Korea Box Office: ‘Spider-Man’ Holds Off ‘Special Delivery’

·2 min read

“Spider-Man: No Way Home” remained on top of the South Korean box office for the fifth consecutive weekend. New releases of local titles failed to make a breakthrough.

“Spider-Man,” which finished 2021 as the top film of the year, continued its dominant run with$1.48 million over the latest weekend, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). That gave it a 25% market share and expanded its cumulative total since Dec. 15, 2021 to $58.2 million.

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Korean crime-action film “Special Delivery” came in second with a $1.33 million weekend and $1.88 million over its five opening days. It was given 992 screens, still shy of the 1,100 that “Spider-Man” is playing on.

“Sing 2” held steady in third place with $1.07 million in its second weekend, giving it a 12-day cumulative of $3.85 million.

“A Policeman’s Lineage,” another Korean crime title that launched on Jan. 5, slipped from second place to fourth. Its second weekend haul was $779,000, increasing its cumulative to $4.60 million.

New releases of U.S. titles continued apace. “West Side Story” earned $385,000 over the weekend and $687,000 in its first five days of release. “House of Gucci” earned $358,000 over the weekend and $577,000 over five days. In eighth place, “Clifford the Big Red Dog” earned $108,000 over the weekend and $152,000 over five days.

Other places went to “The King’s Man,” with $216,000 for a cumulative of $8.17 million since Dec. 22, 2021, Korean “Beyond Live NCT: Resonance” with $81,100 over the weekend and $171,000 since its Jan. 12 debut, and Japanese art-house film “Drive My Car.” It collected $28,800 over the weekend, extending its total to $307,000 since opening on Dec. 23, 2021.

The nationwide weekend aggregate slipped to $5.99 million, down from $7.40 million in the first weekend of the year. At this pace and with local titles continuing to perform weakly, Korea will struggle to return to its pre-COVID ranking as the world’s fourth largest theatrical market, behind North America, China and Japan.

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