February**Dynamic Incentive Program preached in the text. - Tang Tears
At the beginning of the year, the dust has largely settled on the three Hong Kong movies.
In the case of the mainland box office, the super-large-scale investment of "Goldfinger" stopped at 600 million, the typical commercial film "Sneaking" stopped at 400 million, and the last small and medium-cost Hong Kong film "Temporary Robbery" stopped at 300 million.
In terms of input-output ratio, the cold-file "Temporary Robbery" may be slightly better.
The reason is very simple, the investment is small, the publicity is weak, there is no ticket compensation, and there will be Hong Kong, Taiwan, Southeast Asia and some regions in the later stage, and the release will be arranged one after another.
and other Hong Kong-style commercial films to be screened.
And what? 
When talking about the box office, we must talk about commercial films.
This should be the rule.
But some people prefer to use some niche, realistic and literary movies to compare the box office with typical commercial films, so as to define the appeal of actors.
As the old saying goes, different ways do not conspire with each other.
In the age of the Internet, many people are shouting loudly, louder than the voice, more than the huddle.
It doesn't make sense.
People know what they are. Therefore, the films mentioned in this article, without exception, will be limited to the category of commercial genre films.
Based on memory search, the movies that have been produced and trailers have been exposed should roughly include Andy Lau's "Crisis Route", "Oriental Wall Street", Aaron Kwok's "The Insider", Louis Koo's "Looking for Qin" and "The Siege of the Kowloon Walled City", Nicholas Tse and Jacky Cheung's "Customs Front" and so on.
or partially omitted.
However, some Hong Kong films may not be released in the mainland, or are still being filmed, and are only approved and have not yet started, and so on, are not included in this list.
So maybe also roughly accurate.
The so-called forward-looking. The commercial box office is one of them, and the word of mouth of the movie is also one of them.
So in terms of the fundamentals of these movies, what are the possibilities?
This question should be combined with the general environment of Hong Kong films, current trends, and historical works of the main creative team to conduct a rough analysis and conclusion.
The words of a family are only for **.
Let's take a look at "Crisis Route" produced by Huanyu first.
The film is positioned as an action, disaster and crime genre film, telling the story of an international security expert who took the "Sky Giant" extra-large luxury passenger plane for its maiden flight, suffered a hijacking, and then joined forces with his daughter to resolve this shocking crisis.
The director is Peng Shun.
Regarding his memory, the most profound should be the "C+ Detective" in the past, but the rest of the works are either lackluster, and they have just encountered a Waterloo recently, that is, the "Shocking Rescue", and the box office only just exceeded the 40 million threshold.
In terms of actors, it is a combination of Andy Lau, Liu Tao and Zhang Zifeng.
This type of film is the best theme of Hollywood in the past, and there are no outstanding cases of Chinese films.
Rationally, if you put it.
Five. 1. A secondary hot file like New Year's Day, supplemented by a relatively strong publicity, may be able to reach the 300 million level at the box office, and the reputation is not a good expectation.
Qiu Litao's figure reappeared.
One "Customs Front", and the other "Oriental Wall Street".
Qiu Litao is actually very interesting, he was originally a Hong Kong director who was good at small and medium-budget films, and he has always been conscientious, but he seems to be unknown.
That's certainly not to say that he's not famous.
But when it comes to Hong Kong directors, few people will take him out at the first time.
But after "Anti-Drug 2: Heaven and Earth Showdown" and "Bomb Disposal Expert 2" broke through the one billion box office in a row, he instantly became hot, as if he was overwhelming a group of Hong Kong directors and became a "leader".
In the past, the high production was especially terrible.
In a short period of time, he has directed many films such as "War Epidemic Angel", "Moved Her 77 Times", "Assassination Storm", "Jedi Pursuit", "Anti-Drug 3: The End of the World", "Customs Front" and "Moscow Operation".
Then the collapse followed.
First, "Anti-Drug 3: The End of the World" stopped at 300 million at the box office, which was less than expected, and then "Assassination Storm" only collected 80 million at the box office, and then "Jedi Pursuit" stopped at 30 million at the box office, and then "Moscow Operation", which entered the National Day file, finally broke 600 million, but it was also the bottom work in the same schedule, and there was no reputation at all.
It's a total rollercoaster.
Back to Customs Front and Oriental Wall Street.
If the decline of Hong Kong films has not yet been shown and the "myth of Qiu Litao" has not 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 the emperor's big stroke, and it is also Nicholas Tse's first ambitious work as an action director.
Theoretically speaking, the preferred schedule for this movie should be the summer vacation and National Day, and the secondary option is at least the New Year's Day file, and in terms of publicity, it should be more willing to invest, but combined with the narrative confusion, unclear scheduling and anticlimactic problems exposed by Qiu Litao all along, it may still only be based on the box office of 300 million.
Another "Oriental Wall Street".
The movie genre is marked with a plot, which probably points to business wars and human elements.
This makes the film more unpredictable.
If there is no commercial packaging, with a main creative lineup like Qiu Litao, Andy Lau and Ou Hao, to make a feature film, then the publicity budget must be limited, conservatively estimated, at the level of tens of millions to 100 million.
Of course, if there is no shortage of commercial elements, supplemented by strong publicity, there is a possibility of reaching 300 million.
Then there's director Mak Siu-fai.
The name is known from a book called "Infernal Affairs".
The script of that movie was written by him, and then Zhuang ** and Liu Weiqiang participated, and the three of them worked together to complete the derivation of the whole story.
Later, he was invited by Lau Wai-keung to co-direct.
Later, he formed the "Maizhuang" group with Zhuang ** and directed many movies in a row.
However, throughout his directorial career, he usually presents a situation where co-directing is acceptable, but he is not able to fly alone.
List a few names at random, "Twenty Years of Chasing the Murderer", "Weekend Mania", "Wish Tree", "Thief Wolf" and "Tofu Milang", are any of them well-known to fans?
Probably few people are familiar with it.
The mystery is actually obvious, Mak Zhaohui and Zhuang ** both started to officially enter the industry when Hong Kong films were in decline, so the resources that can be given to them are actually very poor.
Therefore, their consistent thinking is to take the route of small and medium-sized costs.
For example, when he invited actors, he would consider those with low salaries, and he would never play those first-line big names, so when he heard Liu Weiqiang say that he would invest 20 million and invite Andy Lau and Tony Leung to shoot "Infernal Affairs", his first reaction was to be afraid.
For example, many years later, he flew solo again to shoot a "Clean Government", and he was still invited to **Yun and Zhang Jiahui's pure acting schools.
These things have a context to follow.
And when it came to "The Insider", it finally changed.
or seeing the success of Zhuang **'s "Wushuang", his consistent conservative habit was broken.
The movie "The Insider", produced by Emperor.
The story unfolds with elements of charity, money laundering and crime, involving the legal department, the police force and the business community.
The cast includes Aaron Kwok, Yam Tat-wah, Wu Zhenyu and Fong Zhongxin, among others.
The subject matter is not new, and it can even be said to be old-fashioned, and in the current context of Hong Kong films, the expectations for this type of film have long fallen to the freezing point.
There is another problem, not long ago, Mak Zhaohui's "Procuratorial Storm" directed by Solo Flying also had a miserable box office.
But looking back, Mak Siu-fai also has his strengths, balance and stability.
Relatively speaking, his works may be deficient in creativity and change, for example, with his character, he will never be able to shoot such a strange and reversal as "Wushuang", but he usually does not have the problem of narrative collapse and logical confusion.
Therefore, this movie, in the case of basic quality assurance, if you choose.
Five. 1. Secondary schedules such as the Chinese New Year, supplemented by large-scale publicity, have the possibility of reaching 300 million.
Higher hopes, unless the quality is against the sky.
Finally, there are two films by Louis Koo.
In the past 20 years, as an actor who relies on the rise of Hong Kong-style commercial films, Louis Koo can be said to have eaten enough dividends.
In particular, the five-part "Anti-Corruption Storm" has swept over 2 billion box office, which can almost be regarded as a ceiling case of small and medium-sized investment scale Hong Kong films.
You can also add two films such as "Apostle Walker" and "Slaying the Wolf, Greedy Wolf".
But the dilemma he faces is just as stark.
Scenes, action and fighting genre films are on the verge of being abandoned in the mainland film market.
Without him, the problem with this genre is that it is difficult to have any more vivid and new plots, and if it collides with narrative collapse and logical confusion, it will become a disaster.
This has been proven by Hong Kong films in recent years.
And "The Siege of the Kowloon Walled City" is a particularly typical genre film.
Another "Looking for Qin", the theme is acceptable, but it is too far away from the era of the TV series, and the main creators have long since passed away, and the ending is also unpredictable.
Therefore, one to three hundred million may be optimistic.
The decline of Hong Kong films is quite obvious.
The subject matter is limited, innovation is extremely difficult, the ability of filmmakers behind the scenes is insufficient, and the superstars are old, which is an almost unsolvable real problem.
In the near future, the box office of 300 million may become a resistance point.
The outlook is worrying.