#Mojin the lost legend amc series
After momentarily retiring, through a series of chance and clandestine encounters, the trio are brought back into the game and recruited to find the “Equinox Flower” buried in a huge underground tomb which requires them to navigate various tunnels, mazes, zombies, explosions, and each other. In the vein of Indian Jones or Lara Croft, the Mojin are a trio of expert tomb raiders trying to survive and thrive as they face all sorts of obstacles, both earthly and otherworldly. Mojin: The Lost Legend is a visually spectacular, gripping thrill ride. The commercial strategies used to this end are becoming increasingly complex, costly and, at times, fraudulent.Ī minor scandal erupted involving the distribution of Lost in Hong Kong and Monster Hunt, accused of unfair practices because many of the screenings declared to be “sold out” were, in fact, half empty.Movie Review: ‘Mojin: The Lost Legend’ Is A Visually Spectacular, Gripping Thrill Ride The distributors organise preview showings to create a media buzz to try to get their products onto as many screens as possible. The film market is at the mercy of the film theatre owners who can decide the fate of films.
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In 2015, 686 films were made, with each competing to get adequate distribution. The number of productions is also on the rise. The growth of the market is not due to a price hike, but because more people are going to the cinema. That figure is still insufficient if you consider that the average number of visits to the cinema per inhabitant is 0.8 per year, compared to the US average of 3.2.ĭespite entrance prices dropping slightly, to around US$5, box-office takings are growing exponentially because more people are going to the movies in second, third and fourth “level” towns. A total of 8,000 new screens opened in 2015, making a grand total of 31,000. That saw a 40 per cent leap in 2015, with around 22 new screens opening per day. Running on a parallel path to box-office growth is the business of exhibition. Others include Wolf Totem by Jean-Jacques Annaud, a French co-production, written by Chinese, and wholly starring Chinese actors, and The Great Wall, a US/China co-production that will shortly be released, directed by Zhang Yimou, but written by Tony Gilroy, an American. In the past, many co-productions were modified ad hoc with the addition of a few scenes or characters, so they could satisfy the bureaucratic need for “local content”. While China continues signing state-sponsored co-production deals, commercial contracts are also on the rise in terms of quantity, size and complexity. They want to have fun, so they go to the cinema in increasing numbers, in the regional towns as well as the major cities. That’s especially true of younger viewers, the generation born in the 1980s and 1990s, who now have spending power. There is no question that a certain type of homegrown production has managed to get in synch with the public.
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The authorities stop these films from being distributed during the most crucial periods of the year, thereby giving an advantage to local productions. These films had box-office earnings of US$2.25 billion, of which only US$560 million went back to foreign producers. In this case too, the numbers are exemplary: in 2015, 58 films were imported, of which 34 were on a “revenue sharing” basis, which allows the US majors to earn a dividend of 25 per cent of takings.
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The global film industry has made it a priority to collaborate with Chinese producers to make headway in the country, rather than exporting its own films.