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As 2022 is coming to an end, it's the annual Lunar New Year release season. This year's Lunar New Year stalls gathered many superstar blockbusters to enter the box office battle, but the result was a big surprise - the small-budget romance film "Twinkle Twinkle Twinkle Star" won the pre-sale box office alone, reaching a staggering 288 million.
Superstar blockbusters such as Tony Leung, Andy Lau, and Feng Xiaogang, who were originally popular, all failed at the pre-sale box office without exception and became the biggest losers in this box office war. The reason is mostly that today's audiences are tired of these old faces and routine bad movies.
At the moment, there is a real need for new people and fresh blood in the market to stimulate the industry. Otherwise, Hong Kong films will only fall deeper and deeper, and in the end, it will be difficult to escape the fate of a dream.
61-year-old Tony Leung's 300 million bad movie box office is only 7.06 million, and mainland audiences have no confidence
Tony Leung can be said to be the leading actor in Hong Kong films, and has been widely recognized in the mainland with the "Infernal Affairs" series of movies, and is respected as the "king of Hong Kong film acting". However, in recent years, with Tony Leung's advanced age and the uneven quality of his works, his popularity in the mainland has declined.
According to the pre-sale data, the bad movie "Goldfinger" starring him with gimmicks only received a weak box office of more than 7 million, which is in great contrast with the cost of up to 300 million. This undoubtedly dealt a heavy blow to the confidence of mainland audiences in Hong Kong films, especially Tony Leung.
After all, a 61-year-old old artist, no matter how good his acting skills are, he can't hide the marks of the years on his face. If you can't shoot high-quality works, you can't retain the audience by relying on acting skills and fame alone. The demand for conscientious films in the mainland market is huge, and Hong Kong film workers must face up to this, otherwise they will inevitably be eliminated.
The biggest dark horse in the Chinese New Year stall is Taylor Swift, who broke 100 million without pressure
The documentary "Taylor: Times Tour" starring the famous American singer Taylor Swift is the biggest dark horse in this year's Chinese New Year. Although it was only recently announced, the pre-sale box office has reached 11.64 million yuan, directly beating many Hong Kong blockbusters that have been screened in advance.
As a Hollywood import, its quality and viewing experience are beyond doubt. Taylor himself has a strong personal appeal and popularity base. Coupled with the prime time of Chinese New Year's Eve, the box office of this documentary breaking 100 million or even hundreds of millions is not a problem at all. On the other hand, those Hong Kong blockbusters that only sell gimmicks can't even cross the box office threshold of 10 million.
The audience has always valued quality and novelty the most, which is also the direction of the mainland film market demand. If Hong Kong film workers can't make high-quality and novel works, their box office Waterloo is already doomed.
Feng Xiaogang's 200 million bad movies were pre-sold for 1.45 million, and the king of the new year of the generation withdrew gloomily
Feng Xiaogang, who used to be the king of the box office of the Lunar New Year stalls, directed and starred in his new film "If You Are Honest Do Not Disturb 3", became the biggest loser of this year's Lunar New Year stalls. This bad film, which gathers many first-line stars and has a production cost of up to 200 million yuan, has a pre-sale box office of only 1.45 million yuan, which is not even as good as a small-cost animated film.
It can be said that the golden age of Feng Xiaogang's masterpiece "If You Are Honest, Do Not Disturb" is gone. Today's audiences are tired of their routine works, and if they can't change their creative ideas, they will only be eliminated by the market.
This is also a wake-up call for other Hong Kong film directors - no one can rely on the success of the past to live forever, and they must keep pace with the times and let high-quality works occupy the market.
Dapeng grabbed the first place at the box office again, and "The Annual Meeting Can't Stop" broke 30 million to win the New Year's Eve championship
The new film "The Annual Meeting Can't Stop" directed by comedian Dapeng is the box office champion favorite for this year's New Year's Eve. In the early screening, this film has received an excellent box office of more than 30 million yuan.
As a comedy, coupled with Dapeng's popularity, this film has a very high chance of winning the championship. But at the same time, we must also note that excessive marketing packaging and on-demand hype cannot change the intrinsic quality of a work.
Dapeng can't just rely on these external means to get the box office, but still let the work speak. I hope he will not repeat the mistakes of the past and put more attention on content innovation, so as to win the long-term support of the audience.
The small-budget romance film collected 280 million yuan, making 13 large-scale films red-eared
The biggest winner of this year's Lunar New Year file is the small-budget love movie "Twinkle Twinkle Twinkle Star", a conscience film with a budget of less than 30 million, and the pre-sale box office has reached an astonishing 2. 800 million yuan, ranking first among all new films. In stark contrast, none of the star-studded and money-burning productions can reach this number.
It fully shows that the current audience pays more attention to the subject matter and quality, rather than bad movies and stars. Limited funding is not an obstacle to making a great work, the key is to be creative and sincere.
Otherwise, even a huge superstar will not escape the fate of paying expensive tuition. These directors who will only burn money and bad movies might as well use the funds to produce small-cost masterpieces, so as to really win the market and the audience.
To sum up, judging from the box office situation of this year's Chinese New Year, Hong Kong films are facing an unprecedented grim situation. The audience has lost confidence and interest in those old routines and bad movies that burn money. What the mainland film market needs is high-quality and innovative works.
Tony Leung, Feng Xiaogang and other veteran directors of Hong Kong films must face up to this, otherwise, Huang Liang will eventually wake up from a dream. Instead of repeating outdated methods, try new ways of low-budget films.
Only in this way can Hong Kong films return to their former glory. If current trends are allowed to develop, this industry will eventually be eliminated from the market selection. It's still time to change, but time is running out.
This incident quickly aroused heated discussions among netizens on the Internet, and some netizens believed that the decline of Hong Kong films during the Chinese New Year was the trend of the times, and the decline of Tony Leung and other actors of the older generation was inevitable in history. Some netizens also think that Hong Kong films still have a chance to turn over, as long as the directors can keep pace with the times and choose the right actors and themes.
Some netizens believe that no matter what, Hong Kong films are an inseparable part of Chinese films, and they still have their unique charm and should not be given up lightly. All kinds of voices came one after another, and the future of Hong Kong films sparked heated discussions among netizens.
In my opinion, Hong Kong films are indeed facing the problem of transformation. But this does not mean that the golden age of Hong Kong films is gone forever. Movies have their own charm and significance, and the success or failure of a film industry should not be judged solely by box office revenue.
It is important to maintain sincerity and a spirit of innovation. Hong Kong filmmakers need to inherit the tradition while also embracing the creativity of the new generation. Blindly clinging to the inadequacy will only bind oneself to the past. I believe that as long as Hong Kong filmmakers keep pace with the times and insist on innovation, Hong Kong films can still return.
Finally, I would like to ask you: Do you think there is still any possibility for Hong Kong films to turn over? What should it do next? Welcome to leave a message to discuss.