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The ideal cinema trip after new year festivities should be filled with fun and merriment, so how fortunate that Ying Chi-wen’s “Everything Under Control” has arrived at the dawn of the Year of the Rabbit. Straddling the line between wacky comedy and old-fashioned adventure, it has arrived just in time for international audiences to jumpstart their cinematic year against the grain of Oscar season. This is a film that couldn’t be less concerned with awards prestige, and instead, with just using every traditional mode of blockbuster entertainment, it can to stimulate a good time: action, comedy, adventure, horror, musical, it’s all here…even if it is spread a little too thinly to form its own distinct identity.

If any Asian Movie Pulse reader has seen Fu-Hsiang Hsu’s “Treat or Trick” or Shin Jung-won’s “To Catch a Virgin Ghost”, then “Everything Under Control” might seem more than a bit familiar.

Local film ‘Everything Under Control’ also performed strongly.

Box office in Hong Kong continued to show signs of recovery over Chinese New Year, with local films A Guilty Conscience and Everything Under Control leading the charge.

From January 21-24, total box office in Hong Kong reached 6.5m (HK50.86m), up 18.6 on the same Chinese New Year period in 2020 but still down 17.3 on pre-pandemic 2019.

Courtroom drama A Guilty Conscience was comfortably out front, accounting for almost half the total box office, taking 3.13m (HK24.47m) from its first four days of release. Its cumulative box office as of January 25 stood at...

Cinema box office in Hong Kong rebounded over the recent Chinese New Year holiday period. They failed to recover to pre-pandemic levels, but local titles performed strongly.

Data from Hong Kong Box Office Limited showed gross revenues between Saturday and Tuesday amounted to HK50.89 million (6.52 million). That is a 19 improvement on the equivalent four-day period in 2020, when Covid was just starting to arrive in the city and revenues fell to HK42.89 million (5.50 million). But the number was still 17 below the 2019 figure of HK61.47 million (7.88 million).

Cinemas in the territory were closed during Lunar New Year holidays in both 2021 and 2022 due to the government’s anti-covid measures.

Unlike mainland China, Hong Kong has no film import quotas and does not operate blackout periods when foreign films cannot be released. The holiday period chart for Hong Kong contains a mix of local, U.S. and Japanese and none of the films that...

‘Babylon’ lands third overall in UK-Ireland box office chart.

RankFilm (distributor)Three-day gross (Jan 20-22)Total gross to date Week 1. Avatar: The Way Of Water (Disney) £2.8m £67.6m 6 2. M3GAN (Universal) £1.4m £4.7m 2 3. Babylon (Paramount) £1.32m £1.32m 1 4. Whitney Houston: I Wanna Dance With Somebody (Sony) £766,097 £9.6m 4 5. Roald Dahl’s Matilda The Musical (Sony) £661,279 £25.8m 9

Gbp to Usd conversion rate: 1.24

This weekend’s highest-grossing new opener at the UK-Ireland box office is Damien Chazelle’s Babylon, taking £1.32m for Paramount, and landing third in the weekend’s overall chart.

La La Land and Whiplash filmmaker Chazelle depicts the hedonistic days of the pre-sound film industry,...

Also out this weekend: ’Holy Spider’, ’Alice, Darling’ and ’Dreaming Walls’.

Damien Chazelle’s Babylon is the widest new release at the UK-Ireland box office this weekend, playing at 631 sites for Paramount, and hoping to make a dent on Avatar: The Way Of Water’s box office dominance, after five weeks atop the chart for Disney.

It is Chazelle’s widest release in the territory – beating his Oscar-winning musical La La Land, which opened at 606 sites in 2017 for Lionsgate, and took £5.6m at the box office in its opening weekend, plus £943,751 in previews.

Chazelle’s latest paints a hedonistic portrait of 1920s and 1930s Hollywood,...