周四開畫的三部電影，在票房上其實有著明顯的分野。挾台灣票房盛世啟航的《海角七號》，安排於22院開畫，結果開畫首天錄得32萬票房。
32萬的開畫數字，即每院平均約萬四多一點，嚴格來說不算是一個很高的開畫數字，至少院商沒有特地為《海》片於周末加開場次。其實《海角七號》作為一部小品，於票房早段要吸引觀眾具一定難度，不過電影安排了提早開售開畫日戲票，聯同預售購票禮品等，對開畫票房催谷有一定作用，到底《海》片實力如何，還有待觀察周末期間票房的變化，但初段看來並未在票房上刮起巨浪來。
不過，同日開畫的另外兩片，在票房上並不理想，當中以狗為題材的《走佬芝娃娃》雖然以30院作大型發行，可是首日僅錄得16萬成績，即使是晚上的場次，入座率僅約一半左右，反映了電影本身未能吸引觀眾。《走佬芝娃娃》雖然以真人與真的動物拍攝再配上後期效果，但電影海報卻出來還以為是類似《荒失失奇兵》相關款式，結果令到身童市場沒有聽聞，成人市場則因感覺是動畫而卻步，恐怕電影在周末難以在票房難有作為。
但是要數到本周的大輸家，則是由李察基爾主要的愛情片《最後的初戀》，於19院開畫僅錄得八萬四千開畫數字，每院平均僅四千多，即使夜場入座情況也慘淡，而周末不少戲院也先行縮減場次。電影以成熟愛情為賣點，可是在愛情電影賣點上，《最》片則被同期的《海角七號》完全吸納起來，無奈地淪為票房「炮灰」。
在《海角七號》並未於票房大熱之下，不少電影票房仍有不俗表現，當中昨天票房三甲《新鐵金剛之量子殺機》、《奪標》及《爆粗Band友》周四票房較周三跌幅約兩成左右，分別收22萬、16萬及八萬四千多，《新》片累積1,566萬票房，且看能否累積至千八萬，《奪標》累積了359萬票房，且看又能否達到五百萬目標，而《爆》片累積了969萬，相信逾千萬埋單問題不大。
至於各片進一步的票房情況，還看周末的票房變化。
shtmanhk
就算海角七號有後勁,以隨後兩三周的片目來說,根本難以維持現在的埸次,個人認為本地院商對此片其實亦沒有抱太大期望.
走佬芝娃娃走勢和去年的underdog相若,但走佬芝娃娃北美票房好得多.
最後的初戀話題性此不忠誘罪少得多
爆粗Band友終於成為本年日本片首部逾千萬,泛亞繼兩集死亡筆記再創佳績,沒有了uip後,泛亞今年可說是一洗頹風.
nbachung
看網上討論區對海角七號反應很極端..多數人話很悶.冇共鳴 .看來total收到4至500萬都當贏了.
《奪標》累積了359萬票房.篤數篤到離哂普.
話紅磡寶石戲院收2萬一日都夠膽死.寶石戲院不嬲都勁冷青青.甚少人看.上年去寶石no.1日看[神探]5.30得我1個看.唉!徐生篤數篤到服左你.
shtmanhk
唔衰得所以一定要排港片線?
one people
呢D咪策略lor,
明知自己排唔到多戲院咪入線就最穩陣
Paul ng
“奪標”實際票房應不算差; 在旺角百老匯周末的場次也只被略為縮場. (“海角七號”被略為加場).
不明白為何那麼多人憎徐小明/驕陽? 他可能視野較老土, 但作為導演/監製, 他始終有一定基本實力 (當年關錦鵬導演的”阮玲玉”如果無徐小明幫手, 應該唔會拍得成)
而且驕陽亦發行了不少外語藝術片.
willisnoo
Well, some Hongkies don’t like Mr Hsu simply because he is way too closely associated with mainland.I vaugely remember he was one of the first hong kongers to make HK-funded movies in the mainland. And in some Hongkies’s sub-mind, it’s just shabby to have anything to do with mainland, despite the fact that HK would have collapsed in 98 without mainland’s support. Convince me UK would be able to save HK out of the crisis. OK, no political debate here, I know, I know. Just point out some fact so in your face.
One big thumb up for Mr Hsu for never making a Cat III shocker. Kudoes to you, Mr Hsu!
And his new flick should become a moderate hit in HK. Still some people who know the real gem!
Paul ng
徐小明曾經擔任三級性暴片”血裸祭”的動作指導.
不過徐小明跟國內政府的關係, 令他在以前主攻台灣市場的香港影壇也遇上一些不方便 (如果我無記錯的話,”阮玲玉”當年在台灣上映時, credit沒有了徐小明的名字.)
其實”奪標”於香港有現在的票房成績, 我覺得不算差了.
willisnoo
Well, I don’t think Mr Hsu could be regarded as the “maker” of this film. Otherwise, just like “six degrees of Kevin Bacon”, anyone in the HK film industry would have some connection with some Cat III flick, cos it’s just so popular those days. Anyway, I believe the prevalance of Cat III is one of the reasons that HK films fell from grace.
And who cares about TW these days. Some of those residing in TW just secretly (or openly) wish it could be part of Japan. It’s almost already Japan’s backyard, anyway. And don’t forget TW has been the States’s backdoor mistress for many many years. It got some shining spots, but it’s just so hard to associate “dignity” or “respect” with some japanese wannabes. So many TW migrates to Canada and Oz these days… and so many HKers return home…it says sth. Isn’t TW regarded as a well-rounded “developed” region? Guess not!
I agree with you that the boxoffice is at least passable, better than most new Cat III trash I just don’t understand when so many HKers so cherish. If they believe Cat III could save the industry by any means, then the local film industry deserves dying out and fading away, I suppose.
willisnoo
And I have to add some HKer these days only take films that’s banned or heavily censored in mainland as “decent” flicks. I find that downright short-sighted and stupid. There should always be non-mainstream and indie flicks, just like like co-production should always be there, cos it’s the diversity that makes entertain industry survives. And the skills and knowledge of the new generation of mainland directors is at least on par with HK (just ignore TW) newcomers, if not better.
I know it takes time to come to terms with a game that’s changing. That’s understandable.
jerrycahn
中國由幾時支持香港? 你說的98年的支持是指電影還是香港經濟? 如果是後者的話, 恐怕你連當時香港的基本事實也未攪清楚. 如果是前者的話, 畫皮成為香港參加奧斯卡外語片參賽資格, 你大概會覺得是香港人民真正站起來?
至於徐生唔拍三級片, 有咩值得舉起姆指? 麥曦茵年僅24歲的首齣電影就被評為三級片是否應該好羞恥?
其實你是否看完海角七號大受刺擊? 見到一套視日本文化為母體的台灣國片, 骨子裏充滿台獨意式, 竟然係台灣大受歡迎而深深不忿?
willisnoo
Hehe, it’s nice to see different voice to be heard, including yours and mine.
As for the painted skin, it’s Gordan Chan’s work, and partly because the funding coming from mainland he, a talented and skilled filmmaker, still gets work in a scale he SO deserves. Beast cops are unpretentious masterpiece and even “2000AD” is a well made blockbuster. That said, do you think HK marker alone (plus some contribution from the video market in the West) would able to sustain those middle to big budgeters? As for the video marker in places like US, Canada and Oz, aren’t blockbusters supposed to be see in all its glory in the big screen?
Yeah, if you regard japanese (no offense, Japan got so many traits we need to appreciate) wannabes and the States’s backdoor mistress highly respectable, that’s mighty fine by me. Let I said, diversity never hurts. And convince me UK would “save” HK, including its film industry. Still, I need to reinforce the argument Cat III and “local only” film will never ever turn things around; it’s merely part of the diversity which won’t exist without co-productions.
I know some compromise has to be made when a game has to keep up with a increasingly chaotic and tough world. But remember, every story has two sides, it’s about developing a sensible conclusion after going through both A and B.
And it’s just basic common sense to be grateful. Mainland should always hold gratitude for the indispensible contribution HK has mde to the chinese community as a whole, just like what the other way around should be.
I know co-production has long way to go; there are so many aspects needing to be streamlined. But undeniably it’s the only viable way for the chinese film industry to survive and thrive.
Abhorsen
“Cape No.7” is certainly one of the best Chinese films this year. The story outline is not complicated yet picturesque, and the screenplay is tremendously written, especially those letters from the Japanese soldier. If many Hong Kong audience perceive this film as a boring piece, then that explains why Hong Kong film market is in such a hopeless state. The people (especially teenagers) don’t have a shit sense of appreciation to witty screenplays and clear cinematography. At least, this year Hong Kong hasn’t yet produced one film which is comparable to “Cape No.7”. The film is like a fusion of “Sparrow” and “A Band’s Visit”. Strongly recommended.
willisnoo
And it’s not outlandish to say the HK film industry collapsed in the mid 90s mostly due to its quick-money-first attitude and lack of diversity. Then when hollywood productions with unprecedented CGI and visual effects hit, the outcome was inevitable.
Things are changing. To survive commerically, you just have to make sure the film holds solid production value which necessiates substantial funding, which is beyond the local market’s capability.
And let’s stop talking about money for a while. The acilis’s (sp?) heel of HK films is there is not really any grand scale historical epics in the vein of “Ben-huh” and “laurence of Arabia”. The HK made “epics” have been almost exclusively about gangsters. How to solve this problem, the answer is obvious.
And let’s face it. Some mainstays of HK industry have had the decision made. Fat Gor, arguably the most charismatic Asian leading man ever, has not made a HK-funded flick for 13 years; Jackie Chan is working with a mainland newcomer for his next movie; Andy Lau has been filming in Beijing; Tony Leung had been filming at Beijing for the past year; Lous Koo just wraped filming a chinese new year esemble comedy in Hangzhou; Nicholas Tse spent more working days in mainland than HK or Canada these days. Shawn Yue is actually sticking with local productions (even though he already made two films in mainland), but he is not a major boxoffice draw yet. Even Ann Hui had directed a dramedy in mainland and she was actually one of the first HK filmmakers to make her way into mainland back in the 80s. And we should not forget Takeshi Kaneshiro, whose career would not jump to another level without co-productions. I just like let the facts speak themselves.
小黑大王
大家小心版主 BAN 呀。
《海角七號》八字真言︰韓片節奏，催淚唔夠。
晞
本週三我在UA朗豪坊看〈奪標〉9點半, 幾近全院滿座, 只剩最前一行, 雖有換票証的問題, 但似乎實際票房也不至太差
Paul ng
個人絕不同意香港影壇不行是因為三級片太多; 跟其他類型的電影一樣, 不同三級片也有質素上的分別; 有劣質, 也有優質.
如果香港有多些像”廟街皇后”, “晚9朝5″那樣能夠反映其目標民眾的生活實況和氣息, 令其目標觀眾群看得有共鳴和親切感的三級片, 香港電影的現況可能會更好.
香港, 國內和台灣之間絕不可互相排斥. (共產黨和國民黨間也越來越多交流活動).
但如果香港的東西太遷就一些方面(ie.電影遷就國內電檢), 而完全失去自己的特色, 那樣香港在兩岸三地晶, 便再沒有貢獻價值和生存意義.
shtmanhk
其實網上留言絕對不能作準,它只是代表部分勇於表態的人的意見或看法.
徐小明/驕陽與內地政府的關係絕不是惹人厭的主因,有線+ 驕陽 一向鋪天蓋地式的 hard sell 可能才是令人反感的一個原因.
shtmanhk
入港片線怎會穩陣?
深海尋人,菁苔上兩日照 cut
jerrycahn
似乎你想當懷舊, 我講的是2008年的畫皮, 而你仍然回望差不多十年前的野獸刑警與公元2000.
不過那些你相當懷念的電影, 我看不到是在偉大的中華人民共和國鼎力支持下完成, 反而內裏有不少港英殖民地的遺風. 至於在你筆下酸味甚濃的日本國, 其真正狂潮, 80年代比現在有過之而無不及吧, 日本軟實力可以歷久不衰, 自然有中國未能取代的元素, 現實係近年的娛樂文化輸入, 亞洲最哈日的台灣已經取代了香港的地位.
台灣原著民視日本文化為母體, 而從偶像劇, 青春電影中體現出來, 再灌輸到中國的下一代, 這其實沒有什麼好道德批判的, 因為這是台灣經歷過日本良好統治的根, 就好像台灣人一樣有中國文化的根, 並非可以小數人所剔除. 反而這一代的香港人, 港英的根沒了, 但是之後還有什麼, 恐怕就沒有幾個人可以說得明白.
至於你以為的fact與common sense, 恐怕並不如你所想像的那麼必然吧. 大陸與香港一體化, 亦不是如此受歡迎的. 係電影文化, 兩者之間的鴻溝就非常之大. 你與例香港的明星北上發展, 其實沒有什麼值得驚奇, 係全球化下這是必然的趨勢, 過往香港人也有進軍台灣, 東南亞, 大陸發展較遲, 是因為她的閉關鎖國的愚蠢政策. 但是係人才交流與合作的同時, 保持個人風格與定位才是要更堅持的道路. 肥谷的笑話, 在大陸有人懂得笑嗎? 劉華梁朝偉這種級數的明星, 可以由合拍片中培養出來? 許鞍華的成名, 是因為香港80年代的新浪潮, 恐怕從來未有過中港合拍片新浪鮮吧?
用三級片港救產片, 我只聽你講過, 其實蠻新鮮. 不過你既然又用你那強而有力的論據打倒這個理論, 我恐怕都不能有任何異議. 不過三級片作為多元文化的一種實則體現, 係中港合拍片的情況下, 係成文的種種關卡以及中國領導人把關下的不成文條例下, 這種合拍片的成本要增加幾高?
一億美金成本, 或者喪失創作自由, 兩擇其一.
jerrycahn
只要曾經裝過有線電視的人, 都會明白為何驕陽電影這個品牌為何成為年青人的恥笑對象. 這是關乎形象品題, 與電影質素完全無關. 我覺得驕陽出品的犀照是近年少有有質素的恐怖片, 不過當我意識到這是驕陽出品以及整個包裝, 就就會忍不往笑了出來.
Paul ng
多謝shtmanhk和jerrycahn的意見.
驕陽不可以說是無誠意攪好電影的公司, 但看來有很多方面還需要改善, 如 形象包裝 和 發行藝術電影的模式(驕陽致力發行了不少國際級藝術電影, 但大多也票房慘淡). 儘管我依然認為驕陽不是一間值得被嚴重恥笑的公司.
形象包裝方面的好示範, 大公司可包括嘉禾,邵氏, 德寶 等, 小公司可包括UFO和(成立初期的)最佳拍檔.
P仔
如果你屋企有裝有線電視,你阿媽又長期響客廳開住其娛樂新聞的頻道的話,我保證你都會對徐小明同驕陽去到極之憎厭的地步.大俠出鏡率比無記志雲大師仲高得多,仲要成日睇住黃翠如吳天愉扮好姊妹孖公仔,真係神憎鬼厭,不知徐大俠是否想所有觀眾都患上斯德哥爾摩症候群(真係如同心理上綁架觀眾)而令觀眾入場睇奪標?另外,之前晚晚hard sell車票同秘岸雖則冇咁煩,但enough is enough啦!
歴蘇
頂你個肺, 真係一針見血, 好有同感。