Cinema box office in Japan dropped by 3% last year to $2.04 billion. But 2018 was still the third-highest year on record.
According to data published by the Motion Picture Producers Assn. of Japan (Eiren), Japanese-produced films earned $1.12 billion, down 2.8% from 2017. They still grabbed a majority of the market for the 11th year in a row, with a 55% share. Admissions for the year totaled 169.2 million, also down 3%.
“Bohemian Rhapsody” was the top film of the year, with earnings of $95 million. Released in Japan by 20th Century Fox on Nov. 9, the Freddie Mercury biopic had recorded 7.27 million admissions by its 75th day in the theaters. In a highly unusual trend, the film increased its weekly score five weeks in a row from its opening.
The biggest local hit, with $85 million, was “Code Blue the Movie,” a thriller about a helicopter medical rescue team based on a popular Fuji TV series. Ranking at No. 2 with...
According to data published by the Motion Picture Producers Assn. of Japan (Eiren), Japanese-produced films earned $1.12 billion, down 2.8% from 2017. They still grabbed a majority of the market for the 11th year in a row, with a 55% share. Admissions for the year totaled 169.2 million, also down 3%.
“Bohemian Rhapsody” was the top film of the year, with earnings of $95 million. Released in Japan by 20th Century Fox on Nov. 9, the Freddie Mercury biopic had recorded 7.27 million admissions by its 75th day in the theaters. In a highly unusual trend, the film increased its weekly score five weeks in a row from its opening.
The biggest local hit, with $85 million, was “Code Blue the Movie,” a thriller about a helicopter medical rescue team based on a popular Fuji TV series. Ranking at No. 2 with...
- 1/29/2019
- by Mark Schilling
- Variety Film + TV
The official Japanese box office numbers for 2018 are not yet in –the Motion Picture Producers’ Association of Japan (Eiren) will announce them in late January – but preliminary figures don’t look great for the home team.
“Code Blue: The Movie,” a medical thriller based on a Fuji TV series, was the year’s highest-earning film at $83 million, according to the Private Life entertainment data and ranking site, but only three of the box office top ten were Japanese. The other two, “Detective Conan: Zero the Enforcer,” at $82 million, and “Doraemon the Movie: Nobita’s Treasure Island,” at $48 million, were entries in long-running anime series.
A total of 29 Japanese films made JPY1 billion ($9.0 million) or more. This compares with 38 that passed the same milestone in 2017.
Faced with the prospect of more decline at home, as Japan’s aging population continues to trend down, the Japanese film industry is increasingly looking abroad...
“Code Blue: The Movie,” a medical thriller based on a Fuji TV series, was the year’s highest-earning film at $83 million, according to the Private Life entertainment data and ranking site, but only three of the box office top ten were Japanese. The other two, “Detective Conan: Zero the Enforcer,” at $82 million, and “Doraemon the Movie: Nobita’s Treasure Island,” at $48 million, were entries in long-running anime series.
A total of 29 Japanese films made JPY1 billion ($9.0 million) or more. This compares with 38 that passed the same milestone in 2017.
Faced with the prospect of more decline at home, as Japan’s aging population continues to trend down, the Japanese film industry is increasingly looking abroad...
- 12/26/2018
- by Mark Schilling
- Variety Film + TV
Meanwhile Sony’s Venom is up to $239.5m after 17 days.
As of Sunday, 2018’s Chinese box office reached new heights, totaling $8.13bn, up over 10% year-on-year. With one more month to go, it is inching closer to the new annual milestone of RMB60bn ($8.72bn) by year-end.
A Cool Fish reached the top spot for the first time as new releases failed to edge out the holdovers in the week of Nov 19-25. Rao Xiaozhi’s second film topped the chart with $39.7m for $49.3m after 10 days, with a local title reclaiming the box office crown after four weeks of Hollywood domination.
As of Sunday, 2018’s Chinese box office reached new heights, totaling $8.13bn, up over 10% year-on-year. With one more month to go, it is inching closer to the new annual milestone of RMB60bn ($8.72bn) by year-end.
A Cool Fish reached the top spot for the first time as new releases failed to edge out the holdovers in the week of Nov 19-25. Rao Xiaozhi’s second film topped the chart with $39.7m for $49.3m after 10 days, with a local title reclaiming the box office crown after four weeks of Hollywood domination.
- 11/26/2018
- by Silvia Wong
- ScreenDaily
Chinese box office rises by 4% week-on-week.
Venom fought off new entrant, the latest Fantastic Beasts to retain both the weekly and weekend box office crown in the period of Nov 12-18. With two Hollywood blockbusters delivering a one-two punch, the Chinese box office rose by 4% week-on-week.
Sony’s Venom continued to perform remarkably well in its second week, taking the top spot again with $93.5m. With $203.1m after 10 days, it now ranks as the third biggest superhero film of all time, behind Avengers: Infinity War and Avengers: Age Of Ultron, making China the biggest international market for the film. It...
Venom fought off new entrant, the latest Fantastic Beasts to retain both the weekly and weekend box office crown in the period of Nov 12-18. With two Hollywood blockbusters delivering a one-two punch, the Chinese box office rose by 4% week-on-week.
Sony’s Venom continued to perform remarkably well in its second week, taking the top spot again with $93.5m. With $203.1m after 10 days, it now ranks as the third biggest superhero film of all time, behind Avengers: Infinity War and Avengers: Age Of Ultron, making China the biggest international market for the film. It...
- 11/19/2018
- by Silvia Wong
- ScreenDaily
“Venom” enjoyed a spectacular $87 million second weekend at the Chinese box office. That was almost double the opening score by “Fantastic Beasts: The Crimes of Grindelwald” in the Middle Kingdom.
According to data that excludes online ticket fees, supplied by Asian theatrical industry consultant Artisan Gateway, “Venom” scored $87.2 million, a drop of just 14% from its opening weekend. Its 10-day cumulative score is $187 million.
That figure is claimed to be the highest-ever second weekend in China by a superhero movie. The cumulative score and the film’s momentum put “Venom’s” box office in China on course to overtake the film’s $210 million performance in North America.
By comparison, the new “Fantastic Beasts” installment managed only $34.8 million, in second place. About $4.5 million of that came from performances at 557 Imax venues.
The figures are significantly lower than for the first “Fantastic Beasts and Where to Find Them.” That released in China in...
According to data that excludes online ticket fees, supplied by Asian theatrical industry consultant Artisan Gateway, “Venom” scored $87.2 million, a drop of just 14% from its opening weekend. Its 10-day cumulative score is $187 million.
That figure is claimed to be the highest-ever second weekend in China by a superhero movie. The cumulative score and the film’s momentum put “Venom’s” box office in China on course to overtake the film’s $210 million performance in North America.
By comparison, the new “Fantastic Beasts” installment managed only $34.8 million, in second place. About $4.5 million of that came from performances at 557 Imax venues.
The figures are significantly lower than for the first “Fantastic Beasts and Where to Find Them.” That released in China in...
- 11/19/2018
- by Patrick Frater
- Variety Film + TV
The Sony blockbuster took $108.9m from its first three days.
Us superheroes have proven again their mighty power over the Chinese box office.
All thanks to Sony’s Venom, the week of Nov 5-11 saw a huge surge by 134% week-on-week, making it the first upswing after four straight weeks of alarming contractions in ticket sales since the National Day holiday in the first week of October.
Venom easily conquered the charts with $108.9m from its first three days, which represented over 70% of the week’s total box office in China and 37% bigger than its North American debut in early October.
Us superheroes have proven again their mighty power over the Chinese box office.
All thanks to Sony’s Venom, the week of Nov 5-11 saw a huge surge by 134% week-on-week, making it the first upswing after four straight weeks of alarming contractions in ticket sales since the National Day holiday in the first week of October.
Venom easily conquered the charts with $108.9m from its first three days, which represented over 70% of the week’s total box office in China and 37% bigger than its North American debut in early October.
- 11/12/2018
- by Silvia Wong
- ScreenDaily
Tom Hardy-starring “Venom” injected some much-needed juice into the Chinese box office, with a blockbuster $102 million first weekend opening. The film crushed other new releases and holdovers alike.
Data from Artisan Gateway, which excludes online ticketing fees, shows the superhero film gobbling up 73% of the entire Chinese box office this weekend. Second-placed Japanese animation, “Detective Conan: Zero the Enforcer,” took $10.6 million, or a 7.5% share.
The strong performance of “Venom” is a useful fillip for the Chinese theatrical market, which has suffered a string of sub-$100 million cumulative totals by the top-10 films for the previous nine weekends. The aggregate box office leaped to $140 million, giving a year-to-date total of $7.3 billion, about 9% ahead of the same point last year.
The weekend score for “Venom” is the fifth-biggest opening by any film this year in China and the third-biggest outside the Chinese New Year period. The immediate comparison is with “Jurassic World: Fallen Kingdom,...
Data from Artisan Gateway, which excludes online ticketing fees, shows the superhero film gobbling up 73% of the entire Chinese box office this weekend. Second-placed Japanese animation, “Detective Conan: Zero the Enforcer,” took $10.6 million, or a 7.5% share.
The strong performance of “Venom” is a useful fillip for the Chinese theatrical market, which has suffered a string of sub-$100 million cumulative totals by the top-10 films for the previous nine weekends. The aggregate box office leaped to $140 million, giving a year-to-date total of $7.3 billion, about 9% ahead of the same point last year.
The weekend score for “Venom” is the fifth-biggest opening by any film this year in China and the third-biggest outside the Chinese New Year period. The immediate comparison is with “Jurassic World: Fallen Kingdom,...
- 11/12/2018
- by Patrick Frater
- Variety Film + TV
“Along with the Gods: The Last 49 Days” headed towards the record books and remained atop the South Korean box office. It beat a trio of prominent newcomers. The Lotte Entertainment release earned $12.2 million from 1.57 million admissions between Friday and Sunday, for a total of $70.9 million after two weekends on release.
“The Spy Gone North,” directed by Yoon Jong-bin debuted in second place. Opening on Wednesday, the Cj Entertainment release earned $15.7 million admissions over five days. Starring top actor Hwang Jung-min, the espionage drama revolves around a South Korean secret agent who hatches a deal with North Korea on the eve of the 1997 South Korean presidential elections. It premiered in Cannes’ Midnight Screening this year. The top two films together accounted for 69% of the total weekend box office.
“Mamma Mia!” sequel “Here We Go Again” landed in third. Opening on Wednesday, the Upi musical drama earned $6.56 million, including revenues from...
“The Spy Gone North,” directed by Yoon Jong-bin debuted in second place. Opening on Wednesday, the Cj Entertainment release earned $15.7 million admissions over five days. Starring top actor Hwang Jung-min, the espionage drama revolves around a South Korean secret agent who hatches a deal with North Korea on the eve of the 1997 South Korean presidential elections. It premiered in Cannes’ Midnight Screening this year. The top two films together accounted for 69% of the total weekend box office.
“Mamma Mia!” sequel “Here We Go Again” landed in third. Opening on Wednesday, the Upi musical drama earned $6.56 million, including revenues from...
- 8/13/2018
- by Sonia Kil
- Variety Film + TV
Bucking a decade-long box office trend toward local films, Hollywood dominated the Japanese movie-going in the first half of 2018. But the respite in the world’s number three theatrical market may not last.
The number one and two films for the January-June period, “Detective Conan: Zero the Enforcer” ($76 million) and “Doraemon the Movie: Nobita’s Treasure Island” ($47 million), were local and the new entries in long-running anime series. Counting the $34 million for number five “Shoplifters,” Hirokazu Kore-eda’s Palme-d’Or-winning family drama, Japanese films in the top ten earned a total of $157 million. That compares with the $209 million earned by the seven Hollywood films in the top ten.
Hollywood’s successes were an eclectic bunch. Fox’s “The Greatest Showman” beat any of the franchise titles, earning $48 million. “The Boss Baby” earned $30.7 million for Toho-Towa, making Japan the number two international result for the Fox comedy.
The top foreign distributor...
The number one and two films for the January-June period, “Detective Conan: Zero the Enforcer” ($76 million) and “Doraemon the Movie: Nobita’s Treasure Island” ($47 million), were local and the new entries in long-running anime series. Counting the $34 million for number five “Shoplifters,” Hirokazu Kore-eda’s Palme-d’Or-winning family drama, Japanese films in the top ten earned a total of $157 million. That compares with the $209 million earned by the seven Hollywood films in the top ten.
Hollywood’s successes were an eclectic bunch. Fox’s “The Greatest Showman” beat any of the franchise titles, earning $48 million. “The Boss Baby” earned $30.7 million for Toho-Towa, making Japan the number two international result for the Fox comedy.
The top foreign distributor...
- 7/19/2018
- by Mark Schilling
- Variety Film + TV
The No. 1 movie at the Japanese box office, beating out "Avengers: Infinity War" is is the anime feature "Detective Conan: Zero The Enforcer", directed by Kobun Shizuno, as the twenty-second installment of the "Case Closed" film series based on the manga series of the same name by Gosho Aoyama:
"...the newly built facility 'Edge of the Ocean', located in Tokyo bay, plans to host a 'Summit Meeting'. During the opening ceremony, with more than 22,000 police officers safeguarding the building, a large-scale explosion occurs.
"'Detective Conan' is suspicious, because another explosion occurred just days before the summit and keeps a close watch on the mysterious behavior of 'Tooru Amuro' from the 'National Public Security Police'.
"Fingerprints are found as evidence at the crime scene matching 'Kogoro Mouri' a former police officer. Conan and Amuro begin the investigation around Kogoro's arrest..."
Click the images to enlarge and Sneak Peek...
"...the newly built facility 'Edge of the Ocean', located in Tokyo bay, plans to host a 'Summit Meeting'. During the opening ceremony, with more than 22,000 police officers safeguarding the building, a large-scale explosion occurs.
"'Detective Conan' is suspicious, because another explosion occurred just days before the summit and keeps a close watch on the mysterious behavior of 'Tooru Amuro' from the 'National Public Security Police'.
"Fingerprints are found as evidence at the crime scene matching 'Kogoro Mouri' a former police officer. Conan and Amuro begin the investigation around Kogoro's arrest..."
Click the images to enlarge and Sneak Peek...
- 5/4/2018
- by Michael Stevens
- SneakPeek
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