Yoo Ah In’s The Throne Surpasses 4 Million + Timeout Review
Just one hour after I published the article on The Throne garnering 3.6 million admissions, the movie made the record again!
On Monday afternoon, 14:30 p.m, Director Lee Jun Ik’s movie The Throne (Sado) surpassed 4 million viewers.
The Throne massed over 418,460 on Saturday Sep.26 and exceeded 3 million by gathering 3,018,770 cumulative attendance with 42.1% seat occupation in major cinemas nationwide.
On Sunday Sep.27, the movie made an impressive feat by drawing in 566,281 viewers with 60.1% seat occupation in 926 screens nationwide.
On Monday morning The Throne recorded a total of 3,590,647 admissions, and by afternoon it gathered 4,008,511 attendance. That means more than 400,000 admissions in half a day!
The Throne moved up to 4 million on the 13th day since its opening, which is 3 days earlier than Masquerade, the historical movie that also opened on the Chuseok (Thanksgiving) season. It is at the same pace as Ode To My Father.
To celebrate the achievement, Showbox released more new BTS stills of the film~
super cute kiddo here! 😀
With this stunning speed, The Throne may surpass 5 million in one week. Let’s pray! The Throne, fighting!!
South Korean film critic, producer at 2Mr Films and journalist Pierce Conran reviews the latest period drama, The Throne, and gives us his perspective on Lee Joon-ik’s fifth historical piece on Time Out Seoul
Time Out says
Tackling his fifth historical piece, The King and the Clown director Lee Joon-ik returns with his most sober and expertly crafted affair to date. The ultimate king’s court drama, The Throne brings the famous story of King Yeongjo, who forced his wayward son, Sado, to climb into a rice chest, that he died in eight days later, to the big screen just in time for the Chuseok holidays.
With muted colors and symmetrical compositions, Lee’s mise-en-scène is more formal than usual, heightening the historicity of the well-known tale. Its narrative is melodramatic to the extreme, not shying away from the histrionics or glassy-eyed characters, many of whose quiet suffering can be witnessed by a single tear drop grazing their cheeks, that are familiar elements of this Korean film genre.
Raspy-voiced as an aging monarch, Song Kang-ho delivers as a father faced with the toughest of choices, while Yoo Ah-in impresses again as the enfant terrible, albeit one with many more layers than his villain in the recent blockbuster, Veteran.
Sure to be a hit during the holidays (though a curious pick by Korea to send to next year’s Academy Awards for the foreign language category), The Throne is an impressive, highly calculated period piece. Korean family dynamics have rarely played out on such a large (and devastating) stage. ***