Hollywood
Godzilla sets new records for creature films in Japan
NEW DELHI: Godzilla directed by Gareth Edwards made ?684 million (US$6.7 million) from 427 screens on its first three days in cinemas in Japan, including ?508 million (US$4.98 million) from 339,000 admissions on saturday and sunday.
The film scored the second-biggest opening for a foreign live-action film this year after Maleficent. The Warner Bros international- Legendary Pictures LLC production is distributed locally by Toho, the studio behind the original Godzilla franchise.
The new film’s performance in Japan was uncertain as several Hollywood films with Japanese elements have performed below expectations in the world’s third largest film market.
Last year, Pacific Rim – also co-produced by Warner Bros and Legendary Pictures — opened sixth-placed with ?212 million (US$2.08 million) in its first three days for a final gross of ?1.55 billion (US$15.2 million). In December, 47 Ronin opened on ?142 million (US$1.39 million) from 753 screens, for a final gross of just ?292 million (US$2.86 million).
Tsutsumi Yukihiko’s Eight Rangers opened in fifth place. On 160 screens, the sequel to the superhero comedy starring Johnny and Associates’ group Kanjani Eight made ?125 million (US$1.22 million) from 93,600 admissions in its first two days.
Two years ago, the first Eight Rangers (2012) made ?156 million (US$1.53 million) from 155 screens on its opening weekend. It made a total of ?1.2 billion (US$11.7 million) during its theatrical run.
Time traveling comedy Time Trip App opened in ninth place, making only ?51 million (US$500,000) from 39,100 admissions on 254 screens. Lee Tishio’s film recently competed at the Puchon International Fantastic Film Festival.
Opening on just 12 screens in 11 cities, Kawase Naomi’s Still the Water made ?4.58 million (US$44,800) in its first two days. The Cannes competition title will slowly expand to other cities over the next two months.
In its second weekend, Studio Ghibli’s When Marnie was There dropped to fourth place in terms of admissions, but remained in third place in terms of revenue. With a week-on-week drop of 42 per cent, the Yonebayashi Hiramasa film made ?220 million (US$2.16 million) from 164,000 admissions on saturday and sunday. It has made ?1.06 billion (US$10.4 million) after nine days in cinemas.
Maleficent dropped to second place. After four weekends, the Disney fantasy has made ?3.97 billion (US$38.9 million).
Hollywood
Who won what at the Oscars 2026? Full winners list from the 98th Academy Awards
A night of history, high drama, and gingery wit at the 98th Academy Awards
LOS ANGELES: If the 98th Academy Awards taught us anything, it is that Hollywood still loves a tortured genius and a well-timed ginger joke. While the night was technically a coronation for Paul Thomas Anderson’s sprawling war drama One Battle After Another, the real battle was fought in the stalls of the Dolby Theatre as host Conan O’Brien unleashed a monologue that was part roast, part group therapy session.
The evening belonged to the cinematic heavyweights. One Battle After Another lived up to its title, clinching Best Picture, Best Director, and Best Adapted Screenplay. Anderson, the perennial bridesmaid of the Oscars, finally took home the big prizes, cementing his status as the industry’s favourite auteur.
In the acting categories, Michael B. Jordan made history. Winning Best Actor for his visceral performance in the supernatural thriller Sinners, he became only the fourth Black man to win the trophy. His speech was a masterclass in humility, though he spared a moment to thank his trainer for “making me look like I could actually fight a demon.”
The history books were rewritten several times over. Autumn Durald Arkapaw shattered a long-standing glass ceiling by becoming the first woman to win Best Cinematography for Sinners. Meanwhile, the newly minted Best Achievement in Casting category saw its inaugural trophy go to the ensemble of One Battle After Another.
Returning to the stage with his signature quiff and self-deprecating bite, Conan O’Brien did not hold back. He began by acknowledging the elephant in the room: his own presence.
“I know what you’re thinking,” he quipped. “Why is the ghost of a Victorian chimney sweep hosting the Oscars? It’s because AI is too expensive and I work for sandwiches.”
The controversy kicked off when he turned his sights on the Best Visual Effects nominees. Pointing at the Avatar: Fire and Ash table, he remarked:
“James Cameron has spent so much money on blue people that the actual ocean is now jealous of his budget. Jim, at some point, you have to admit this is just a very expensive aquarium hobby.”
He also took a cheeky swipe at the trend of method acting, specifically targeting Sean Penn.
“Sean stayed in character for so long that his own family had to serve him a subpoena just to get him to come to Sunday roast,” O’Brien joked, to a mix of nervous titters and Penn’s trademark stony glare.
The night was not without its “did he really say that?” moments. During a bit about the length of the telecast, O’Brien noted that the show was running so long that:
“By the time we get to Best Picture, the winner will have already been rebooted as a gritty limited series on Max.”
He also touched on the industry’s obsession with youth, pointing at a young starlet and saying:
“You’re so young that your first memory is actually a TikTok of this monologue.”
While most took it in stride, some critics on social media called the joke “typical boomer energy,” though O’Brien seemed entirely unfazed.
The full winners’ circle:
Best Picture: One Battle After Another
Best Director: Paul Thomas Anderson (One Battle After Another)
Best Actor: Michael B. Jordan (Sinners)
Best Actress: Jessie Buckley (Hamnet)
Best Supporting Actor: Sean Penn (One Battle After Another)
Best Supporting Actress: Amy Madigan (Weapons)
Best Animated Feature: K-Pop: Demon Hunters
Best Original Song: “Golden” from K-Pop: Demon Hunters
As the curtains closed and the A-list headed for the after-parties, the mood was one of relief. Hollywood had managed to celebrate its past while poking fun at its increasingly digital future. Whether the night belonged to the war heroes of PTA or the witty barbs of a tall redhead remains a matter of debate.
