Korea Box Office: Military Comedy ‘6/45’ Takes Top Spot as Weekend Total Retreats

Patrick Frater Asia Bureau Chief Full and proper confirmation of a second season of mystery horror series “Hellbound” was high on the agenda of Netflix’s consumer-oriented Tudum presentation. Korean shows have repeatedly achieved top ratings among the streamer’s non-English roster, and last November’s release of “Hellbound” was the show that finally edged aside “Squid Game” after several weeks of breakthrough success. (The Tudum presentation offered “Squid Game” fans some extra footage that confirmed the identity of the mysterious ‘front man’. Take a look here.) “Hellbound” is derived from a webtoon created by series director Yeon Sang-ho, who previously directed “Train to Busan” and “Peninsula.” It featured otherworldly angels who emerged to condemn individuals to hell at a specific future time, minutes or years away.

Patrick Frater Asia Bureau Chief Korean film producer Baek Jaeho has been named as the inaugural recipient of the Choon-yun Award, a prize set up in honor of Lee Choon-yun, the late chairman of the Korean Association of Film Art & Industry. The award, worth KRW10 million ($7,100), will be presented on the sidelines of the Busan International Film Festival on Oct. 6 in conjunction with IOK Company. Baek participated in the production of 2021 title “Snowball” and was previously involved in indie films “Jane” in 2016 and last year’s “Role.” He also acts and directs. Veteran director Kang Je-kyu praised Baek as ”a filmmaker who maintains his values and outspreads his potential in the insufficient independent film environment.”

Patrick Frater Asia Bureau Chief For the second weekend running, comedy action film “Confidential Assignment 2: International” held top spot at the South Korean box office. And it did so with a massive 75% share of the market. But as the Chuseok (Korean Thanksgiving) holiday retreated into the rear-view mirror numbers, both for the sequel film and the nationwide box office, came crashing down. “Confidential Assignment 2” earned $6.89 million over the latest Friday to Sunday period, according to data from Kobis, the tracking service operated by the Korean Film Council (KOFIC). That figure was down 57% compared with its opening salvo of $21.0 million a week earlier.

J. Kim Murphy “The Woman King” has found its throne at the box office. The Sony release is drumming up a projected $18 million opening from 3,765 locations, in line with most analysts’ estimates heading into the weekend. The epic also benefited from landing some premium format auditoriums, such as Imax, lending an additional boost to revenue. Though that doesn’t necessarily qualify as a grand opening, it’s a solid start for the action film, which carries a $50 million production budget and has no ties to existing franchises. What’s more, it’s more than enough for “The Woman King” to top box office charts on a slow weekend with few rival releases.

Nick Vivarelli International Correspondent Gianni Amelio’s “Lord of the Ants,” a biopic of Italian poet and playwright Aldo Braibanti, who was jailed in 1968 due to a Fascist-era anti-gay law, has reached the top spot at Italy’s box office following its launch from the Venice Film Festival. “Ants” on Monday reached the numero uno position at the local box office roster with a €483,474 ($487,000) intake from more than 300 screens following its September 8 release. While far from stellar in normal times, this result is being hailed as an encouraging sign for the country’s still sagging post-pandemic theatrical sector. Amelio’s film is now ahead of Japanese anime pic “Evangelion: 3.0 You Can (Not) Redo,” which was released as an event on Monday for a three day run, and “Minions: The Rise of Gru,” which is at the end of its run, following it’s Aug. 18 Italian outing.

Patrick Frater Asia Bureau Chief

Patrick Frater Asia Bureau Chief Make no mistake: CJ ENM is on the move. The South Korean conglomerate that has done as much as any company to build out the nation’s entertainment ecosystem is actively looking to expand its “production capability and competency.” That’s the word from Kang Ho-sung, CEO of the cluster of film, TV and music companies that now share the CJ ENM banner. Kang gave a rare, extensive interview to Variety on Aug. 21 in downtown Los Angeles on the sidelines of CJ ENM’s KCON LA pop culture convention, which brought in close to 100,000 fans from across the U.S.

Patrick Frater Asia Bureau Chief 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 (“Snowdrop,” “Start-Up,” “Tune in for Love”) in the lead role and Ko Kyungpyo (“Decision to Leave,” “Seoul Vibe,”) as the serial killer, and Kim Hyejun (“Inspector Koo,” “Kingdom,” “Sinkhole”) as the mysterious Irang.

Broadway gave Billy Crystal a fine send-off last week, with the star’s Mr. Saturday Night musical grossing more than $1 million during its final week of performances. That number – $1,014,614, to be precise – is a big jump over the show’s weekly box office takes in recent months. About 98% of seats at the Nederlander Theatre were filled for Crystal’s goodbye week.

Patrick Frater Asia Bureau Chief A weekend concert by Hong Kong acting and singing superstar Andy Lau Tak-wah attracted a record-breaking 350 million viewers on Douyin, the mainland Chinese sister company of TikTok. The concert ran for two hours and attracted 100 million viewers in the first 30 minutes, with tens of millions more joining by the end. The figures beat Lau’s own previous record on the platform, which he set in July last year at a concert to celebrate his 40 years in the business. The South China Morning Post said the record numbers were swelled by a recent wave of nostalgia for Canto-pop or Cantonese-language contemporary music, though the paper also noted that Lau also performed a couple of Mandarin-language classics.

J. Kim Murphy Hey, North America, today is supposed to be National Cinema Day — didn’t you get the memo? The domestic box office is looking so slow this Labor Day weekend that a re-release of “Spider-Man: No Way Home” — a superhero film that first hit theaters almost nine months ago — may make a return to the top of the charts. Though the third Tom Holland-led Spidey film debuted in theaters in December 2021, Sony is releasing the “More Fun Stuff Version” in 3,935 theaters over the holiday weekend, hoping to lure devoted fans back to the big screen with its promise of 11 minutes of unseen footage.

SATURDAY AM UPDATE: “Estimates aren’t worth a whole lot this morning thanks to the brilliant idea of National Cinema Day” cried one industry source to us this morning about the challenges for studio box office analysts to peg exactly what’s going to be No. 1 over the 4-day holiday weekend. Despite all good intentions by the Cinema Foundation to drive business over a slow weekend, taking a page out of the book from what’s been down in Spain to spike admissions, it’s not creating a windfall of cash for the marketplace, but several movies are projected to show a 150%-200% gain in their Saturday box office over Friday thanks to $3 tickets on National Cinema Day today.

box office, there is a near-term question mark about what will happen next: Will recovery stall due to a paucity of Hollywood tentpole movies? Or will international theatrical decouple and find new drivers to maintain the momentum? The good news is that most of the international market’s top territories are now fully open and operating without significant restrictions on seating capacity. These include the U.K. and Ireland, Japan, France, Germany, Spain, South Korea, Australia, New Zealand, Mexico and Brazil. The smaller number of territories still laboring under restrictions nevertheless include some valuable ones: China, Turkey, Argentina, Hong Kong and Russia.

Patrick Frater Asia Bureau Chief Two Korean and two Indian movies make the cut in the Busan International Film Festival’s New Currents main competition section. Thet are joined by one each from Thailand, Singapore, Vietnam, Malaysia and Germany. The section has a track record of making significant discoveries among new Asian films and directors.The selected titles are eligible for multiple awards, including the New Currents Award, the FIPRESCI Award, the NETPAC Award, and the KB New Currents Audience Award. The selection comprises: “Ajooma,” directed by Hu Shuming (Singapore-Korea); “Blue Again” from Thailand’s Thapanee Loosuwan; “Hail to Hell,” by Korea’s Lim Oh-jeong; “Memento Mori: Earth,” by Vietnam’s Marcus Vu Manh Cuong; “No End,” directed by Nader Saeivar and flying the flags of Germany, Iran and Turkey; “A Place Called Silence,” by Malaysia’s Sam Quah; “Shivamma,” fromIndia’s Jaishankar Aryar; Japanese director Kubota Nao’s “One Thousand and One Nights”; “A Wild Roomer,” from Korea’s Lee Jeong-hong; and The Winter Within,” directed by Aamir Bashir, and structured as a co-production between India, France and Qatar.

Nick Vivarelli International Correspondent The Italian film industry is in a paradoxical state: production is booming but box office is bust. Italy’s five features vying for a Venice Golden Lion – plus a myriad more scattered in other Lido sections – reflect cinema Italiano’s current creative vibrancy, if you look at the cream of the crop; however, the average quality is not that great. On the plus side, the country is making a quantum leap forward in terms of the global visibility of its movies just as the number of Italian directors considered bankable in Hollywood, such as Paolo Sorrentino, Luca Guadagnino and Stefano Sollima (“Without Remorse”), to name but a few, is growing.

Nick Vivarelli International Correspondent The Italian film industry is in a paradoxical state: production is booming but box office is bust. Italy’s five features vying for a Venice Golden Lion – plus a myriad more scattered in other Lido sections – reflect cinema Italiano’s current creative vibrancy, if you look at the cream of the crop; however, the average quality is not that great. On the plus side, the country is making a quantum leap forward in terms of the global visibility of its movies just as the number of Italian directors considered bankable in Hollywood, such as Paolo Sorrentino, Luca Guadagnino and Stefano Sollima (“Without Remorse”), to name but a few, is growing.

Patrick Frater Asia Bureau Chief South Korea’s leading entertainment group CJ ENM has appointed Steve W. Chung as its global chief growth officer. He will be based in Los Angeles. Previously, Chung served as chief growth officer at Fox Corporation. Prior to that Chung was the founder and CEO of Frankly, a publicly-traded media tech company based in San Francisco. He was also a venture capitalist in Silicon Valley and an executive producer in China.  Chung currently serves as a board member of the non-profit National Asia Pacific Center on Aging (NAPCA) and received his B.A from Harvard College and an M.B.A. from Stanford University.

Patrick Frater Asia Bureau Chief The Busan International Film Festival will further honor its co-founder and former programmer Kim Jiseok, who died suddenly in 2017, by expanding the existing prize in his name into a fully-fledged competitive section. Previously, the Kim Jiseok Award was given to one of ten films selected from the ‘A Window on Asian Cinema’ sidebar which introduces new films from significant Asian directors, defined as those who have each made more than three films.  “Starting this year, the Kim Jiseok Award nominees have been sorted into a section of their own, namely the ‘Jiseok’ section. Also, Korean films will be included in the ‘Jiseok’ section,” Busan organizers said. “This program section aims to both reinforce the spirit and determination of [Kim], who devoted himself to the growth and support of Asian films, and direct attention to the nominated works.”

Patrick Frater Asia Bureau Chief Smart phone usage is key to music listeners in parts of East Asia, but only a minority of users are committed subscribers to streaming services. That apparent contradiction may explain the rise of mini-subscriptions in the region. “Some 81% of music listeners in Malaysia use smartphones as their go-to music listening devices in a typical month, yet only 31% of music streamers in Malaysia pay for a streaming subscription,” says new report from consultancy firm Luminate. The firm’s latest Music 360 Study examines music consumption habits and preferences in a selection of Asia-Pacific markets, including South Korea, Japan, Philippines, Thailand, Indonesia, Vietnam, and Malaysia, but excluding China, India, Singapore and Australia. 

Brent Lang Executive Editor of Film and Media After Warner Bros. executives signed off on the risky decision to bankroll their $90 million look at the life of Elvis Presley with a little-known actor portraying the hip-swinging rocker, producer Gail Berman reached for her phone. She wanted to immortalize the moment for Austin Butler, the man who reportedly beat out the likes of Ansel Elgort and Miles Teller to land the kind of role that can make a career. “I needed to take a photo of all these people sitting around after they made a decision that was going to mark a major change in Austin’s life,” says Berman. “It was wonderful that they saw from his screen test just how good he was, and that they were ready to support him on this journey.”