Korean Box Office Update (04/13-04/15, 2012)

Battleship Sinks the Competition

	Title	Release Date	Market Share	Weekend	Total	Screens
1	Battleship (us)	4/11/12	41.80%	673,952	1,195,202	734
2	Architecture 101	3/22/12	15.90%	254,381	2,917,429	450
3	The Scent	4/11/12	15.60%	242,544	396,547	348
4	Untouchable (fr)	3/22/12	5.20%	84,418	1,502,292	242
5	Hunger Games (us)	4/5/12	4.30%	69,271	504,807	323
6	Over My Dead Body	3/29/12	4.20%	67,258	880,154	268
7	Titanic 3D (us)	2/20/98	5.70%	56,092	269,254	159
8	Beauty and the Beast (us)	7/4/92	3.80%	44,552	96,480	220
9	Doomsday Book	4/11/12	1.90%	31,564	73,836	236
10	Wrath of the Titans (us)	3/29/12	0.60%	10,086	883,711	114

The summer season got off to an early start this year as Battleship opened in most global territories, except for the United States.  Things over there kick off in early May with The Avengers and perhaps since Battleship will be playing in its wake when it opens two weeks later, the studio felt it should get a head start in the increasingly relevant international markets.  As such, business was up about 60% year-on-year with 1.6 million tickets sold versus just shy of a million in 2011.  Hollywood competition forced the domestic market share down to 38% which was down significantly from last year's 67%.

Battleship shot into first place with 673,952 and has already accumulated nearly 1.2 million admissions since it opened on Election Day, a holiday in Korea.  While certainly a strong figure it doesn't come close to some of the bigger openings of the past 12 months and will need to battle poor reviews to become a bonafide blockbuster.

In its fourth weekend, local hit Architecture 101 finally dropped a rank as it lost about 45% of its business for a 254,381 frame.  This probably means it has enjoyed the best part of its run and will start to make its exit from theaters in the coming weeks.  Currently it's a stone's throw from the three million mark and may go as far as 3.5.

The major new Korean release of the week was the thriller The Scent, starring Park Hee-soon and Park Si-yeon, which had a so-so start with 242,544.  The only thing that will save it now is very positive word of mouth but I have yet to hear anything about it and more than likely it will fade quickly.

French feelgood hit Untouchable dropped one more spot but lost over 60% of its steam for an 84,418 weekend.  In the meantime it has crossed the 1.5 million admissions mark which is a remarkable feat for a continental European film.

Hunger Games crumbled after its poor opening, sliding three spots and 75% for a lousy 69,271.  Its haul stands at just over half a million admissions and it will disappear fast.

Over My Dead Body lost two thirds of its business as it added 67,258 admissions to its total which could still reach the one million mark.  It will be close but next week's dearth of new openings could give it its chance.

At number seven, the 3D rerelease of Titanic added 56,092 to its bounty while the Disney rerelease of The Beauty and the Beast managed 44,552 in its opening weekend.

The anticipated Kim Jee-woon and Lim Pil-sung directed omnibus Doomsday Book garnered a less than impressive 31,564 during its debut but this should come as no surprise.  Short collections never make a the box office, actually this is a pretty good result in light of that fact.

Rounding out the chart was Wrath of the Titans third weekend where it eked out a minuscule 10,086 after a gargantuan 95% drop.

I'm curious to see what will happen next weekend as there does not seem to be any new wide releases.  Battleship stands a very strong chance of staying in number one but Architecture 101, which is a proven hit, also has a good shot of reclaiming the top spot.  Business will be down overall so holdovers will have a chance to see better returns but this is all just the calm before the storm as summer will really take off on April 26 when both the Hollywood The Avengers and Korean A Muse (Eungyo) see the light of day.

Source: kobis.or.kr


The Korean Box Office Update is a weekly feature which provides detailed analysis of film box office sales over the Friday to Sunday period in Korea. It appears every Sunday evening or Monday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at Korean Cinema News and the Weekly Review Round-up. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Weekly Review Round-up (04/07-04/13, 2012)

More great reviews this week and I imagine we'll see a lot more next friday once the writeups start flowing in from the current Terracotta Far East Film Festival.

CURRENT KOREAN RELEASES

Nameless Gangster

(Time Magazine, April 10, 2012)

RECENT RELEASES

A Reason to Live

(London Korean Links, April 13, 2012)

Arirang

(Hangul Celluloid, April 7, 2012)

Blind

(hancinema.net, April 7, 2012)

(koreanfilm.org, 2012)

Fantastic Theater

(Init_Scenes, April 12, 2012)

Hindsight

(The One One Four, April 13, 2012)

My Way

(Oriental Nightmares, April 11, 2012)

Never Ending Story

(Drama Beans, April 11, 2012)

Oki's Movie

(Modern Korean Cinema, April 13, 2012)

Pain

(London Korean Links, April 13, 2012)

Petty Romance

(Flixist, April 10, 2012)

Punch

(Tweeten Goes Korea, April 10, 2012)

Scars

(Beyond Hollywood, April 9, 2012)

Silenced

(Beyond Hollywood, April 11, 2012)

(CheriiPop, April 12, 2012)

The Day He Arrives

(Modern Korean Cinema, April 12, 2012)

The Journals of Musan

(japancinema.net, April 12, 2012)

The Showdown

(koreanfilm.org, 2012)

PAST FILMS

Ditto, 2000

(Init_Scenes, April 7, 2012)

Flower Island, 2001

(Otherwhere, April 11, 2012)

Heartbreak Library, 2008

(Init_Scenes, April 10, 2012)

Once in a Summer, 2006

(jediprincess, April 12, 2012)

Paju

(An Online Universe, April 11, 2012)

Postman to Heaven, 2009

(Korean Grindhouse, April 10, 2012)

Sympathy For Mr. Vengeance, 2002

(Cinemalacrum, April 10, 2012)

The Weekly Review Round-up is a weekly feature which brings together all available reviews of Korean films in the English language (and sometimes French) that have recently appeared on the internet. It is by no means a comprehensive feature and additions are welcome (email pierceconran [at] gmail [dot] com). It appears every Friday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at Korean Cinema News, and the Korean Box Office Update. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Oki's Movie (옥희의 영화, Ok-hee-eui Yeong-hwa) 2010

“Let's just read. In such a rotten world only books will save us.”

This line of dialogue, which is spoken early in Oki’s Movie and follows shortly after the statement “Film as an art is dead,” might lower audience expectations if it weren’t delivered with such devastating irony.  With its goofy directness it thoroughly disarms, and so has the opposite effect:  we feel drawn to a film that pokes fun not only at filmmaking but at all our personal and cultural aspirations for the medium.  Let’s start by acknowledging that “the movies” are a sham, writer-director Hong Sang-soo seems to be saying – only then can we hope to redeem them, and ourselves, in even the smallest way.

In this sense, Hong continues to play with the metafilmic approach he’s been using for a while; just check out 2005’s Tale of Cinema, which, like this 2010 film that’s only now getting a U.S. release, announces its cinema-centrism in its very title.  Oki’s Movie is structured as a kind of theme-and-variations piece via four mini-movies, each of which is drolly introduced with a modest credit sequence rendered grandiose by the addition of Elgar’s “Pomp and Circumstance.”  At the center of it all is Lee Seon-gyoon, who plays both a burnt-out yet arrogant director and, later, the same character as a lovelorn student filmmaker.  Similarly, Moon Seong-geun plays a trusted mentor, a shady professor, and a romantic rival who actually turns out to be surprisingly sympathetic.  As Oki, the engaging Jeong Yu-mi seems to get less screen time than the two men in her life yet that fits her slightly enigmatic status.  So although the movie that she’s made is presented only in the final 16 minutes, it’s a quiet tour de force that brings together all that came before.

With its shifting perspectives and gently fractured narrative, Oki’s Movie might give the impression of being just another overly cerebral arthouse exercise.  But such an assessment would be off the mark for one simple reason:  it’s consistently, jaw-droppingly hilarious.  No, the humor isn’t broad, and in fact it’s so deadpan that it may prompt a double-take or two – wait, was that supposed to be funny?  While in some of Hong’s other films there’s more ambiguity as to his seriousness at any given moment, Oki’s Movie never lets up in its satire of academia, indie filmmaking, romance, and the manners associated with all three.  In short, if audiences can’t tell that the film is funny, and fully intends to be, then they probably won’t know what to make of it.  Sure, some of the laughs derive from the “humor of the uncomfortable” school, and there’s an Oscar Wilde-like gravity lurking behind the wit.  Hong not only winks at us, but winks at us regarding his winks.  Finally, although lead Lee Seon-gyoon has been in some comedies, it might not be obvious at first that here he’s playing perfectly against his screen persona as a handsome-and-capable leading man (Paju had been released just the previous year, in 2009) by, basically, portraying an intellectual jackass.

Yet for an intellectual jackass he says some pretty insightful things – insightful as to Hong’s own artistic credo, that is.  For example, here’s Lee’s character holding forth at a typical Q&A with a public audience in a screening room:

"My film is similar to the process of meeting people.  You meet someone and get an impression, and make a judgment with that.  But tomorrow you might discover different things.  I hope my film can be similar in complexity to a living thing."

He continues by pointing out how filmmakers have incorrectly been taught to value theme above all else.  "Starting with a theme will make it all veer to one point," he explains, and suddenly we grasp part of Hong’s strategy in this and in his other films.

The problem is, Oki’s Movie definitely does have a theme, albeit one that surfaces gradually and which Hong almost always presents with a light touch.  It concerns the way that passion, for better or worse, can break through all that is false about modern life:  alienation, regimentation, even our own pretenses.  But to realize that passion on a consistent basis – either in terms of romance or filmmaking (which is a stand-in for art and creativity generally) – some form of power seems to be required, whether it’s money, professional credentials, or personal reputation.  And that’s where the trouble starts, as a disproportionate concern for such things can also come to undermine our ability to feel passion with any authenticity.

In conclusion, I don’t want to sound too over-the-top but I’m very grateful that someone like Hong Sang-soo is in his creative prime these days, and that cinephiles have a chance to catch his work on the big screen even if it’s somewhat belatedly.  In fact, if you’re lucky enough to live in or near New York, I’d advise seeing Oki and the equally wonderful The Day He Arrives in as close to a back-to-back fashion as you can.  If you do, afterwards you’ll likely find yourself walking about in a kind of waking dream – disoriented but strangely elated at the same time.  

Oki's Movie will be having a special one week in engagement in New York at the Maysles Theatre from 04/16-04/22.  It will presented as part of the bi-monthly series, 'Documentary in Bloom: New Films Presented by Livia Bloom.'

Peter Gutiérrez, a U.S. correspondent for MKC, writes for Twitch and blogs on pop culture for School Library Journal.

Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

The Day He Arrives (북촌 방향, Book-chon Bang-hyang) 2011

As far as the critical discourse of Korean cinema goes, few filmmakers have a more commanding presence than Hong Sang-soo, whose flowing narratives often feel like chapters in the same grand story.  In a sense, his body of work reminds me of some of the 19th century’s most prolific French writers, such as Honoré de Balzac and Émile Zola whose main outputs consisted of The Human Comedy and the Rougon-Macquart cycles, which consisted of 91 and 20 volumes respectively.  In these exceedingly rich opuses, the French wordsmiths crafted dense worlds, which mirrored the societies they lived in and repeated the same themes and concerns through similar stories and with large casts of revolving characters.

Hong’s output is much less concerned with the high-flown dramatics of the far-reaching stories of these previously mentioned collections.  Indeed his films, especially for an uninitiated viewer, offer a vague semblance of banality and rarely fall into the trap of narrative twists or plot contrivances, choosing to focus on the everyday rather than the extremes of life.  What he shares with Balzac and Zola is a keen interest in realism.  For the French writers this style was labeled naturalism and often explored social injustice and the inescapable force of heredity in the shaping of human characters.  While Hong’s films do not share those specific traits, they do exhibit a similarly acute infatuation with repetition.  People make the same choices and mistakes over and over again.  It’s a funny thing about reviews of Hong’s work but more than most other filmmakers, his whole career tends to be put under the microscope, likely because his films so resemble one another. 

But that’s enough about Hong’s previous films for the moment, let’s talk about his new one The Day He Arrives, which is his 12th.  For his new feature, Hong has opted to shoot in black and white, something he hasn’t done since his third film Virgin Stripped Bare By Her Bachelors (2000), which really put him on the map (so much for not talking about his other films).  The story takes place over a few days and follows Seong-joon (Yoo Joon-sang), a filmmaker on hiatus, as he briefly returns to Seoul to meet up with old friends and girlfriends and make new acquaintances, mostly during sessions of eating and drinking.

Repetition is an integral part of Hong’s new film, there are few actions or pieces of dialogue that are not replayed during its brief running time (79 minutes).  Eating, drinking, or smoking accompanies every scene and it’s not for nothing.  Typically, these three actions are endlessly repeated throughout our lives (unless you quit drinking or smoking) irrespective of the change we may perceive in ourselves and others.  As Hong’s characters shuffle about the same bars and restaurants and engage in cyclical discussions about their concerns for the past, present, and future, their layers of outward calm gradually come undone and we get closer to the raw emotions and neuroses at their core.

Early on in The Day He Arrives Seong-joon drops in drunk and unannounced on his ex-girlfriend, whom he hasn’t seen for a few years.  It’s an emotional moment as we are first confronted with her anger at his having seemingly abandoned her, but soon after it becomes clear that they both still have very strong feelings for one another.  After sharing a tender moment he leaves but not before stating that they should refrain from engaging in any further communication.  Nevertheless, she texts him occasionally throughout the rest of the film, while he embarks on an amorous encounter with a bar owner who is her doppelganger (played by the same actress, Kim Bo-kyeong).  It is never explained why they split but the fact that there is some reason that they can’t be together is alluded to.

It is said that throughout life we tend to repeat our previous mistakes.  Seong-joon is clearly hiding from something as he dodders around the countryside on an indefinite break from filmmaking and his return to Seoul forces him to confront these past troubles.  Though since we are not privy to very much information, it is hard to say to what degree he does this.  He abandoned both his girlfriend and career as he ran away from Seoul and it is possible he did so through some fear of commitment or growing up.  On his return to the capital he is frequently asked when he will make his next film, his answers are uniformly vague and noncommittal.  After bedding his girlfriend’s lookalike, he leaves her in the morning, offering her much same words as he did to his ex a few days earlier, that they shouldn’t see each other anymore.

Hong seems to have settled more and more into his idiosyncratic style of filmmaking as his films have gotten progressively funnier.  The Day He Arrives is frequently hilarious and while it has a fairly tight structure it seems effortless and relaxed, this is in large part due to the performances that he draws from his leads (especially Yoo and Kim Sang-joon), which are very naturalistic.  He also plays around a little bit with the mise-en-scene, something he does with most of his films, like the freezeframe dialogues that punctuate HaHaHa (2010).  During a number of the midshots, most of which take place at drinking or eating establishments with two characters sitting on one side of a table facing another across from them, Hong quickly zooms in, pushing the protagonists to the very edges of the frame.  The effect is deliberately jarring and the claustrophobic reframing creates a more intense atmosphere which often signals the beginning of a confrontation.

For me The Day He Arrives turned into a fairly personal experience as much of it hit close to home and I am sure that I am not the only person who experienced this.  Hong Sang-soo is an artist who trades in the everyday; his currency is the prosaic minutiae of the exchanges and relationships that make up our lives.  Just like the great French naturalists, he succeeds in burrowing down to our core by forcing us to look inwards, again and again, until we recognize ourselves in a simple shrug of the shoulders or a little white lie.  I look forward to the next volume in Hong’s oeuvre, to experience his wit and craft anew and perhaps to discover a little bit more about myself.

★★★★★

The Day He Arrives opens in New York on April 20 at Lincoln Plaza Cinemas before expanding across the US.  Hong Sang-soo's latest is being distributed by Cinema Guild, which will announce new markets on its playdates page, so make sure to check back to see if it plays near you.

Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Korean Cinema News (04/05-04/11, 2012)

A fair amount of news this week and a handful of major announcements.  A short while ago, Darcy Paquet mentioned on his twitter that Jeon Do-yeon may be starring in Lee Chang-dong's next picture.  This would reunite them for the first time since Secret Sunshine (2007) which won Jeon a best actress prize at Cannes.  Darcy also revealed that Jeon may be collaborating with Lee Yoon-ki (This Charming Girl, 2004; My Dear Enemy, 2008; Come Rain, Come Shine, 2011) following that.  If these materialize they will projects to be very excited about!

Another major announcement is the unveiling of the 14th Udine Far East Film Festival (20-28 April, 2012) lineup.  The press conference was streamed yesterday and MKC live-tweeted as much as it could understand (the broadcast was in Italian).  The program looks great and I'm really looking forward to the event which I will covering on site.  Particularly interesting is the European premiere of Dangerously Excited and of course Darcy Paquet's 1970s cinema retrospective.  Lineup is available below:

14th Udine Far East Film Festival Lineup

The other big news this week is the upcoming Terracotta Far East Film Festival in London which will open with a presentation of Kang Je-gyu's My Way.  Below are some great previews of the event, wish I could be there!

London Korean Links

New Korean Cinema

KOREAN CINEMA NEWS

Third Time With Director Lee Myeong-se
Ahn Seong-ki will make an appearance as the senior of Cheol-soo (Seol Kyeong-gu), a National Intelligence agent, in the new Lee Myeong-se film.  He won't appear much but it's a key role that will add weight to the overall film.  It seems that Ahn Seong-ki decided to star in this movie for his friendship with the director.  The two met on the 1999 movie Nowhere To Hide and also in the 2005 movie Duelist.  (hancinema.net, April 4, 2012)

Lectures on Local Films for Foreigners
The Korea Foundation will hold a series of six lectures on Korean films this month. "Open Lectures on Korean Culture for Foreigners: Treasures of Korean Cinema".  The Foundation was established in 1991 by the Korean National Assembly with the aim of enhancing the image of Korea to people around the world who have Internet Explorer and Adobe Flash Player version 10.1.0 or greater installed on their computers.  (The Dokdo Times, April 4, 2012)

Actress Im’s Upcoming Film Revealed to Be Argentinean Remake
Upcoming romantic comedy Everything about My Wife, starring stars Im Soo-jung and Lee Sun-kyun, was belatedly found to be a remake of an Argentinean movie released in 2008.  The production house has never mentioned the flick being an adaptation of Un novio para mi mujer (A Boyfriend for My Wife) by director Juan Taratuto. Some websites have even credited director Min Kyu-dong as the screenwriter.  Zip Cinema, the producer of the film, confirmed the fact Wednesday only when asked by The Korea Herald.  (The Korea Herald, April 5, 2012)

South Korean Company Wants You to Feel, Smell, and Taste Titanic as it Sinks. Have They Gone Overboard?

One South Korean company is taking movie-going…to the next level.  The company: CJ 4DPlex Co., which almost certainly boasts an all-robot staff.  The movie: Titanic, of course.  As millions of Americans drink in the sights and sounds of James Cameron’s masterpiece in just three lousy Ds, their thrill-seeking brethren in South Korea, Mexico, China, and Thailand will be enjoying Titanic in 4DX.  (Entertainment Weekly, April 5, 2012)

Emirates Korean Film Fest Begins
The second Emirates Korean Film Festival got underway in Abu Dhabi under the patronage of Shaikh Sultan bin Zayed Al Nahyan, President’s Representative and Chairman of the Sultan bin Zayed Centre for Culture and Information.  The festival, which will run until Sunday at the Abu Dhabi Theatre, features a remarkably rich lineup of recent Korean films.  Seven feature films are being shown, providing an opportunity for the UAE’s film audience to experience some of South Korea’s dynamic film culture.  (Khaleej Times, April 7, 2012)

Sports Flick As One Targets Patriots
It was the beginning of 1991, when the South and North Korean governments made an unprecedented attempt to warm relations by fusing their national sports teams together.  After a couple of months, the unified Korean table tennis team broke the Chinese stranglehold on the highest podium of the world championships.  Coming to theaters in May is a film that tries to recreate the gold-medal-winning chemistry, titled As One.  (The Korea Times, April 10, 2012)

ESSAY

Vengeance Violence and the Sentimental in Korean Film - Part I
A man holding a hatchet chases a car full of gangsters down an empty, wide boulevard. He looks down and sees blood pouring from a bullet wound in his abdomen. He approaches the first car he sees. A man on a phone screams and flees. He continues to chase the car of gangsters. But he is bleeding heavily. He must find something to stem the tide of blood before he passes out. He needs to find the girl. But first he needs to get the bullet out. Darkness is closing in. Fade out.  (Heso Magazine, April 9, 2012)

TRAILERS

Dangerously Excited

Don't Click

POSTERS

All About My Wife

A Muse

Dangerously Excited

Forest of Time

Red Maria

Taste of Money

BOX OFFICE

Hunger Games Loses Out to Architecture 101 Threepeat

(Modern Korean Cinema, April 8, 2012)

Korean Cinema News is a weekly feature which provides wide-ranging news coverage on Korean cinema, including but not limited to: features; festival news; interviews; industry news; trailers; posters; and box office. It appears every Wednesday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at the Korean Box Office Update and the Weekly Review Round-up. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Wanna Help Make a Korean Film? Here's Your Chance!

There's a new and exciting Korean film on the way and you can help make it happen!  Lee Yoon-jung is looking to turn her excellent short Remember O Goddess into a feature this summer.  The 25-minute piece, a polished and intriguing affair, can be viewed below:



You may recognize the lead actor, the versatile character actor Kim Jung-tae whose lengthy career stretched all the way back to Park Kwang-su's Uprising (1999) and also includes such highlights as Kwak Kyung-taek's Friend (2001) and Lee Myung-se's Duelist (2005).  However, perhaps my favorite of his roles is in Banga? Banga! (2010) as the larger-then-life owner of a karaoke bar.

Lee's upcoming feature has a strong team of professionals assembled, including the editor of Bong Joon-ho's magnificent Mother (2009), and seems poised to be one of the most interesting Korean independent films on the horizon.

The production is looking for a little funding and has launched a Kickstarter project to raise the $30,000 by May 10 to complete this summer's shoot.  Please consider supporting this exciting project and remember that you can donate however much you feel comfortable with and if you've ever wanted to see your name in the credits of a Korean film, this is your chance!

I really enjoyed the short version of Remember O Goddess and I want to know what happens next so I'll be looking forward to seeing Lee's vision in its entirety.

Kickstarter Project

Remember O Goddess Website

Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Korean Box Office Update (04/06-04/08, 2012)

Hunger Games Loses Out to Architecture 101 Threepeat

	Title	Release Date	Market Share	Weekend	Total	Screens
1	Architecture 101	3/22/12	29.00%	454,154	2,332,422	555
2	Hunger Games (us)	4/5/12	17.30%	273,598	317,191	511
3	Untouchable (fr)	3/22/12	13.70%	216,085	1,291,048	343
4	Over My Dead Body	3/29/12	12.50%	195,313	704,753	353
5	Wrath of the Titans (us)	3/29/12	10.80%	163,299	836,105	402
6	Titanic 3D (us)	2/20/98	12.10%	119,705	140,050	271
7	Helpless	3/8/12	1.70%	27,076	2,406,861	163
8	Conan (us)	4/5/12	1.20%	18,998	23,947	198
9	Space Dog 3D (ru)	3/22/12	0.30%	4,690	40,910	41
10	The Scent	4/11/12	0.30%	4,479	8,855	11

This past weekend was the first without a major Korean release in some time and also heralded the entry of the year's biggest film to date Hunger Games, which has already accumulated over $400 million worldwide.  Surprisingly, business was down 25% from last weekend, though it was up 50% over last year as 1.5 million tickets were sold.  The Korean market slipped slightly to 45%, the first time it has gone under the 50% threshold since mid-January, though it still bested Hollywood.

The surprise number one was Architecture 101 which claimed its third straight victory with a resounding 454,154 admissions, off a mere 20% despite heavy competition.  With over 2.3 million tickets sold already, the three million mark is all but assured and if it stays competitive it will look to overtake Unbowed's 3.4 million total to become the year's third-highest grossing film.

Hunger Games just posted its third straight win at the US box office but in Korea its result was disappointing as it took only 273,598 admissions and failed to stop the streak of domestic first places finishes which now stands at 11.  With a lot more big releases slated for the next few weeks don't bet on this hanging around either, it will likely take a big tumble next weekend.

Staying strong at number three was the French hit Untouchable which had a very healthy 30% drop for a 216,085 weekend.  It is now well over the one million mark and may have another milestone ahead of it.

Korean comedy Over My Dead Body may not have had a brilliant start but it posted a better-than-expected 195,313 in its sophomore stint as it was off only 35%.  At this rate it should cross the one million mark which will certainly save it some face.  Who knows, maybe word of mouth will settle in.

Wrath of the Titans followed its disappointing start with a huge 70% drop as it fell three places with its 163,299 take.  However it will likely have just enough gas left in the tank to make it over the one million mark.

James Cameron's 1998 megahit Titanic debuted with its 3D makeover to the tune of 119,705.  This result is not as impressive as the brisk business it did in its native market this past weekend but still a decent result for a rerelease.

March hit Helpless is quickly making its way down the chart after a very strong couple of weeks.  It added another 27,076 over the frame and may be gone from the chart next week.  It will likely fall just short of 2.5 million but it has had a great run.

Hollywood remake Conan started its run with a disastrous 18,998.  The film was a big flop when it opened last August in the US and the elapsed time as not been kind.  This will probably be the film's only chart position.

Russian animation Space Dog 3D slowed 60% to 4,690 as it winds up its decent run.  Korean thriller The Scent opened in very limited previews for 4,479 to squeeze into number 10.

Next weekend should be interesting as two Korean films open, the aforementioned The Scent and long time in the making Kim Jee-woon and Lim Pil-sung omnibus feature Doomsday Book.  Also being released will be Battleship, the Peter Berg-directed Hollywood Blockbuster based on the popular game.  Battleship had a premier event in Korea with cast and crew in attendance and will likely launch the summer season (which keeps arriving earlier each year).  It should take first place as I don't think either of the new Korean releases will open to huge figures.  However, if it misses its chance, Architecture 101 probably won't be too far behind.

Source: kobis.or.kr


The Korean Box Office Update is a weekly feature which provides detailed analysis of film box office sales over the Friday to Sunday period in Korea. It appears every Sunday evening or Monday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at Korean Cinema News and the Weekly Review Round-up. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Weekly Review Round-up (03/31-04/06, 2012)

Great cross-section of reviews this week including for a number of new releases.

Enjoy!

CURRENT KOREAN RELEASES

Nameless Gangster

(Film Business Asia, April 6, 2012)

Over My Dead Body

(Hanguk Yeonghwa, April 5, 2012)

Romance Joe

(Variety, March 29, 2012 - Paid Subscription)

Stateless Things

(alivenotdead.com, April 5, 2012)

(The Hollywood Reporter, April 3, 2012)

RECENT RELEASES

Countdown

(Film in Asian, April 2, 2012)

Haunters

(Digital Retribution, April 4, 2012)

In Love and the War

(The One One Four, April 1, 2012)

Jesus Hospital

(Hanguk Yeonghwa, April 1, 2012)

Late Autumn

(China.org.cn, March 30, 2012)

Love On-Air

(Variety, March 30, 2012 - Paid Subscrition)

My Way

(K-Popped!, April 5, 2012)

(Korean Class Massive, April 4, 2012)

Perfect Partner

(hancinema.net, March 31, 2012)

The Yellow Sea

(All Online Universe, March 28, 2012)

(cineoutsider, March 27, 2012)

(DVD Verdict, April 2, 2012)

(MotorBar, March 31, 2012)

PAST FILMS

Dasepo Naughty Girls, 2006

(Init_Scene, March 31, 2012)

Meet Mr. Daddy, 2007

(Korean Class Massive, April 2, 2012)

My Boss, My Hero, 2001

(Init_Scenes, March 30, 2012)

My Love, 2007

(Init_Scenes, April 1, 2012)

Running Turtle, 2009

(Init_Scenes, April 5, 2012)

The Case of Itaewon Homicide, 2009

(Korean Grindhouse, March 31, 2012)

The Heavenly Homecoming of the Stars, 1974

(Seen in Jeonju, April 1, 2012)

The Weekly Review Round-up is a weekly feature which brings together all available reviews of Korean films in the English language (and sometimes French) that have recently appeared on the internet. It is by no means a comprehensive feature and additions are welcome (email pierceconran [at] gmail [dot] com). It appears every Friday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at Korean Cinema News, and the Korean Box Office Update. Reviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.