When a few days later, after the box office results of a week, Disney fairly completely wilted because although they had a strategic advantage, in the market, "Slam Dunk" still won an amazing box office of 112.78 million as a Japanese animated film, completely leaving 87.68 million from "Flying House" behind. "Guizu Agents" was even more sad in comparison. Later, it was impacted by two competitors and the box office plummeted, and eventually only won 46.78 million US dollars in the first week, which was released for many weeks, and is not much better than "Museum Wonderful Night 2"...

After the film was played for a week, "Slam Dunk" received a lot of praise in film and television media in almost all countries.

"Slam Dunk" is the best cartoonist in the world and meets the best director, the explosion of Asian power~!" - "Salon"

The famous rating website Tie gave an exclusive special report on the topic of "Slam Dunk Conquering the Film Critics: A Great Work of the Jointly Jointly Chinese and Japanese Cultural Elites~". On the website, "Slam Dunk" scored 92 points, even surpassing the 91 points of Li Xiaole's "Pi's Fantasy Adventure".

"I have said before, and I'm now emphasizing that "Slam Dunk" is not only the highest-rated movie this year, but also the most ranked among the animated movies in our entire database for ten years. "The Lion King" and "Toys Animation" have only 90 points. Among all the editors' evaluations, except for one mid-review, all of them have given positive reviews, including some editors who have not liked Li Xiaole's style before. Obviously, this time "Slam Dunk" used the power of youth to conquer the hearts of our group of old men with an average age of 39."

Zach King, a famous film critic who previously commented on "Youth Pi" is an ignorant religious idea. He gave "Slam Dunk" an A++ on his blog. He once criticized Li Xiaole for "using the theory of Asian cultural superiority to engage in this kind of racial discrimination." Now, he uses "the best quality of young people in Eastern culture" to describe "Slam Dunk".

"The Austin Chronicle film critic Georgia Lulan is not interested in Li Xiaole's previous movies. Lulan's dissatisfaction with "Life Remote Control" is mainly because the script is too sensational. He likes "The Fantasy Drift of the Young Pi", but he is always unhappy with the director's religious philosophy because he feels that Li Xiaole, a Chinese, misinterprets Christian doctrine. As for "Iron Man", he thinks that the script is too old-fashioned, too loyal to principles, and too few breakthroughs, and is completely supported by Tom Cruise's personal charm."

But now "Slam Dunk" seems to conquer him easily. All previous dissatisfactions have been perfectly resolved in the new movie. His review wrote: "The joining force between Li Xiaole and Yuhiko Inoue is like a perfect marriage. Their passionate spirit runs through the entire movie." "Slam Dunk is a ribbon-free state of relaxed humorous characters and intense and exciting matches." "Red Sail Studio contributes the most exquisite and refreshing motion capture influence today." "Slam Dunk is a rare and interesting animated film. It can be compared with "Robot Wall Li". It is not necessarily the best in history, but it can definitely be ranked in the top three." "I have seen the creative vitality that Hollywood has long lacked."

Another film critic of the New York Times, Ivanov, praised "Slam Dunk" as a story that burned souls from beginning to end. He believed that Li Xiaole's previous movies lacked the exploration of the characters' personalities. In this animated movie, even a small character is impressed by players such as Miyagi Liangda, Mitsui Shou, or coach Anxi, Yohei Mito, and Hikari Aida, the dialogue between each character is vivid and interesting, and full of personality, bringing a vibrant feeling. "The film reveals a sense of high spirits. Thank God, Asia still has such positive power when Americans are no longer optimistic now."

For film critics, they comprehensively commented on "Slam Dunk" from all aspects, whether it is the story characters, script dialogues, picture shots, soundtracks, photography and color application... In every aspect, it seems that "Slam Dunk" is amazing, and almost everyone gave him all-round praise. Of course, except for those who shout in the theater that some people can't stand it...

In the Japanese media, there is another commentary perspective, that is, everyone is urging and accusing Japanese local filmmakers...

The biggest reason is that in the articles of many American film critics, they have seen the titles "Chinese animated films amazing Hollywood" and "Li Xiaole once again brings Chinese power", which makes them very aggrieved. You know, in Asia, everyone knows that "Slam Dunk" is a national comic from Japan. Why do Americans mistakenly think it is a Chinese work? Is Li Xiaole's influence so great?

In the Asahi Shimbun, a front page was used to publish a title: "Slam Dunk brings shame to Japanese movies~!!" The article uses stern words to describe how "Slam Dunk gives Japanese filmmakers a lesson:

"Since "Spirited Away", no movie in Japan has caused a national effect at home. After Kurosawa, we have long relied on Miyazaki, the animation master, to support the international status of Japanese films. But even so, our animated movies have never really entered the Hollywood market.

Every Japanese filmmaker complains that there is an essential barrier between us and Western culture, so Japanese films should take into account the domestic market. In fact, we have indeed been focusing on the domestic market over the years, but now? The Chinese director has achieved great success in Hollywood with our comic themes!! Isn’t he cultural barrier?

Moreover, in the past, many Japanese-themed films based on Hollywood were criticized for being slightly "not enough for Japan and misreading Japan". For example, the previous remake of "Dragon Ball", but now people have found that directors from other countries have finally "understand" Japan. In addition to photography techniques, the film's campus culture and passionate youthful experience are all Japanese, instead of just using some specious Japanese elements to support the scene. But looking at the recent Japanese films and TV shows, they have been constantly learning in the Hollywood direction, completely losing their core culture.

Li Xiaole, a Chinese director, is enough to shame all Japanese filmmakers!! Movie fans can't help but ask us after watching it: 'These things in the movie are all Japanese, but why can't Japan shoot them?' Think about it, when the right-wingers called for boycotting China's "Slam Dunk", I think any rational person should know that instead of boycotting, it is better to admit the gap with Chinese films.

Think about it, "Detective Conan", "Doraemon", "One Piece", and "Naruto" are popular comics that are almost always available in theaters every few years. But there are so many works, which one really left a deep impression on us?

Our film companies only want to squeeze the surplus value of these works every day, and always want to get the greatest profit at the lowest price. They have been self-satisfied and ineffective for so many years. They do not understand that unlike TV animation, the movie's big screen requires higher technology, more dramatic stories, and more sophisticated production. Filmmakers should never just lie on the original comics and suck blood, but should extract the essence from the original works like Hollywood and make it into a truly good movie! Let this movie conquer those non-original fans like "Slam Dunk".

In the global integrated market, the United States’ Iron Man and Captain America are rampant in the Japanese market. Now even our own comics have been filmed by other countries to make money from our Japanese movie fans. This is definitely a shame in the history of Japanese movies!!”

The report of Asahi Shimbun caused a huge sensation in Japan, and the Japanese Film and Television and Television Bureau also received huge criticism. For a time, officials of the Radio and Television Bureau also bowed to the camera in public and apologized, declaring that they would change the situation of "Japanese films losing their dominant position in Asia."

The arguments of the Japanese media are not without reason, because the social effect of "Slam Dunk" in the entire society is unprecedented. Almost all young people and office workers are discussing this movie. Everyone is missing how vigorous and energetic Japan in the 1990s...

In front of the open-air basketball stands on the streets and alleys of major Japanese cities, it was still empty a few days ago. As a result, the young people who used to play baseball and football have filled these places. This scene seems to have returned to 1996, when the peak period of the "Slam Dunk" serialization.

At the same time, the Japanese music industry has also suffered a sudden impact. The original soundtrack of "Slam Dunk" produced by Black Pearl Company suffered crazy buying at major record stores as soon as it was launched. Although it was an old song from the 1990s, this did not seem to affect the enthusiasm of most movie fans. After the record was released for a week, more than 220,000 copies were sold across Japan, almost completely overwhelming the "Japanese pop queen" Namie Amuro, and the new records of Ayumi Hamasaki and Utada Hikari, who were "Heisei's three singers"... were shocked by all Japanese record owners~~
Chapter completed!