Back to 17, My Brother is the Cult Leader

Chapter 102 Reactions

Ellie's voice was very excited, and she spoke much faster than usual. "Several overseas publishers have also inquired about the European and Asian rights. Those who didn't sign contracts before now want to come in. I told them to submit their offers first."

Fang Yuan said, "You can decide. Just keep the release schedule in place and make sure all the necessary distribution channels are in place."

In the second week, North America earned 29 million by the end of the second week, bringing the total to 94 million.

The third week of the Christmas season saw a reverse trend in box office revenue—9.5 million was earned on Christmas Day, Thursday, and 33 million was earned over the weekend, bringing the total to 132 million.

"A Beautiful Mind," released at the same time, grossed 27 million, while "The Lord of the Rings" is still showing in theaters.

Domestically, it will be released simultaneously on December 12th.

The box office reached 24 million RMB in its first three days.

Starting in the second week, box office revenue continued to increase, with the highest single-day figure exceeding ten million.

In its third week, the film grossed over 100 million yuan, becoming one of the few imported films to achieve this milestone in 2001.

It remained in the top three of the weekly box office for three consecutive weeks until mid-January when it dropped off the list.

"Wow, bro, I'm so jealous of Danchen and her boyfriend. Seriously, I'm so envious." Huang Xiaoming's phone call.

"Alright, stop being so envious. Isn't 'The Emperor of Han Dynasty' enough for you to brag about?"

"How can that be the same? Hollywood, you've quietly launched a satellite!"

It certainly caused a sensation in the industry. Congratulatory calls from President Han, Wang Jinghua, the Central Academy of Drama, the Beijing Film Academy, and others kept Fang Yuan busy.

The Hollywood Reporter's article titled: "How a Chinese director used eight million dollars to tap into the global market."

The article states: When the end credits of "Happy Death Day" lit up in 3,000 theaters across North America, the name Fang Yuan should be remembered in the list of Hollywood directors. This is his directorial debut, and he is only 22 years old.

This is not a genre film that relies on grand scenes to win over audiences. Its core strengths are the script's precise pacing down to the minute, the balance it strikes between thriller and comedy, and the character arcs it lays out within the genre film framework.

The article concludes by quoting the president of Lionsgate's distribution division: "We knew this project had potential when we signed it, but the current numbers have exceeded everyone's expectations."

The New York Film Critics Circle's annual list didn't include it in their top ten, but they specifically mentioned it in their comments:

Yan Danchen's performance is the linchpin of the entire film—her transformation from selfish and mean-spirited to resilient and clear-headed, with each stage clearly discernible.

Peter Travers, Rolling Stone's chief film critic, gave it three and a half stars.

He said if you're looking for a movie that gets young audiences excited and screaming, but also leaves you with something to ponder after the adrenaline rush has subsided, then this is it.

It's not a masterpiece, but it's enough to illustrate the value that genre films should have.

It received a 79% freshness rating on Rotten Tomatoes.

The popcorn score surged to 88% in the third week of release, with audiences voting with their feet far exceeding the expectations of professional film critics.

Bo.OfficeMojo published a lengthy article reviewing its global box office trajectory, one section of which was quickly translated and reprinted by domestic media: This is a commercially very "smart" film.

With precise budget control and a well-defined distribution strategy, the film was released at the historic moment of China's accession to the WTO, simultaneously capturing young audiences in North America and the overseas Chinese-speaking market.

Its success was not accidental; it was a masterful planning proposal.

On IMDb, the rating has remained stable at 7.2.

The most upvoted comment in the short review section came from an ordinary viewer, who wrote: "When I walked into the cinema, I thought it was another cheap horror movie with screams like a pig being slaughtered. But after the movie ended, I found myself crying for no reason."

The woman's goal wasn't to find the killer; she wanted to find herself.

By the way, the Chinese director who played the male lead doesn't seem to be a very good actor, but for some reason he's perfect for the role. This short comment received hundreds of replies.

If the reaction in North America was an "unexpected surprise," then the word-of-mouth in China can be described as "phenomenal."

The magazine "Movie View" featured it on its cover.

The title is "Hollywood's rhythm, Eastern core".

The author analyzed several points: This film proves that Chinese faces can carry a leading cast in the global market.

Yan Danchen and Zeng Li are not just cameo roles as decorative figures; they are the core characters who drive the story forward.

Fang Yuan's narrative style is a new paradigm; he tells a story with an Eastern cultural undertone using Hollywood pacing.

From "Saw" to "Happy Death Day," Fang Yuan is establishing a replicable "low-cost, high-concept" production model.

Southern Weekly takes a different approach.

They wrote a review titled "Chinese Cinema on the Second Day of WT0".

The article begins by stating that on December 11, 2001, China officially became the 12rd member of the World Trade Organization.

The following day, a Sino-US co-production film was released simultaneously worldwide.

This is not a coincidence; it is Fang Yuan's choice.

With this film, he answered the question that everyone was asking: What will become of Chinese films after they join the WTO?

The answer is collaboration, internationalization, and using global market capital to tell China's story.

The article has sparked much discussion within the industry.

Some support this approach, saying it should continue.

There are also those who disagree, saying that this is essentially the Hollywood model, not the path that Chinese films should take.

Fang Yuan did not respond to these arguments.

A reporter from Sanlian Life Weekly interviewed Fang Yuan in Beijing, asking him how he convinced Yan Danchen to star in a Hollywood thriller.

Fang Yuan said, "I couldn't persuade her. I showed her the script, but it was her own decision. I've always respected the actors' choices."

The reporter then asked Zeng Li.

Zeng Li's answer was even shorter: "Such a good script, such a good opportunity, why wouldn't I take it?"

The reporter from Sanlian wrote in the article: Within the industry, Fang Yuan has already formed a considerable influence.

It's not because he has a lot of money—of course, he does have plenty of funds—but because he never goes back on his word when it comes to putting "Chinese faces" in "leading roles."

It received a score of 8.2 on Douban.

The top-rated short review: "There wasn't a single dull moment."

The female lead's transformation from a bitchy, manipulative woman to a strong and independent one made me want to applaud.

The scene of reading classical Chinese texts in the library is the best part of the whole film.

The second comment comes from a certified film critic: "The beauty of this movie lies in its ability to disassemble and reassemble four genres: horror, comedy, youth, and suspense. You are scared when you want to laugh, and you are moved when you are scared."

Fang Yuan's screenwriting skills are truly unmatched among the younger generation in mainland China.

In January 2002, Happy Death Day officially surpassed $1 million in global box office revenue.

This data was widely reprinted on major portal websites in the country.

The North American market was $165 million, equivalent to more than 1.3 billion RMB, while other overseas markets accounted for $85 million.

The domestic box office totaled 120 million RMB, which is approximately 14.8 million USD.

Comparing the box office rankings of imported films that year, Pearl Harbor ranked first with 104 million and Happy Death Day with 120 million, but it was not a purely imported film and could be considered a Sino-US co-production.

This number also firmly ranks first in the series of Sino-US co-productions.