"The truth is demonstrated in words. - Tang Lei"
html The three Hong Kong movies in the early 2000s are basically finished.In terms of mainland box office, the extremely large-scale investment " Golden Finger " stopped at 600 million, the typical commercial film "Stealth" stopped at 400 million, and the last small-to-medium-cost Hong Kong film "Temporary Heist" was released at roughly 300 million.
In terms of input-output ratio, the cold-released "Temporary Heist" may be slightly better.
The reason is very simple. The investment is small, the publicity is weak, and there is no ticket subsidy. In the future, Hong Kong, Taiwan, Southeast Asia and some regions will be released one after another.
and other Hong Kong-style commercial movies to be screened. What will happen to
?
When talking about box office, we must talk about commercial movies.
This should be a rule.
However, some people prefer to compare the box office of some niche, realistic and literary-themed movies with typical commercial movies to define the appeal of actors.
As the old saying goes, people with different paths do not seek to meet each other.
In the age of the Internet, many people are louder than their voices and more loud than their cliques.
is actually meaningless.
People know their own value.
Therefore, the movies mentioned in this article, without exception, will be limited to commercial movies.
searched from memory, and the movies that have been produced and had trailers include Andy Lau's "Danger Line" and "Eastern Wall Street", Aaron Kwok and 's "Insider", Louis Koo's "The Legend of Qin" and "The Siege of Kowloon Walled City" ", Nicholas Tse and Jacky Cheung's collaboration " customs front " and so on.
may be partially missing.
However, some Hong Kong movies may not be released in the mainland, or are still being filmed, or have only been approved but have not yet been launched, etc., etc., are not included in this list.
So it may be roughly accurate.
is the so-called forward-looking.
Commercial box office is one, and movie reputation is also one.
So based on the fundamentals of these movies, what are the possibilities?
This question requires a rough analysis and conclusion based on factors such as the general environment of Hong Kong films, current trends, and the historical work cases of the main creative team.
is just for discussion.
Let’s first watch “Danger Line” produced by Huanyu. The
movie is positioned as an action, disaster and crime film. It tells the story of an international security expert who boarded the "Sky Big Mac" extra-large luxury passenger plane on its maiden flight, was hijacked by thugs, and then joined forces with his daughter to resolve this shocking crisis. The director of
is Peng Shun.
Regarding his memory, the most profound one should be the "C+ Detective" of the past, but the other works may be lackluster. Recently, he just encountered a Waterloo, that is, the "Rescue", which only just exceeded the box office 40 million threshold.
As for the actors, it is a combination of Andy Lau, Liu Tao and Zhang Zifeng.
This type of film was Hollywood's specialty in the past, but there is no outstanding case in Chinese-language films.
Rationally speaking, if it were placed on a secondary hot spot like May Day and New Year's Day, supplemented by relatively strong publicity, the box office might be around 300 million, but the reputation is not that high.
Qiu Litao's figure appeared again.
One is "Customs Front", and the other is "Eastern Wall Street".
Qiu Litao is actually very interesting. He is originally a Hong Kong director who specializes in small and medium-budget films. He has always been dedicated to his work, but he seems to be unknown.
This is certainly not to say that he is not famous.
But when talking about Hong Kong directors, few people will mention him immediately.
However, after "Drug 2" and "Bomb Disposer 2" successively exceeded 1 billion in box office, he instantly became very popular and seemed to dominate all Hong Kong directors and became the "leader".
The high-yield situation back then was particularly scary. In a short period of time,
has successively directed "Angel of War", "Touched Her 77 Times", " Assassination Storm ", "Jedi Chase", " Anti-Drug 3: People at the End of the World ", and "Customs Front" and "Operation Moscow" among many other movies.
suddenly collapsed.
First, "Anti-Drug 3: Man at the End of the World" stopped at a box office of 300 million, which was less than expected, then "Assassination" only took in a box office of 80 million, and then "Pursuit" stopped at a box office of 30 million, and later entered the National Day release "Moscow Operation" finally exceeded 600 million, but it was also the bottom of the same period and had no reputation at all.
It's been a complete roller coaster.
Return to "Customs Front" and "Eastern Wall Street".
If the decline of Hong Kong films has not yet appeared and the "Qiu Litao myth" has not yet collapsed, the expectations for these two films may be greatly increased, but for now, there is no other choice but to be cautious.
The former is a generous work by the Emperor, and it is Nicholas Tse's first ambitious work as action director.
Theoretically speaking, the first choice dates for this movie should be the summer vacation and National Day, and the secondary option is at least New Year's Day, and they should be more willing to invest in publicity, but combined with the narrative confusion that Qiu Litao has always exposed , unclear scheduling and anticlimactic results, etc., perhaps we can still only use 300 million box office as the baseline.
Another "Eastern Wall Street".
The movie type is marked with plot, which probably points to business war and human elements.
This makes the movie more unpredictable.
If there is no commercial packaging and a feature film is made with a creative lineup such as Qiu Litao, Andy Lau and Ou Hao, then the publicity and distribution budget will be limited. A conservative estimate is at the level of tens of millions to 100 million.
Of course, if there is no lack of commercial elements and strong publicity, there is the possibility of reaching 300 million.
Then there is director Mak Siu-fai. The name
is well-known, derived from the movie "Infernal Affairs". He wrote the first draft of the script of
's movie, and then Zhuang Wenqiang and Liu Weiqiang participated, and the three of them worked together to complete the derivation of the entire story.
was later invited by Andy Lau to co-direct.
Later, he and Zhuang Wenqiang formed the "Maizhuang" combination and directed many movies in succession.
However, throughout his career as a director, he usually finds himself in a situation where co-directing is acceptable, but solo work is unfavorable.
Just list a few names, "Twenty Years of Murder", "Weekend Fever", "The Wish Tree", "Wolf" and "Tofu Mystery". Are any of them well-known to movie fans? There is probably none of
.
The answer to the mystery is actually obvious. Mak Siu-fai and Chong Man-keung only started to officially enter the industry when Hong Kong movies were in decline, so the resources available to them were actually very poor.
So their consistent thinking is to take the small and medium cost route.
For example, when hiring actors, he only considers those with low pay, and will never go after those big names. So when he heard Liu Weiqiang said that he would invest 20 million to invite Andy Lau and Tony Leung Chiu-wai to film "Infernal Affairs", his first reaction was Fear.
Another example is that many years later, he once again made a solo film "Integrity", and he still hired pure acting actors like Liu Qingyun and Nick Cheung.
these things have a context to follow.
But in "Insider", things finally changed.
Seeing the success of Zhuang Wenqiang's "Wushuang" made him break his usual conservative habits.
movie "The Insider", produced by Emperor. The story of
unfolds with elements of charity, money laundering and crime, involving law, the police force and the business world. From the perspective of barrister Ma Yingfeng, we try to solve a "shady story". The cast of
includes Aaron Kwok, Simon Yam, Ng Chun-yu and Alex Fong. The theme of
is not new, it can even be said to be old-fashioned. In the current context of Hong Kong films, expectations for this type of film have already dropped to freezing point.
There is another problem. Not long ago, Mak Siu-fai's solo film "The Prosecution" was a disaster at the box office.
But looking back, Mak Siu-fai also has his advantages, balance and stability.
Relatively speaking, his works may have shortcomings in creativity and flexibility. For example, with his character, he will never be able to make a film as bizarre and reversal as "Wushuang", but he usually does not suffer from narrative collapse and logic. Confusing questions.
Therefore, if the quality of this movie is basically guaranteed, if it chooses secondary schedules such as May Day and Lunar New Year, and is supplemented by large-scale publicity, there is a possibility of reaching 300 million.
hopes for higher, unless the quality is outrageous.
Finally, there are two movies by Louis Koo.
In the past two decades, as an actor who relied on Hong Kong-style commercial films to rise, Louis Koo has reaped enough dividends.
Especially the five-part "Anti-Corruption Storm", which grossed more than 2 billion in box office, this can almost be regarded as a ceiling case for Hong Kong films with small and medium investment scale.
can also add two more films such as "Apostle Walker" and "Sha Po Lang·Gan Lang".
But the dilemma he faced was equally prominent.
Scenario, action and fighting-type movies are on the verge of being abandoned in the mainland film market.
Without him, the problem with this type of film is that it is difficult to have any vivid and new plots. If it encounters narrative collapse and logical confusion again, it will become a disaster.
This has been proven by Hong Kong films in recent years.
"The Siege of Kowloon Walled City" is a particularly typical genre film.
Another movie, "Looking for Qin", has a decent subject matter, but it is already too far away from the era when TV dramas became popular. The main creators have long since passed away, and the ending is equally unpredictable.
So one to three hundred million may be considered optimistic.
The decline of Hong Kong movies is quite obvious.
The subject matter is limited, innovation is extremely difficult, the filmmakers behind the scenes are incapable, and a number of superstars are old. This is an almost unsolvable practical problem.
In the near future, the box office of 300 million may become a point of resistance. The future of
is worrying.
