Oppenheimer prepares for Japan release while Godzilla Minus One takes over US theatres

As Oppenheimer's delayed release unfolds in Japan, Takashi Yamazaki's Japanese-made Godzilla film emerges as a critical and box office success. It challenges Hollywood's trend of bloated superhero franchises and even secures a spot on the Oscar long-list, a feat where Oppenheimer failed.

What

Christopher Nolan's Oppenheimer faced the peculiar challenge of a delayed release in the very nation that experienced the horrors of nuclear warfare, deciding that Japan can wait until 2024 to experience its profound storytelling. 

• Bitters End, the Tokyo-based distribution company, reveals that their choice to delay the film's Japanese premiere is a result of "thoughtful dialogue" and concerns about local sensitivities. 

Why

The decision to focus on Oppenheimer's perspective, excluding explicit depictions of the bombings and Japanese victims, has faced criticism. Nolan defends this choice, emphasising the film's subjective narrative rooted in Oppenheimer's experiences. 

• Amidst the delayed fanfare in Japan, Bitters End generously invites the Japanese audience to witness Nolan's masterpiece on the big screen, presumably after months of careful consideration on how to make this delayed release sound like an exclusive invitation to the most prestigious event of the century.
• Warner Bros Japan previously even apologised for inappropriate memes, underlining the challenges of balancing global promotion with cultural sensitivities.

Godzilla takes over the States

Meanwhile, in a world where giant lizards seem more punctual than Nolan spectacles, TOHO’s first Japanese production of a certain giant lizard in a while has emerged from the nuclear fallout in the wake of Oppenheimer’s theatrical run.

As Godzilla Minus One stomps its way into record books, the delayed and slightly bruised Oppenheimer stands on the sidelines, awaiting its turn in the spotlight. Nolan's decision to avoid explicitly depicting Hiroshima and Nagasaki bombings is defended as a masterstroke of storytelling, conveniently ignoring the discontent and #NoBarbenheimer backlash that plagued its promotional journey.

Made on what Hollywood considers pocket change ($15 million, to be precise), Godzilla Minus One has shattered records and become the highest-grossing live-action Japanese film in North America. Hollywood, take note – it seems audiences are craving something more than capes and explosions.

Superhit success

Takashi Yamazaki, the maestro behind Godzilla Minus One, has apparently stumbled upon the secret formula: a simple plot, a healthy serving of kaiju carnage and a budget that wouldn't even cover Robert Downey Jr's coffee expenses on the Oppie set. This film's success is a breath of fresh air in an era when Hollywood is drowning in its own overproduced superhero sagas.

Despite running in its original Japanese, Godzilla Minus One's opening weekend success in the US signals a new era for foreign films. TOHO International has already expanded screenings due to overwhelming demand, solidifying the film's status as a global phenomenon.

Godzilla Minus One's financial triumph extends worldwide, breaking records and positioning itself as a finalist for the 2024 Oscars, particularly in the Best Visual Effects category. The film's achievement is remarkable, considering Toho Company's historical use of practical effects and its transition to visual effects in recent years.

And herein lies some beautiful poetic justice as Oppenheimer, a global heavyweight in box office earnings, bows out of the Oscars' Visual Effects race, while Godzilla Minus One, the subtle underdog with a fraction of the budget, emerges as a finalist. 

The landscape of global cinema is evolving and Godzilla Minus One is leading the charge, proving that sometimes, simplicity and a giant lizard can outshine Hollywood's most grandiose endeavours.