China in 2017: Top 10 Box-Office Hits

February 8, 2018

After a sharp slowdown of growth in 2016, China’s domestic box office in 2017 picked up the speed of growth and, for the first time surpassed the 50 billion mark, grossing a little over 55.9 billion yuan (US$8.7-8.8 billion), up 13.5% from 2016 if calculated in Chinese money. The industry became once more excited about the possibility of China taking over the United States to become the largest film market in the world. Domestic film productions reached 798 features in total in 2017, which accounted for close to 54% of the box-office total.

The phenomenal success of “Wolf Warrior II” (2017), with a story taking place in today’s Africa.

In the meantime, more cinemas and screens were added in 2017. Mainland China now has 50,776 professional screens in total, solidifying its position as the world’s biggest theater owner.

The following is the list of the Top 10 Box Office Films of 2017 in China (in Chinese yuan/RMB; exchange rate: 1 US$=6.4 RMB):

1. Wolf Warrior II (战狼2;d. WU Jing); box office: 5.68 billion yuan;
2. The Fate of the Furious (d. F. Gary Gray); box office: 2.67 billion yuan;
3. Never Say Die (羞羞的铁拳;d. Song Yang, Chiyu Zhang); box office: 2.2 billion yuan;
4. Kung Fu Yoga (功夫瑜伽;d. Stanley Tong); box office: 1.75 billion yuan;
5. Journey to the West: The Demons Strike Back (西游伏妖篇;d. Tsui Hark); box office: 1.65 billion yuan;
6. Transformers: The Last Knight (d. Michael Bay); box office: 1.55 billion yuan;
7. Dangal (d. Nitesh Tiwari); box office: 1.29 billion yuan;
8. Pirates of the Caribbean: Dead Men Tell No Tales (d. Joachim Rønning, Espen Sandberg); box office: 1.17 billion yuan;
9. Kong: Skull Island (d. Jordan Vogt-Roberts); box office: 1.16 billion yuan;
10. xXx: Return of Xander Cage (d. D. J. Caruso); box office: 1.12 billion yuan.

Note that for the first time a Bollywood feature, Dangal (or Wrestling Competition), produced by Aamir Khan Productions, UTV Motion Pictures, and Walt Disney Pictures India, and distributed by Walt Disney Studios Motion Pictures, made China’s Top 10 list of 2017.


China in 2016: Top 10 Box-Office Hits

January 5, 2017

China’s domestic box office in 2016 finally saw its dramatic slowdown, grossing 45.7 billion yuan (US$6.5 billion), only up 3.73% from 2015 if calculated in Chinese money, but downward from 2015 if calculated in US money (this is because Chinese yuan depreciated quite a bit against US dollars in 2015). The industry talk about China capable of taking over the United States to become the largest film market in the world may quiet down for the time being. As Chinese economy slows down, we’ll probably never see the kind of dramatic growth we witnessed in the past several years or decade again.

Hong Kong-based filmmaker Stephen Chow's sci-fi fantasy "The Mermaid" was China's box-office champion in 2016, grossing US$527 million or 3.4 billion Chinese yuan.

Hong Kong-based filmmaker Stephen Chow’s sci-fi fantasy “The Mermaid” was China’s box-office champion in 2016, grossing US$527 million or 3.4 billion Chinese yuan.

Despite this slowdown, more cinemas and screens were added in 2016. Mainland China now has 41,179 professional screens in total, making it the world’s biggest theater owner.

The following is the list of the Top 10 Box Office Films of 2015 in China (in Chinese yuan/RMB; exchange rate: 1 US$=6.9 RMB):

1. The Mermaid (美人魚;d. Stephen Chow); box office: 3.4 billion yuan;
2. Zootopia (d. Byron Howard, Rich Moore); box office: 1.53 billion yuan;
3. Warcraft: The Beginning (d. Duncan Jones); box office: 1.47 billion yuan;
4. Captain America: Civil War (d. Anthony Russo, Joe Russo); box office: 1.25 billion yuan;
5. The Monkey King II (西游记之孙悟空三打白骨精;d. Cheang Pou-soi); box office: 1.2 billion yuan;
6. Operation Mekong (湄公河行动;d. Dante Lam); box office: 1.184 billion yuan;
7. From Vegas to Macau III (澳门风云3;d. Wong Jing, Andrew Lau); box office: 1.18 billion yuan;
8. Time Raiders (盗墓笔记;d. Daniel Lee); box office: 1.04 billion yuan;
9. Kung Fu Panda III (d. Jennifer Yuh Nelson, Alessandro Carloni); box office: 1.02 billion yuan;
10. The Jungle Book (d. Jon Favreau); box office: 979 million yuan.

Note that Zhang Yimou’s controversial new film The Great Wall starring Matt Damon, which was released in China on Dec. 15, 2016, did not make the list. As of December 31, 2016, it earned 978 million yuan, one million yuan shy of the 10th spot. It has so far passed the 1 billion yuan mark, however. The China-US co-production is scheduled to release in the US market on Feb. 17, 2017.

China in 2015: Top 10 Box-Office Hits

March 13, 2016

China’s domestic box office once again hit all-time high in 2015. Chinese theatres raked in more than 44 billion yuan (close to 7 billion U.S. dollars) in box-office revenue in 2015, a jump of about 48.7% compared to the 2014 figure. China may be able to take over the United States to become the largest film market in the world in a few years. In addition, domestic films made more money at the box office in 2015, reaching 61.58%.

A total of 686 Chinese films were produced in 2015, and 8,035 new screens were added in 2015, mostly in the so-called second-tier or third-tier cities. Mainland China now has 31,627 professional screens in total.

The following is the list of the Top 10 Box Office Films of 2015 in China (in Chinese yuan/RMB; exchange rate: 1 US$=6.5 RMB):

1. Fast and Furious 7 (d. James Wan); box office: 2.43 billion yuan;
2. Monster Hunt (捉妖記;d. Raman Hui); box office: 2.38 billion yuan;
3. Lost in Hong Kong (港囧;d. Zheng XU); box office: 1.61 billion yuan;
4. Mojin: The Lost Legend (尋龍訣;d. Ershan WU); box office: 1.57 billion yuan;
5. Avengers: Age of Ultron (d. Joss Whedon); box office: 1.47 billion yuan;
6. Goodbye Mr. Loser (夏洛特煩惱;d. Fei YAN, Da-Mo PENG); box office: 1.44 billion yuan;
7. Jurassic World (d. Colin Trevorrow, Steven Spielberg); box office: 1.42 billion yuan;
8. Jian Bing Man (煎餅俠;d. Da Peng); box office: 1.16 billion yuan;
9. From Vegas to Macau II (澳門風雲 II;d. WONG Jing, Aman CHANG); box office: 974 million yuan;
10. Monkey King: Hero is Back (西遊記之大聖歸來;d. TIAN Xiao Peng); box office: 954 million yuan.

The “Birth” of a Box-Office Monster

July 31, 2015

Los Angeles Times Beijing Reporter Julie Makinen’s article about how the record-setting film Monster Hunt was born reveals the volatile nature of filmmaking in today’s China, which is even true for a seemingly safe and family-friendly live-action/animation hybrid. Here are some excerpts:

China's summer popcorn movie "Monster Hunt," directed by Raman Hui and produced by Bill Kong, becomes the top-grossing Chinese movie of all time, earning more than US$250 million domestically.

China’s summer popcorn movie “Monster Hunt,” directed by Raman Hui and produced by Bill Kong, becomes the top-grossing Chinese movie of all time, earning more than US$250 million domestically.

Monster Hunt (捉妖记), a new Chinese family film that features real-life actors interacting with computer-animated monsters, has shattered box-office records on the mainland this month, earning more than $250 million and becoming the top-grossing Chinese movie of all time.

But about nine months ago, director Raman Hui (许诚毅) was literally in tears, unsure how he would ever bring his dream movie to screen.

The Hong Kong native had considerable Hollywood experience, having worked on DreamWorks Animation films including Antz, Shrek and Shrek 2, and even co-directing Shrek the Third. Yet whatever challenges Hui had faced over the years in dealing with the grumpy green ogre, one major upside of a cartoon leading man like Shrek is that he can never get busted on drug charges and throw an entire production into jeopardy.

That, however, is precisely what happened on Monster Hunt. And how the production bounced back is a remarkable tale of determination and hustle in China’s rough-and-tumble movie market, where box-office receipts are surging but regulations are often vague and unevenly applied.

Produced by Bill Kong (江志强, known for critical and commercial hits such as Ang Lee’s Crouching Tiger, Hidden Dragon and Zhang Yimou’s Hero), Monster Hunt had finished shooting in 2013. By last summer, the sets had been junked and the special effects were about 70% done.

Then suddenly, Hui’s star, Taiwanese actor and singer Kai Ko (柯震东), was arrested in Beijing in August 2014 and admitted using marijuana. Hui — who had never before directed a movie in China, nor one with live actors on screen — initially figured the situation and attendant bad publicity would just delay the release a little from its planned opening in February 2015, during the prime Chinese New Year holiday.

“My first reaction was, oh … that means I’ll have more time to make the special effects even better,” recalled the bubbly, compact Hui, who looks far younger than his 52 years. “Silly me!”

One day last fall, Hui’s phone rang while he was reviewing some special-effects shots.

It was producer Doris Tse. She and Kong, who had shepherded the project since its inception around 2008, had come to a decision. Morals-minded mainland Chinese authorities seemed unwilling to allow the showing of a film with a drug-using headliner anytime soon. “She called to say, ‘I think we are serious about reshooting,'” recalled Hui.

It would be a massive undertaking costing millions of dollars; they would have to refilm 70% and redo 25% of the special-effects work, call back the cast and crew, find a new leading man and rebuild sets. Kong was hoping it could all be done in time for a July 2015 release.

Hui hung up and went back to work. “After two shots, we looked at one [scene] with no actors, just monsters. And my reaction was, OK, this shot is safe. We don’t have to change this,” he remembered. “Then I started crying. I just burst out in tears.”…

For the whole article about how Hui was able to pull off, please go Here.

China’s Box Office Surges 36 Percent in 2014 to $4.76 Billion

March 3, 2015

Box-office returns in the world’s second biggest film market surged 36 percent in 2014, Zhang Hongsen, head of the film bureau under the State Administration of Press, Publication, Radio, Film and Television (SAPPRFT), told the Xinhua news agency.

China’s Film Bureau chief has praised the performance of domestic movies in 2014 in the face of strong competition from Hollywood, after homegrown films accounted for 54.5 percent of the $4.76 billion (29.6 billion yuan) in box office last year.

Despite growing pressure from Hollywood, Chinese films still gained major market share and were welcomed by audiences, Zhang said.

By any measure, the figures are a powerful performance by the rapidly expanding market. The SAPPRFT data is broadly in line with earlier leaked data and estimates carried on local media, with the 29.6 billion yuan figure falling just shy of the 30 billion yuan marker set earlier in the year.

Michael Bay's "Transformers: Age of Extinction" took in $320 million in China in 2014, with specially introduced Chinese elements aimed at boosting the markets.

Michael Bay’s “Transformers: Age of Extinction” took in $320 million in China in 2014, with specially introduced Chinese elements aimed at boosting the markets.

The rise was boosted by a strong growth in the number of theaters and screens. China added 1,015 cinemas and 5,397 screens last year, bringing the total number of screens to 23,600. “On average, 15 more screens were added each day,” Zhang said.

Domestic films took over $2.6 billion (16.15 billion yuan) last year, and Zhang cited Tsui Hark’s The Taking of Tiger Mountain, Zhang Yimou’s Coming Home and Peter Ho-sun Chan’s Dearest as examples of “outstanding domestic films.”

A total of 618 Chinese films were produced in 2014, down from 638 in 2013, but there has been a drive to focus more on quality than quantity in the industry. Zhang echoed these sentiments, saying Chinese filmmakers should be aware of pressures and challenges and enhance filmmaking quality in 2015.

More people went to see movies than ever in 2014, with viewers making 830 million trips to the cinema, up 34.5 percent year-on-year, SAPPRFT said.

Earnings of 66 films surpassed the locally symbolic 100 million yuan ($16.11 million) benchmark last year, including 36 domestic productions. In 2013, 60 films surpassed that figure.

Chinese films making big inroads overseas continue to elude the industry. There were gains nevertheless, with SAPPRFT confirming that mainland Chinese films grossed $300 million abroad, a rise of 32 percent year-on-year.

The year-on-year growth of the Chinese box office has been spectacular. In 2010, it passed $1.5 billion for the first time, while in 2013, it breached that threshold in six months. The closing days of 2014 were boosted by big domestic titles, such as Jiang Wen’s Gone With the Bullets, Tiger Mountain and Love on the Cloud.

However, the top 10 was dominated by foreign movies.

The biggest movie of the year was Michael Bay’s Transformers: Age of Extinction, which took in $320 million here, with specially introduced Chinese elements aimed at boosting the markets.

Earlier figures showed that foreign titles that made the 34 film quota set by the Chinese government grossed $1.81 billion in 2014, around one-third of the total box office in China.

(by Clifford Coonan, The Hollywood Reporter, Jan. 1, 2015)

BFI’s List of Top 10 Modern Chinese Directors

January 13, 2015

BFI: The 10 best modern directors from mainland China, Hong Kong and Taiwan

1. Ann Hui

Essential films: Boat People (1982), The Postmodern Life of My Aunt (2006), A Simple Life (2011)

What’s special about her?

annhui-sAnn Hui has amassed a considerable body of work despite often going against the popular tide of her local film industry. A prominent member of the Hong Kong New Wave, with an interest in familial strife, national identity and social issues, Hui explored cultural displacement with her Vietnam trilogy, consisting of the television episode Boy from Vietnam (1978) and the features The Story of Woo Viet (1981) and Boat People.

This concern also permeates more commercial works such as the crime thriller Zodiac Killers (1991), in which a Chinese student living in Tokyo is sucked into the dangerous world of the yakuza. Hui’s humanistic melodramas often address the ageing process: The Postmodern Life of My Aunt features a retiree who is swindled out of her savings, while A Simple Life beautifully details the relationship between a film producer and his elderly servant when the latter falls ill.

2. Tsui Hark

Essential films: Zu Warriors from the Magic Mountain (1983), Peking Opera Blues (1986), The Blade (1995)

What’s special about him?

tsuihark-sA wild fantasist often referred to as ‘the Steven Spielberg of Asia’, Tsui Hark would become a leading purveyor of escapist fare with Zu Warriors from the Magic Mountain, which mixed local ghost legend with Hollywood-style special effects. Hark is a master of mining Chinese history for crowd-pleasing storytelling: the hectic action-comedy Peking Opera Blues takes place during the democratic revolution of the 1910s while Once upon a Time in China (1991) follows the adventures of folk hero Wong Fei-hung, and the martial arts epic Seven Swords (2005) is set after the founding of the Qing dynasty.

But his stylistic masterpiece is The Blade, a near-psychedelic reimagining of One-armed Swordsman (1967). Following a run of disappointments in the 2000s, Hark has returned to form with the mainland co-productions Detective Dee and the Mystery of the Phantom Flame (2010) and The Flying Swords of Dragon Gate (2011).

3. Tian Zhuangzhuang

Essential films: The Horse Thief (1986), The Blue Kite (1993), Springtime in a Small Town (2002)

What’s special about him?

tianzhuangzhuang-sTian Zhuangzhuang graduated from the Beijing Film Academy in 1982 alongside Chen Kaige and Zhang Yimou. His early work evidenced a fascination with ethnic minorities: On the Hunting Ground (1985) is a documentary-style account of life in inner Mongolia and The Horse Thief (1986) explores the rugged landscape of Tibet.

One of Tian’s most acclaimed works in the west would also stall his career as the The Blue Kite ran afoul of the local censors for illustrating the impact of the Hundred Flowers Campaign, the Great Leap Forward and the Cultural Revolution on a Beijing family. Banned from directing until 1996, Tian mentored Sixth Generation filmmakers, eventually returning to the director’s chair for the contemplative drama Springtime in a Small Town. Since then, Tian has applied his consummate craftsmanship to the handsome biopic The Go Master (2004) and the ambitious historical adventure The Warrior and the Wolf (2009).

4. Hou Hsiao-hsien

Essential films: A City of Sadness (1989), Goodbye South, Goodbye (1996), Flowers of Shanghai (1998)

What’s special about him?

houhsiaohsien-sExquisite compositions, long takes and languid moods are characteristics of Hou Hsiao-hsien’s work, even when dealing with tragic ruptures. Many of Hou’s films take place at times of turbulent social-political transition: The Time to Live and the Time to Die (1985) follows a boy’s coming of age after his family leaves the mainland for Taiwan in 1947; A City of Sadness chronicles the post-Second World War impact of the Chinese Nationalist government on a Taiwanese family; and The Puppetmaster (1993) finds a master puppeteer being forced to use his craft as a propaganda tool under the Japanese occupation.

Hou’s recreation of the past reached a feverish peak with Flowers of Shanghai, which takes place in the brothels of the English concession in 1884. His meditations on contemporary Taiwanese society include the deceptively lackadaisical small-time crime study Goodbye, South Goodbye and the hypnotic nightlife odyssey Millennium Mambo (2001).

5. Edward Yang

Essential films: The Terrorisers (1986), A Brighter Summer Day (1991), Yi Yi (2000)

What’s special about him?

edwardyang-sThe films of Edward Yang were sadly little seen in the west during his lifetime because the director was not concerned with selling his work for profit. Often utilising the multi-stranded narrative format, Yang took the urbanisation of Taiwan as his subject: The Terrorisers is a mystery concerning the connections between an assortment of amoral strangers; A Brighter Summer Day follows the activities of 1960s street gangs; A Confucian Confusion (1994) critiques materialistic young professionals; Mahjong (1996) takes place in the modern underworld; and Yi Yi examines the life of a middle-class family over the course of a year.

Yang came to wider international attention when he was awarded the best director prize at the 2000 Cannes Film Festival for Yi Yi, but a lengthy battle with colon cancer meant he was unable to make another feature before his untimely passing in 2007 at the age of 59.

6. Zhang Yimou

Essential films: Raise the Red Lantern (1991), To Live (1994), Hero (2002)

What’s special about him?

zhangyimou-sZhang Yimou’s enduring associations with ravishing rural landscapes and iconic leading lady Gong Li would begin with his debut feature Red Sorghum (1987) after which he collaborated with Gong on a run of celebrated period dramas. Ju Dou (1990), Raise the Red Lantern and To Live were sometimes seen as pandering to the foreign gaze with their sumptuous visuals, but very much foregrounded the struggles of the individual while criticising state policies from a historical distance.

In the 2000s, Zhang brought his painterly touch to China’s burgeoning blockbuster market with the resplendent wuxia epics Hero, House of Flying Daggers (2004) and Curse of the Golden Flower (2006). Although he is synonymous with stately drama and stirring spectacle, a more eccentric side to Zhang’s talents can be found in his frenetic urban comedy Keep Cool (1997) and slapstick farce A Woman, a Gun and a Noodle Shop (2009).

7. Wong Kar-wai

Essential films: Days of Being Wild (1990), Chungking Express (1994), In the Mood for Love (2000)

What’s special about him?

wongkawai-sWong Kar-wai became an arthouse favorite in the 1990s with such aesthetically invigorating cinematic love letters to Hong Kong as Days of Being Wild, Chungking Express and Fallen Angels (1995). Famed for his protracted production process – both In the Mood for Love and 2046 (2004) would take more than a year to shoot as footage was scrapped, plot strands were dropped, and locations were changed – Wong has kept his company Jet Tone afloat by taking on various advertising assignments alongside his dream projects.

Wong’s vivid style was pioneered in partnership with the Australian cinematographer Christopher Doyle with their collaboration on the melancholic romance Happy Together (1997) transforming Buenos Aires into a hyper-saturated space for unfulfilled longing. Such charismatic local stars as Tony Leung, Leslie Cheung, Maggie Cheung and pop diva Faye Wong have thrived under Wong’s idiosyncratic direction to create the memorably lovesick protagonists who populate his intoxicating universe.

8. Tsai Ming-liang

Essential films: Vive l’amour (1994), What Time Is It There? (2001), The Wayward Cloud (2005)

What’s special about him?

tsaimingliang-sReflecting the fact that he was born in Malaysia of Chinese ethnic background and later relocated to Taipei, the films of Tsai Ming-Liang are often concerned with dislocation as his lonely characters lack a sense of belonging. Vive l’amour follows three alienated people who unknowingly share an apartment; What Time Is It There? alternates between the life of a Taipei street vendor and a woman who is visiting Paris, with the two people linked across time by the sale of a watch; and I Don’t Want to Sleep Alone (2006) concerns a homeless man who is cared for by a Bangladeshi migrant worker after being beaten by a street mob.

A master of stillness and silence – Goodbye Dragon Inn (2003) features only a dozen lines of dialogue – Tsai also has a fondness for neo-surrealist musical numbers, as seen in The Hole (1998) and The Wayward Cloud.

9. Jia Zhangke

Essential films: Platform (2000), Unknown Pleasures (2002), Still Life (2006)

What’s special about him?

180368839RL00006_A_Touch_OfA fierce critic of China’s transformative society, Jia Zhangke’s studies of problems at grassroots levels have blurred the line between fact and fiction due to his integration of documentary elements. Jia was an early convert to digital video who extended the postmodern aesthetics of Xiao Wu (1997) and Platform when he switched formats to chronicle disenfranchised youth in Unknown Pleasures.

Since then, he has turned his attention to the encroaching effects of globalisation with The World (2004) and Still Life, the latter of which takes place against the backdrop of the transformative Three Gorge Dam project. Jia’s documentary works include Dong (2006), a portrait of the artist Liu Xiaodong that overlaps with Still Life by sharing the same setting, and I Wish I Knew (2010), a history of Shanghai that spans the 1930s to the present which was officially commissioned for the 2010 World Expo.

10. Lou Ye

Essential films: Suzhou River (2000), Summer Palace (2006), Spring Fever (2009)

What’s special about him?

louye-sAlthough his frequent clashes with China’s restrictive censorship board have cast the Sixth Generation filmmaker Lou Ye as a figure of controversy, his work is more defined by its sensuous quality. From his mesmerising noir Suzhou River to recent Bi Feiyu adaptation Blind Massage (2014), Lou has conflated sex and politics to emotionally devastating effect as alienated characters navigate eroticised urban landscapes.

Summer Palace follows the experiences of a hedonistic female student at a Beijing university in the late-1980s and the traumatic impact of the post-Tiananmen fallout on her social circle; Spring Fever concerns a gay Nanjing travel agent who casually flits between lovers to maintain his sexual freedom; and Mystery (2012) follows an upwardly mobile businessman who is leading a dangerous double life. Such films never fail to linger in the memory due to the manner in which Lou filters bold social provocation through uniquely seductive atmospherics.

(Source: BFI Official Site)

Top 10 Box-Office Films of 2013 in China

January 1, 2014

China’s domestic box office hit all-time high consecutively in 2013. The film market of China raked in more than 21.6 billion yuan (more than 3 billion U.S. dollars) in box-office revenue in 2013, an impressive jump of 26.8% compared to the 2012 figure. Domestic films retook the lead at the box office in 2013, accounting for roughly 58% of the total box-office figure. In 2013, 60 films passed the 100 million mark at the box office, including 32 domestic films and 28 imported features.

Despite suffering a critical backlash and being dubbed "a gaudy, incoherent and largely unfunny comedy" and "a sad example of an once eagle-eyed director losing touch with his audience" (The Hollywood Reporter), Personal Tailor by FENG Xiaogang, the once unchallenged master of Chinese festive-season gag-laden blockbusters, was able to join the Top 10 rank of China's local hits of 2013.

Despite suffering a critical backlash and being dubbed “a gaudy, incoherent and largely unfunny comedy” and “a sad example of an once eagle-eyed director losing touch with his audience” (The Hollywood Reporter), Personal Tailor by FENG Xiaogang, the once unchallenged master of Chinese festive-season gag-laden blockbusters, was able to join the Top 10 rank of China’s local hits of 2013.

Top 10 Chinese Films of 2013 at the Box Office (in Chinese yuan):

1. Journey to the West: Conquering the Demons (西游降魔篇;d. Stephen Chow & Derek Kok); box: 1.246 billion yuan;
2. So Young (致我们终将逝去的青春;d. ZHAO Wei); box: 0.719 billion yuan;
3. Young Detective Dee: Rise of the Sea Dragon (狄仁杰之神都龙王;d. Tsui Hark); box: 0.6 billion yuan;
4. Personal Tailor (私人订制;d. FENG Xiaogang); box: 0.582 billion yuan (still playing);
5. American Dreams in China (中国合伙人;d. Peter Chan); box: 0.539 billion yuan;
6. Finding Mr. Right (北京遇上西雅图;d. XUE Xiaolu); box: 0.52 billion yuan;
7. Tiny Times (小时代;d. GUO Jingming); box: 0.488 billion yuan;
8. Police Story 2013 (警察故事2013;d. DING Sheng); box: 0.34 billion yuan;
9. Firestorm (风暴;d. Alan Yuen); box: 0.306 billion yuan;
10. Switch (天机:富春山居图;d. Jay Sun); box: 0.3 billion yuan.

Top 10 Imported Films of 2013 at the Box Office (in Chinese yuan):

1. Iron Man III (d. Shane Black); box: 0.755 billion yuan;
2. Pacific Rim (d. Guillermo del Toro Gómez); box: 0.694 billion yuan;
3. Gravity (d. Alfonso Cuarón); box: 0.435 billion yuan;
4. Fast & Furious 6 (d. Justin Lin); box: 0.413 billion yuan;
5. The Croods (d. Kirk DeMicco & Chris Sanders); box: 0.395 billion yuan;
6. Man of Steel (d. Zack Snyder); box: 0.395 billion yuan;
7. Skyfall (d. Sam Mendes); box: 0.376 billion yuan;
8. Star Trek Into Darkness (d. J. J. Abrams); box: 0.354 billion yuan;
9. Jurassic Park 3D (d. Steven Spielberg); box: 0.349 billion yuan;
10. Thor: The Dark World (d. Alan Taylor); box: 0.342 billion yuan.