters from the first movie. It also features a star-studded cast led by Kang Ha-neul (Waiting for Rain), Han Hyo-joo (The Sun Does Not Move), Lee Kwang-soo (Sinkhole), Kwon Sang-woo (Hitman: Agent Jun), Kim Sung-oh (Night of the Undead), Chae Soo-bin (Sweet & Sour) and K-pop idol Sehun from...
- 12/19/2021
- by Suzie Cho
- AsianMoviePulse
Multi-starrer Christmas films have been being released around the holiday season for a while now and the fad seems to have finally reached South Korean shores. After “New Year Blues” last year, this year sees director Kwak Jae-yong, who is no stranger to the mushy romance genre after having made such classics as “My Sassy Girl”, “Windstuck” and “The Classic”, take on a similar project, with a massive star-cast boasting of impressive talents both young and young-at-heart.
Synopsis
The story of people who met each other at Hotel Emros during the New Year holidays, each with their own stories and creating relationships in their own ways.
As expected from the storyline, the characters are divided in both the staff and guests working in the Hotel. The staff comprises of Han Ji-min (“Miss Baek”), who plays the hotel manager, Lee Dong-wook (“The Beauty Inside”) as the hotel’s CEO, Yoona (“Exit”) as the receptionist,...
Synopsis
The story of people who met each other at Hotel Emros during the New Year holidays, each with their own stories and creating relationships in their own ways.
As expected from the storyline, the characters are divided in both the staff and guests working in the Hotel. The staff comprises of Han Ji-min (“Miss Baek”), who plays the hotel manager, Lee Dong-wook (“The Beauty Inside”) as the hotel’s CEO, Yoona (“Exit”) as the receptionist,...
- 11/30/2021
- by Rhythm Zaveri
- AsianMoviePulse
iQiyi announced its 2021 year end to 2022 line-up of new Chinese films and series that bring together award-winning stars including Feng Xiaogang, Joan Chen, Simon Yam, Nick Cheung, Ethan Juan, Richie Jen, Wang Qianyuan and Wang Jingchun, as well as fan favourites Darren Wang, Li Wenhan, Oho Ou, Jason Gu and more. Viewers can look forward to enjoying 26 fresh titles across 7 genres including crime and suspense; heartwarming and inspirational; Asian fantasy; romance; comedy; war and history; as well as animation, available worldwide on the iQiyi International app and on www.iQ.com.
Set to draw the most viewers are iQiyi’s slew of new crime films. Man on the Edge starring Richie Jen, Simon Yam, Alex Fong and Patrick Tam, follows a cop undercover in a Hong Kong drug trafficking ring. Action-packed Wolf Hiding features Nick Cheung, Ethan Juan and Darren Wang in a clash of police and underworld forces. Based...
Set to draw the most viewers are iQiyi’s slew of new crime films. Man on the Edge starring Richie Jen, Simon Yam, Alex Fong and Patrick Tam, follows a cop undercover in a Hong Kong drug trafficking ring. Action-packed Wolf Hiding features Nick Cheung, Ethan Juan and Darren Wang in a clash of police and underworld forces. Based...
- 11/19/2021
- by Suzie Cho
- AsianMoviePulse
Holdover title, “Venom: Let There Be Carnage” comfortably defeated new release “Dune” at the South Korean box office over the latest weekend.
“Dune” managed to earn $2.54 million between Friday and Sunday which was equivalent to a 39% share of the total market. Over its five opening days, the sci-fi epic earned a total of $3.47 million.
“Venom 2” had opened a week earlier with a $6.71 million debut that counts as strong in the current malaise. It dropped 56% from first to second weekends, but still claimed a 46% share of the nationwide theatrical market with a $2.98 million weekend.
As “Venom” retreated, so too did the overall Korean box office. It dropped from $8.17 million the previous weekend to $6.51 million over the latest weekend.
With a $14.1 million cumulative, earned in 12 days, “Venom” is now the eighth ranking film of the year in South Korea. It appears poised to overtake “Shang-Chi and the Legend of the Ten Rings” $15.1 million,...
“Dune” managed to earn $2.54 million between Friday and Sunday which was equivalent to a 39% share of the total market. Over its five opening days, the sci-fi epic earned a total of $3.47 million.
“Venom 2” had opened a week earlier with a $6.71 million debut that counts as strong in the current malaise. It dropped 56% from first to second weekends, but still claimed a 46% share of the nationwide theatrical market with a $2.98 million weekend.
As “Venom” retreated, so too did the overall Korean box office. It dropped from $8.17 million the previous weekend to $6.51 million over the latest weekend.
With a $14.1 million cumulative, earned in 12 days, “Venom” is now the eighth ranking film of the year in South Korea. It appears poised to overtake “Shang-Chi and the Legend of the Ten Rings” $15.1 million,...
- 10/25/2021
- by Patrick Frater
- Variety Film + TV
Korean actor Shin Se-kyong, star of “Tazza: Another Card” and current TV series “Run On,” is the subject of “Another Record,” an unusual documentary film being launched this week at the Asian Contents & Film Market. Showbox, one of Korea’s longest-running film production, distribution and sales companies, is handling rights sales.
The company is pitching “Another Record” as “the unknown story of the well-known Shin Se-kyeong.” Given Shin’s current popularity and her huge social media following (45 million YouTube views of her content) anonymity seems an unlikely status. But the film attempts a fly on the wall approach.
Rather than conduct straightforward interviews with the actor, the film follows Shin as she takes a walk around Seoul, meeting various people, has food, and stops for drinks. While sharing stories, Shin tells parts of her story that she had never revealed before.
The film is directed by Kim Jong-kwan, who previously...
The company is pitching “Another Record” as “the unknown story of the well-known Shin Se-kyeong.” Given Shin’s current popularity and her huge social media following (45 million YouTube views of her content) anonymity seems an unlikely status. But the film attempts a fly on the wall approach.
Rather than conduct straightforward interviews with the actor, the film follows Shin as she takes a walk around Seoul, meeting various people, has food, and stops for drinks. While sharing stories, Shin tells parts of her story that she had never revealed before.
The film is directed by Kim Jong-kwan, who previously...
- 10/11/2021
- by Patrick Frater
- Variety Film + TV
“Shang-Chi And The Legend of The Ten Rings” held on the top place at the South Korean box office for the second weekend. But it failed to sustain overall cinemagoing in what used to be, pre-covid, the world’s fourth largest theatrical market.
“Shang-Chi” earned $2.63 million in its second weekend for a market share of 50%. Its drop from the opening weekend was an okay 44%. And after twelve days on release, it has amassed $10.6 million according to data from the Korean Film Council’s Kobis tracking service. Kobis also shows it to be only the tenth film in Korea this year to attract more than one million spectators.
But “Shang-Chi” alone was not enough to prevent the overall weekend from dipping significantly. Nationwide aggregate cinema business amounted to just $5.26 million this weekend. That was down 35% week-on-week and was the lowest weekend score for more than two months.
The slack levels of...
“Shang-Chi” earned $2.63 million in its second weekend for a market share of 50%. Its drop from the opening weekend was an okay 44%. And after twelve days on release, it has amassed $10.6 million according to data from the Korean Film Council’s Kobis tracking service. Kobis also shows it to be only the tenth film in Korea this year to attract more than one million spectators.
But “Shang-Chi” alone was not enough to prevent the overall weekend from dipping significantly. Nationwide aggregate cinema business amounted to just $5.26 million this weekend. That was down 35% week-on-week and was the lowest weekend score for more than two months.
The slack levels of...
- 9/13/2021
- by Patrick Frater
- Variety Film + TV
“Shang-Chi and the Legend of the Ten Rings,” Marvel’s first movie with an Asian superhero, topped the South Korean box office over its first weekend. But it failed to lift Korean cinema-going to new heights.
The film grossed $4.75 million over the opening weekend, according to data from Kobis, the tracking service provided by the Korean Film Council. Released on Wednesday, it has a five-day cumulative of $6.61 million.
Its Friday to Sunday haul was achieved on 1,783 screens and represented 59% of the national box office haul. The overall weekend total was $8.05 million, a decent bounce from the previous weekend, but also short of the best weekend of the year.
Korean film “Sinkhole” has the biggest opening weekend of the year by a local film with $5.63 million. “Black Widow” earned $8.72 million over its opening weekend in July and $12.1 million in its first five days.
“Hostage: Missing Celebrity” slipped from first place to second.
The film grossed $4.75 million over the opening weekend, according to data from Kobis, the tracking service provided by the Korean Film Council. Released on Wednesday, it has a five-day cumulative of $6.61 million.
Its Friday to Sunday haul was achieved on 1,783 screens and represented 59% of the national box office haul. The overall weekend total was $8.05 million, a decent bounce from the previous weekend, but also short of the best weekend of the year.
Korean film “Sinkhole” has the biggest opening weekend of the year by a local film with $5.63 million. “Black Widow” earned $8.72 million over its opening weekend in July and $12.1 million in its first five days.
“Hostage: Missing Celebrity” slipped from first place to second.
- 9/6/2021
- by Patrick Frater
- Variety Film + TV
“Hostage: Missing Celebrity” held on to top spot at the South Korean box office as new release “Guimoon: The Lightless Door” gave local films the top four chart places over the weekend. But business is being held back by new health measures in the Greater Seoul area that were reintroduced last week.
“Hostage,” starring Hwang Jung-min, was a comfortable winner with a 38% market share, ahead of another holdover “Sinkhole” with 24%, according to data from the Kobis data service operated by the Korean Film Council.
“Hostage” earned $2.48 million on its second weekend of release, down 38% from its debut. Since its Aug. 18. launch it has accumulated $9.59 million.
“Sinkhole” earned $1.55 million on its third weekend. Since its Aug. 11 start in cinemas, it has built a cumulative total of $16.7 million.
“Escape From Mogadishu” held on to third place with a 20% market share and a $1.37 million weekend haul. Since its July 28 debut in Korean theaters it has amassed $25.1 million.
“Hostage,” starring Hwang Jung-min, was a comfortable winner with a 38% market share, ahead of another holdover “Sinkhole” with 24%, according to data from the Kobis data service operated by the Korean Film Council.
“Hostage” earned $2.48 million on its second weekend of release, down 38% from its debut. Since its Aug. 18. launch it has accumulated $9.59 million.
“Sinkhole” earned $1.55 million on its third weekend. Since its Aug. 11 start in cinemas, it has built a cumulative total of $16.7 million.
“Escape From Mogadishu” held on to third place with a 20% market share and a $1.37 million weekend haul. Since its July 28 debut in Korean theaters it has amassed $25.1 million.
- 8/30/2021
- by Patrick Frater
- Variety Film + TV
Three local movies took the top positions at the South Korean box office over the weekend for the first time this year. The chart was headed by “Hostage Missing Celebrity,” which earned close to $4 million.
Produced by Filmmaker R&k and distributed by Next Entertainment World, “Hostage” is a comedy-action movie starring the enduringly-popular, rubber-faced Hwang Jung-min. He plays a celebrity, unimaginatively called Jung-min, who at first believes that his kidnapping is merely a prank. But as the ordeal continues, both he and his tormentors become more desperate. It was directed by first-timer Pil Gam-seong.
Data from the Kobis tracking service operated by the Korean Film Council showed “Hostage” to be followed by last week’s winner “Sinkhole” and another former chart topper “Escape From Mogadishu.” Weekend scores were $3.92 million from 1,285 screens, $2.77 million from 1,250 screens and $1.82 million from 966 screens, respectively.
After five days in cinemas “Hostage” has a $5.41 million total.
Produced by Filmmaker R&k and distributed by Next Entertainment World, “Hostage” is a comedy-action movie starring the enduringly-popular, rubber-faced Hwang Jung-min. He plays a celebrity, unimaginatively called Jung-min, who at first believes that his kidnapping is merely a prank. But as the ordeal continues, both he and his tormentors become more desperate. It was directed by first-timer Pil Gam-seong.
Data from the Kobis tracking service operated by the Korean Film Council showed “Hostage” to be followed by last week’s winner “Sinkhole” and another former chart topper “Escape From Mogadishu.” Weekend scores were $3.92 million from 1,285 screens, $2.77 million from 1,250 screens and $1.82 million from 966 screens, respectively.
After five days in cinemas “Hostage” has a $5.41 million total.
- 8/23/2021
- by Patrick Frater
- Variety Film + TV
Refresh for latest…: Disney/20th Century Studios’ Free Guy leveled up to take the No. 1 spot at the international box office in its sophomore session with $17.1M from 46 markets for a $53.1M cume to date. The overseas drop was a very strong 26%, with some markets seeing increases and amid No. 1 openings in Brazil and Spain. The worldwide gross, including domestic‘s great hold, has topped the century mark with $112M through Sunday.
As we noted last weekend, reviews and word of mouth are propelling Free Guy —
as well as a turn in the weather in some parts of Northern Europe — and overseas legs can be expected with an ultimate multiple well above 4. What’s more, Free Guy on Friday scored a China release date (August 27), meaning it will be only the second Hollywood title to enter the market after this weekend’s Luca (more on that below). Disney has...
As we noted last weekend, reviews and word of mouth are propelling Free Guy —
as well as a turn in the weather in some parts of Northern Europe — and overseas legs can be expected with an ultimate multiple well above 4. What’s more, Free Guy on Friday scored a China release date (August 27), meaning it will be only the second Hollywood title to enter the market after this weekend’s Luca (more on that below). Disney has...
- 8/22/2021
- by Nancy Tartaglione
- Deadline Film + TV
Comedy -action movie “Sinkhole” lifted the South Korea box office over the weekend with a $5.58 million start in theaters.
The debut was the highest weekend score this year by a local Korean movie and trailed only “Black Widow” and “F9.” It was achieved from a launch on 1,604 screens according to data from the Korean Film Council’s Kobis tracking service.
The disaster film was the second directed by Kim Ji-hoon, who previously made another in a similar vein “The Tower” in 2012. It tells the tale of a massive man-made disaster which swallows up a multi-story building and the people in it.
Including traffic from the Wednesday release, the film has a five-day cumulative score of $7.77 million, making it already the eight highest grossing film of the year in Korea.
The strong start lifted the nationwide weekend total to $10.4 million, the second highest weekend of the year. Previously, “Black Widow” grabbed...
The debut was the highest weekend score this year by a local Korean movie and trailed only “Black Widow” and “F9.” It was achieved from a launch on 1,604 screens according to data from the Korean Film Council’s Kobis tracking service.
The disaster film was the second directed by Kim Ji-hoon, who previously made another in a similar vein “The Tower” in 2012. It tells the tale of a massive man-made disaster which swallows up a multi-story building and the people in it.
Including traffic from the Wednesday release, the film has a five-day cumulative score of $7.77 million, making it already the eight highest grossing film of the year in Korea.
The strong start lifted the nationwide weekend total to $10.4 million, the second highest weekend of the year. Previously, “Black Widow” grabbed...
- 8/16/2021
- by Patrick Frater
- Variety Film + TV
Refresh for latest…: Disney/20th Century Studios’ Free Guy led the game at global turnstiles this session with a $51M worldwide debut. That includes domestic’s over-performance of $28.4M, and a $22.5M start in 41 material markets at the international box office — the latter in line with pre-weekend expectations.
The offshore debut on the Shawn Levy-directed pic was 9% above Cruella and 18% below Jungle Cruise in like-for-like markets. This is a solid start for this original piece of IP, and particularly as overseas hubs are still struggling with shifting Covid restrictions. There’s runway ahead, and strong word of mouth should give Free Guy some legs. Think: a potential 4+ international multiple.
The Ryan Reynolds video game-inspired romantic comedy took No. 1s in the UK and Russia as well as Belgium, Israel, the Middle East, Netherlands, Poland, Sweden, Hong Kong, New Zealand, Singapore and more. It opened at No. 2 in Australia and Mexico,...
The offshore debut on the Shawn Levy-directed pic was 9% above Cruella and 18% below Jungle Cruise in like-for-like markets. This is a solid start for this original piece of IP, and particularly as overseas hubs are still struggling with shifting Covid restrictions. There’s runway ahead, and strong word of mouth should give Free Guy some legs. Think: a potential 4+ international multiple.
The Ryan Reynolds video game-inspired romantic comedy took No. 1s in the UK and Russia as well as Belgium, Israel, the Middle East, Netherlands, Poland, Sweden, Hong Kong, New Zealand, Singapore and more. It opened at No. 2 in Australia and Mexico,...
- 8/15/2021
- by Nancy Tartaglione
- Deadline Film + TV
Disaster movies have always found favour in Korean cinema but recently, there has been heightened interest in the genre, with several tentpole productions with big name stars going on the floors and releasing in quick succession. Director Kim Ji-hoon himself is no stranger to the genre either, with his previously released film “The Tower” being in the same vein and “Sector 7” also going strong on the mayhem, thanks to its monster element. While his completed project “I Want to Know Your Parents” still languishes in release hell, his first film to be released in nine years since “The Tower” happens to be “Sinkhole”, also a disaster movie, albeit with a somewhat different treatment this time round.
“Sinkhole” is screening at New York Asian Film Festival
After 11 years of hard work, saving up and frugal living, Park Dong-won manages to buy an apartment for himself which he moves into with his wife and son.
“Sinkhole” is screening at New York Asian Film Festival
After 11 years of hard work, saving up and frugal living, Park Dong-won manages to buy an apartment for himself which he moves into with his wife and son.
- 8/11/2021
- by Rhythm Zaveri
- AsianMoviePulse
Look, sometimes even the snootiest of cinephiles, with the most obscurantist of cinematic palates (generally well served by the Locarno Film Festival selection), just needs a movie about a massive sinkhole. And when that mood strikes, now there’s Kim Ji-hoon‘s “Sinkhole,” aka “Sing-keu-hol” (pronounced: “Sinkhole”), a modest little social issues drama about a boy from a rural farming community who haha just kidding it’s about a sinkhole.
Continue reading ‘Sinkhole’ Is A Silly, Sentimental, Satisfying Comedic Disaster Movie About Man’s Inhumanit–No, It’s About A Really Big Sinkhole [Locarno Review] at The Playlist.
Continue reading ‘Sinkhole’ Is A Silly, Sentimental, Satisfying Comedic Disaster Movie About Man’s Inhumanit–No, It’s About A Really Big Sinkhole [Locarno Review] at The Playlist.
- 8/6/2021
- by Jessica Kiang
- The Playlist
"The gore is brutal...I had to skip over parts just to get through it." Can you make it all the way to the end? April A. Taylor's Evil Eye: A Slasher Story is now available and we have a copy to give away to one lucky Daily Dead readers! To learn more about Evil Eye: A Slasher Story and purchase it for yourself, visit: http://mybook.to/evileye
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Instagram: Following us on Instagram during the contest period will give you an automatic contest entry. Make sure to follow us at: https://www.instagram.com/dailydead/ Email: For a chance to win via email, send an email to contest@dailydead.com with the subject “Evil Eye Contest”. Be sure to include your name and mailing address.
---------
Prize Details: (1) Winner will receive (1) physical copy of Evil Eye: A Slasher Story.
How to Enter: We're giving Daily Dead readers multiple chances to enter and win:
Instagram: Following us on Instagram during the contest period will give you an automatic contest entry. Make sure to follow us at: https://www.instagram.com/dailydead/ Email: For a chance to win via email, send an email to contest@dailydead.com with the subject “Evil Eye Contest”. Be sure to include your name and mailing address.
- 8/5/2021
- by Jonathan James
- DailyDead
The New York Asian Film Foundation and Film at Lincoln Center have announced two final titles, completing the lineup for the upcoming 20th edition of the New York Asian Film Festival (Nyaff). The festival will be screening over 70 films, both virtually and in person, to audiences in New York and across the country from August 6 – 22, 2021. Tickets are already on sale.
Nyaff is thrilled to present as its festival Centerpiece the international premiere of Nyaff favorite director Benny Chan’s final work, Raging Fire. Completed shortly before his untimely death in August 2020, the Hong Kong-Chinese action film stars the inimitable Donnie Yen as Shan, a by-the-book cop whose past returns to haunt him. After a sting operation goes disastrously awry, Shan finds himself pitted against Ngo (Nicholas Tse), a former protégé who has turned criminal mastermind and is out for revenge. Nothing, it seems, can stop him, including his former mentor.
Nyaff is thrilled to present as its festival Centerpiece the international premiere of Nyaff favorite director Benny Chan’s final work, Raging Fire. Completed shortly before his untimely death in August 2020, the Hong Kong-Chinese action film stars the inimitable Donnie Yen as Shan, a by-the-book cop whose past returns to haunt him. After a sting operation goes disastrously awry, Shan finds himself pitted against Ngo (Nicholas Tse), a former protégé who has turned criminal mastermind and is out for revenge. Nothing, it seems, can stop him, including his former mentor.
- 8/3/2021
- by Adriana Rosati
- AsianMoviePulse
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