Keanu’s Big Swing and a Miss in China


Follow me on Twitter @robcain or Sina Weibo @robcain, or connect with me on LinkedIn.Man of Tai Chi

By Robert Cain for China Film Biz

July 8, 2013

Nearly a decade in development and more than two years in production, Keanu Reeves’ directorial debut, Man of Tai Chi, was supposed to accomplish several ambitious goals:

  1. Enable Reeves to make the leap from actor to respected film director.
  2. Propel Reeves’ friend and Matrix kung fu mentor Tiger Chen to his own breakout as an action star.
  3. Establish a China beachhead for Reeves and enable him to make more movies there.
  4. Earn lots of money for the film’s investors, who include China Film Group, Wanda Media, Village Roadshow Pictures Asia, and Universal Pictures.

But the tepid audience response to Man of Tai Chi’s opening in China last weekend spells disappointment for everyone involved.  Although Reeves may still have a directing career ahead, his first film now appears more hindrance than help in advancing him toward that goal. I haven’t yet seen the movie so I can’t comment on Reeves’ directing capabilities, but the trailer has an odd direct-to-video feel to it and, according to Weibo chatter, lacks appeal for many in its targeted demographic.

At a reported $25 million budget, the picture will need to do a much better job drawing audiences in the U.S. and other territories if it is to turn a profit.  Wanda is said to have put up a substantial percentage of the negative cost in exchange for Chinese distribution rights, and turned over some 60 percent of its 1000+ screens to the picture. In hindsight that looks to have been a costly decision; given its $2.87 million nationwide total for the 3-day weekend, Man of Tai Chi will likely finish with less than $10 million in theatrical gross receipts over its entire China run. Wanda would have been better off allocating more of its screens to local hits Blind Detective and Tiny Times, or to the popular Warner Bros release Man of Steel.

Wanda and its partners in Man of Tai Chi  made a bet that audiences would turn out for Reeves because of his Chinese heritage and his track record as an action star with a genuine martial arts pedigree. My feeling is that the core moviegoing audience may simply be too young to know who Reeves is, and so he didn’t draw as well as had been hoped.

The U.S. market probably won’t offer much support, as the film still doesn’t have a scheduled release date there. According to The Hollywood Reporter, Weinstein Company’s Radius division picked up U.S. rights at Cannes with intentions for a fourth quarter U.S. release, but has not yet announced any firm plans. Universal’s decision not to handle the film despite having invested in it suggests they lack confidence in its North American prospects.

In Reeves’ and his backers’ defense, their task was not an easy one; few recent action or martial arts films have been successful both in China and abroad. Here’s hoping  Man of Tai Chi finds better luck in the global market.

Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at rob@pacificbridgepics.com and at www.pacificbridgepics.com.

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China’s Box Office Bests Previous Weekly Record by 61 Percent With Scant Help From Hollywood


Follow me on Twitter @robcain or Sina Weibo @robcain, or connect with me on LinkedIn. For info on China Pooch email info@chinapooch.comSay Yes one sheet

By Robert Cain for China Film Biz

February 22, 2013

What a difference a year makes. Last February, Hollywood action pictures like Mission Impossible: Ghost Protocol and Journey 2: The Mysterious Island dominated China’s multiplexes, seizing a 70 percent share of the market and leaving only crumbs for local Chinese films. Tom Cruise reigned as box office king with his Mission Impossible hitting $100 million, only the fourth film to reach that plateau in Chinese history. Hollywood’s long-term hegemony over the Chinese movie landscape seemed secure.

A year later, the situation could scarcely be more different. So far this month Hollywood’s share of Chinese theatrical revenue is barely 10 percent. Tom Cruise, whose new action flick Jack Reacher debuted to a tepid $5 million last weekend, has been supplanted by a Chinese star named Bo Huang, who has notched three successive breakout hits: Lost in Thailand, Journey to the West, and now the China-Japan co-pro (!) romance Say Yes. Chinese action-comedies are routinely cracking the $100 million threshold, while Hollywood action movies are underperforming to a troubling degree.

One non-Chinese player that has fared exceptionally well in China of late is Village Roadshow Pictures Asia, which nabbed the number one and number two box office rankings last week with its co-pro entries Journey to the West and Say Yes.Box office week ending Feb 17, 2013

Journey to the West broke numerous records, including the biggest single-day gross with nearly $20 million on Valentine’s Day, the biggest weekly gross ever ($93 million) and the fastest arrival at the $100 million mark (8 days). As of Tuesday, its tenth day in release, the film’s cume stood at $122 million. I don’t think I’m going too far out on a limb here in predicting that Journey will break Lost in Thailand‘s all-time record Chinese language film gross of $201 million.

Say Yes, a Chinese-language remake of the hit 1991 Fuji Television drama “101st Marriage Proposal,” debuted to an impressive $19 million. Journey and Say Yes combined gave Village Roadshow and its partners an 83 percent share of the week’s $135 million nationwide gross, also an all-time record. The previous weekly record gross was $84 million.

Year-to-date, China’s aggregate box office is up by 30 percent, while U.S. films are down by 59 percent. Some might blame the U.S. films’ decline on long release delays or on the individual films themselves (Skyfall, Gone and Jack Reacher), and they may be right, but I believe the most important factor is that Chinese audience tastes have shifted.Weekly box office 2012 vs 2013

Not only have several Chinese language films caught on with audiences, but the non-Chinese films that are indexing well now are different than the ones that indexed well a year ago. During the past several months the foreign pictures that have over-indexed in China have been more offbeat or intellectual movies like Life of PiLooper, and Cloud Atlas, or the more quirky action films like Bait and Expendables 2.

The trend could turn again in favor of Hollywood’s tent-poles, with upcoming releases that include The Hobbit on February 22nd, Les Miserables on February 28th, and Oz: The Great and Powerful and a Good Day to Die Hard in mid-March (I had previously been advised that the latter two films might open on the same day, but I’m now told it’s more likely they’ll be spaced at least a few days apart). The only certainty in China is change, and for the moment, anyway, it is trending in favor of China’s local producers and those foreign producers who have committed to serving the Chinese market.

Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at rob@pacificbridgepics.com and at www.pacificbridgepics.com.