On its opening weekend, the film Godzilla vs Kong immediately rose to the top of the South Korean box office. Godzilla vs Kong is the first major Hollywood film to be released in South Korea, since Soul in January 2021.
According to data from South Korean Film Council's KOBIS tracking service, Godzilla vs Kong earned $ 2.45 million in revenue over the weekend for a 51 percent market share. During the four days of its opening, the film grossed US $ 2.79 million.
The cinema directed by Adam Wingard has shifted the Korean-language independent film from the United States entitled Minari. Over the past three weekends, it has been at the top of the South Korean box office.
Minari slipped to third place with weekend earnings of US $ 535 thousand, bringing total earnings over the four weeks of release to US $ 6.56 million. The second position is held by Demon Slayer The Movie: Mugen Train.
The Japanese animated film made 737 thousand US dollars in the last weekend. This income will increase his cumulative income since January 27, 2021 to US $ 12.6 million or around Rp.182 billion.
There is also The Box, a South Korean horror film that aired last Wednesday and enjoyed a day at the top. Unfortunately, the film's subsequent performance weakened and at the weekend was in fourth place, with a cumulative income of 549 thousand US dollars.
Another cinema with an impressive opening is Choe Myeon. The film is now in fifth place in the weekend rankings, totaling $ 211,000. There was also the espionage drama Wife of a Spy in eighth place (earning 39 thousand US dollars over five days).
The presence of Godzilla vs Kong lifted the national weekend aggregate to 4.62 million US dollars, up from 3.56 million US dollars in the previous session. It provides some relief for struggling cinema operators in South Korea.
However, it still hasn't shown a breakthrough from the worrying conditions of cinemas over the past few months. At least, last weekend's revenue was the second highest total weekend revenue for cinemas this year.
South Korean cinemas have operated with restrictions on seating capacity. The bigger problem is that viewers are still reluctant to watch films in theaters because of the Covid-19 pandemic health crisis, quoted from the Variety page, Tuesday (30/3).
Adam Wingard's film reaffirms the franchise's ability to waste talented actors, in this case including Alexander Skarsgård, Millie Bobby Brown, and Rebecca Hall.
There is a touching scene, toward the end of “Godzilla vs. Kong, ”when the creatures of the title draw near to each other. With a mighty thump, Godzilla lays Kong flat, then leans tenderly over him, almost exactly like Fred Astaire holding Ginger Rogers in a prolonged backbend, in “Top Hat” (1935). As for dancers, so for rampaging beasts; they seem to find the happiness they seek when they're out together fighting cheek to cheek — or, in this case, snout to snout. What's interesting is that Godzilla, armed as he is with a bright-blue radioactive roar, could take this opportunity to barf his opponent into extinction. But he doesn't. Gazing down, he snarls and steams, as if to say, "I've missed you so much," then stalks away in a huff. The moment passes. Pity. The two of them could have taken a room.
The film, directed by Adam Wingard, begins on Skull Island, with Kong, a bachelor, waking up alone, stretching, and greeting the fine day, to the sound of Elvis singing "Loving Arms." Alas, Kong's residence is soon revealed to be a stately pleasure dome, resembling the one in “The Truman Show” (1998), and designed not so much to fence him in as to keep out unsolicited visitors, such as Godzilla and the I.R.S. A stickler for the niceties, Kong receives few callers except for Jia (Kaylee Hottle), who, in strict accordance with the laws of melodrama, is a little deaf-mute orphan. (Does she play with a simian doll? You bet.) Also on hand is Dr. Ilene Andrews (Rebecca Hall), described as the Kong Whisperer — a very niche aptitude, though we never actually see her being winched up to have a word in Kong's ear. Her main concern is that he and Godzilla should, whatever happens, remain socially distanced. "There can't be two alpha Titans," she says. Tell that to the makers of this movie.
Yet the tortured behemoths of Godzilla vs. Kong do have their charms. Kong, his heavy brow bearing all the sorrows of the world, our primate brother in the evolutionary chain, has a few glorious moments here: At one point he floats dreamily into our field of vision on a ship — he is, sadly, sedated and restrained - to the strains of Elvis Presley's "Loving Arms." And Godzilla, his disproportionately tiny head filled with bitter thoughts, his spine a row of indignant spikes, just cannot stop himself from angrily stomping through cities. He doesn't mean to kill people with his atomic breath; they're just always in the way. Even his addled brain comprehends that only one other creature on Earth understands his true nature. He keeps his friends close and his enemies closer. As in pro wrestling, any fight to the finish is purely for show.
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