![]() Today, CATCHPLAY continues to look into investment and co-production opportunities internationally and in Asia targeting particularly Chinese-speaking territories and South East Asia following our recent expansion footprints.ĬATCHPLAY started placing significant emphasis on the development of digital movie content years before the others did in Taiwan. ![]() In the same year, CATCHPLAY also provided financing and local production support to director Martin Scorsese’s passion project Silence, making it the first international production filmed entirely in Taiwan. CATCHPLAY and partners also control exclusive distribution rights to these films in Taiwan, China, Hong Kong and Macau, with The Revenant generating outstanding box office results from these territories in 2016. ![]() In early 2015, we closed a partnership deal to invest in New Regency’s three enthralling titles, namely The Revenant, Assassin’s Creed and Splinter Cell, marking the first investment of a Taiwanese company in major Hollywood productions. Both investments generated considerable box office performance in Taiwan and China respectively. ![]() In the same year, we invested in the locally produced film, Paradise in Service and co-produced 20 Once Again with CJ Entertainment for the Chinese market. Even the signposts of Filipino cultural life proudly depicted - the food Susan makes, a halo-halo mall date between Junior and local girl Tala (Eva Noblezada, “Luck”), the family assembling the provisions/gift parcel called a balikbayan box for overseas loved ones - beg to be more than just representational shout-outs in an otherwise broadly generalized fractured-family tale.In 2014, in addition to distributing the movies CATCHPLAY loves, we embarked in earnest co-production and investment projects, venturing into content creation. Koy himself seems trapped trying to make his nervous comedic vigor work as character and shtick, but such are the pitfalls of turning one’s stand-up persona into multiplex fodder. Though it provides an excuse for amusing drop-ins by Tiffany Haddish (as a cop ex-girlfriend of Joe’s) and Filipino-American star Lou Diamond Phillips (as himself), the ginned-up endangerment is a flat time-waster when you’d rather see Joe squirming over family dynamics, not cartoon criminals. Yang, “Love Hard”), and money owed to a gangster (Asif Ali, “WandaVision”). Steven Spielberg certainly thought so after seeing one of Koy’s specials, he helped secure him a deal at Amblin for what would become “Easter Sunday” (which has a screenplay by Ken Cheng and Kate Angelo), the rare Hollywood film boasting a heavily Filipino-American cast.Ĭhelsea Handler Reveals Upcoming Book Will Spotlight Love Story With Jo Koy, Compares New Show to ‘Curb Your Enthusiasm’īut while there’s believable guilt to be mined for comedy in Joe’s sweet, attentive cousin Eugene (Eugene Cordero, “Loki”), who has been lonely Susan’s surrogate son, that area of emotion-laced humor is always subsumed by a nonsensical, dominating action plot involving stolen Manny Pacquiao gloves, a mall-based fence (Jimmy O. Koy, who’s been packing arenas for years with his rabbity energy and humorous windows into family eccentricities and Filipino culture, seemed as natural a fit as any to get some of his act’s lasting characters into a movie. Of course, one doesn’t need to belong to a big Filipino clan like the movie’s onscreen Valencias to grasp that, and it’s almost quaint how that message is articulated for us at the end as some fresh bit of wisdom when, since scene one, relatives in various states of bickering aggravation (father-son, ex-ex, sister-sister, cousin-cousin) have been the comedy’s go-to note.Ī more lasting takeaway from “Easter Sunday” about what’s messy has to do with vehicles for stand-ups trying to break into movies. Inside the corny chaos of the going-back-home lark “Easter Sunday,” starring comedian Jo Koy, is the point that families are messy.
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