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Sony’s superhero blockbuster “Spider-Man: Brand New Day” retained its box office crown across the U.K. and Ireland for a sixth consecutive weekend, taking £1.6 million ($2.2 million).

The performance propelled the film’s cumulative gross to $130.1 million, elevating it to sixth on the territory’s all-time box office chart. The film now sits within striking distance of “Avatar” and “Spider-Man: No Way Home” to break into the all-time top five.

Universal’s epic “The Odyssey” maintained second place in its eighth weekend of release, adding $2 million. The Christopher Nolan-directed feature elevated its total to $111.9 million.

“Insidious: Out of the Further,” distributed by Sony, secured third place in its third session, collecting $1 million to lift its cume to $8.7 million. Disney’s animated blockbuster “Toy Story 5” rebounded into fourth place in its 12th frame, generating $565,417 to advance its running total to $78.6 million.

Warner Bros.’ “The End of Oak Street” followed in fifth position in its fourth week, adding $479,055 to bring its running total to $9.3 million. Universal’s “Minions & Monsters” took sixth place in its 10th frame, grossing $473,318 for a cume of $24.4 million.

True Brit Entertainment’s “The Death of Robin Hood” debuted in seventh position with $427,272 including previews. Disney’s “The Dog Stars” took eighth place in its sophomore frame, adding $411,911 for a cumulative $2.5 million. Altitude’s l”Coyote vs. Acme” placed ninth in its third session with $391,648 and a running total of $2.2 million. Paramount’s “Paw Patrol: The Dino Movie” rounded out the top 10 in its fifth week, banking $371,863 to push its cume to $8.2 million.

In specialized release, Mubi’s “Teenage Sex and Death at Camp Miasma” collected $83,780 over its third frame, lifting its running total to $1.1 million.

Looking ahead to the upcoming theatrical frame, the release calendar is headlined by high-profile event cinema, studio sequels, and wide indie dramas. Rollouts began with Dogwoof launching the sports documentary “Lomu.” Mid-week debuts include Disney’s concert documentary “Oasis: Don’t Look Back in Anger” releasing into 300+ locations, alongside Studiocanal’s thriller “Pressure” and Lionsgate U.K.’s survival sequel “Fall 2”.

Thursday releases include the 4K re-issue of “The Passion of the Christ” and Dreamz Entertainment’s Indian action title “Sardar 2.”

Wide commercial debuts on Friday opening across 300+ locations are led by Warner Bros.’ fantasy comedy sequel “Practical Magic 2” and Scott Waugh’s action thriller “Runner,” starring Alan Ritchson and Owen Wilson.

Specialized, limited, and international rollouts include Break Out Pictures’ “Everybody Digs Bill Evans” across 25+ sites, Olivier Nakache and Éric Toledano’s “Just an Illusion” across 25+ locations, Central City Media’s “Unidentified Murder” across 25+ screens, Tributary’s documentary “Better Go Mad in the Wild,” Dreamz Entertainment’s “Epic,” Miracle Comms and Goldfinch’s music documentary “Eddie Cochran: Don’t Forget Me,” and Peccadillo’s”Blue Film.”

Classic films releasing include the 45th anniversary 4K re-issue of “Raiders of the Lost Ark,” the 30th anniversary return of Danny DeVito’s “Matilda,” and BFI Distribution’s new restoration of Claude Chabrol’s “La Femme infidèle (The Unfaithful Wife).” The weekend wraps on Sunday with Anderson Entertainment and Kaleidoscope rolling out the “Space: 1999” 4K restoration double bill.

Are movie stars okay? Between the recent explosion of celebrity spokesperson roles (such as Ben Affleck finally doing Aflac commercials) and a steady growth in star-driven straight-to-streaming fare, actors the general public would consider “successful” seem to be hustling for work — any work — harder than ever. Owen Wilson, for example, has recently appeared in a big-budget Disney movie (“Haunted Mansion”), played a high-profile character within the Marvel Cinematic Universe, and is soon set to return to his scene-stealing role in the “Fockers” franchise. So why is he in Angel Studios’ “Runner?”

Truth be told, Scott Waugh’s action thriller, co-starring Alan Ritchson (“Reacher”), is actually pretty entertaining, with the good sense to clock in at an efficient 98 minutes. But there’s something dispiriting about the middle-tier existence of a skillful meat-and-potatoes crowdpleaser like this, which is neither polished enough to hold up against proper studio fare, nor scrappy enough to thrive as Roger Corman-style exploitation. Supported by Waugh’s muscular direction, Wilson and Ritchson work well together in a chase film whose thinly sketched premise barely sustains its wall-to-wall action sequences.

Ritchson plays Hank Malone, a “big American war hero” turned courier in Brisbane, Australia who just collected his AA coin for a year of sobriety and is teaching himself French in his late daughter’s honor. When his employer gives him a short-term job, picking up a donated liver being transported from the U.S., Hank gets more than he bargained for when the organ shows up under the arm of Ben Bishop (Wilson), a chatty messenger determined to accompany it to its final destination.

With a limited amount of time before the organ loses its viability, Ben directs Hank to drive directly to a Gold Coast hospital about an hour away, where anxious mother Kate (Leila George) awaits the liver for her sick daughter Ellie (Scarlett Crabtree). But after spotting a motorcade of black-clad vehicles creeping through city traffic after their car, Hank gathers that another party that considers the organ valuable. What he soon discovers is that the other party is led by Damian Zaldívar (Rodrigo Santoro), the ruthless son of a drug lord (Cecilia Toussaint) who also needs the liver to stay alive, and has instructed Damian to kill anyone who interferes with him obtaining it.

Starring and co-produced by Ritchson, “Runner” is really a showcase for him, a talented actor with real screen presence who hasn’t demonstrated a ton of versatility, but has been on the cusp of stardom for several years. This doesn’t feel likely to bump him up to the big leagues — it barely feels like a movie made for theaters — but the most complimentary comparison to make is that it feels like his version of “The Rundown,” Dwayne Johnson’s underappreciated 2003 star vehicle from when he was still The Rock. In both cases, the characters at least initially try to avoid violence, and harbor aspirations more personal than pummelling opponents ad nauseam. Even without a tearful backstory that parallels the circumstances of Hank’s current assignment with an almost cartoonish precision, Ritchson makes Hank likable with a performance that’s thoughtful, human and drily funny.

Opposite Ritchson in full “butterscotch stallion” mode is Wilson, testing Ben’s likability with a motor-mouthed performance he’s given a few dozen times. Whether the actor is improvising or sticking closely to the script by Miles Hubley and Tommy White, Wilson’s talent and experience maintain the charm of a character who practically talks nonstop but in other hands could simply be obnoxious. In the buddy-movie “action guy-funny guy” formula, Wilson makes Ritchson’s half of that balance a little less lopsided, enabling the audience to enjoy the duo’s frantic, noble determination to deliver the organ, even amidst chaotic violence that will likely be the reason that many see the film.

Waugh, named a 2012 Director to Watch by Variety, last helmed the dismal “Expend4bles.” He redeems himself with this project, perhaps because he’s serving the needs of only two main actors and not a smorgasbord of stars, but he’s clear in delivering what this film needs to accomplish. Sure, it’s simplistic and frequently silly, but most of the laughs are intentional, and the action is sturdy and exciting.

Even so, you feel like corners have been cut. Is this the first production in history unable to license “Spirit in the Sky”? Norman Greenbaum’s ubiquitous 1969 single isn’t the only song replaced by a cover or soundalike. The setting of Brisbane serves no purpose other than to highlight what must have been significant tax incentives. And the moving backgrounds outside the windows of every conveyance on screen needed at least one more visual effects pass. Sadly, that’s the stuff that makes all the good work done elsewhere seem chintzy or inadequate.

Perhaps ironically, the actors are clearly having fun, which can elevate even the cheapest-looking entertainment to classic status. This clunky vehicle doesn’t transcend its limitations — Wilson and Ritchson’s efforts are the duct tape holding it together — but it’s much better than anyone could have expected. It even makes you want to see them together on screen again in something a bit slicker and more sophisticated. That’s probably the opposite feeling that the film’s producers would like to elicit, but “Runner” is precisely the kind of for-hire work that proves its stars deserve better.

Hamaguchi Ryusuke‘s “All of a Sudden” and Abinash Bikram Shah’s “Elephants in the Fog” led nominations for the 19th Asia Pacific Screen Awards with three nods apiece, as the Asia Pacific Screen Academy unveiled a 36-film slate from 32 countries and regions ahead of the Oct. 30 ceremony in Australia.

“All of a Sudden” (France, Japan, Germany, Belgium) and “Elephants in the Fog” (Nepal, Germany, Brazil, France, Norway) are both nominated for best film, best director and best performance. Hamaguchi and Shah face off in the director race against Sompot Chidgasornpongse for “9 Temples to Heaven,” Aung Phyoe for “Fruit Gathering” and Jennifer Peedom for “Tenzing.”

Three more films round out the best film category with two nominations apiece: Shahrbanoo Sadat’s “No Good Men” (Germany, France, Norway, Denmark, Afghanistan), also up for best performance; Levan Koguashvili’s “Guria” (Georgia, Switzerland, Luxembourg, Bulgaria, Türkiye, U.K., Norway, Saudi Arabia), also nominated for best cinematography; and Chidgasornpongse’s “9 Temples to Heaven” (Thailand, Singapore, France, Norway, China, Hong Kong, Indonesia, Qatar).

APSA also recognizes best screenplay, best cinematography, best youth film, best animated film and best documentary film, with best performance remaining an ungendered category.

According to the Academy, 69% of directors with nominated films are presenting their first or second feature, a trend most pronounced in the youth and animation races: all five best youth film nominees are helmed by first-time directors, and every best animated film contender comes from a first- or second-time filmmaker.

The lineup also highlighted several cross-border pairings, including Virginie Efira and Okamoto Tao, jointly nominated for best performance for “All of a Sudden,” and Ervin Han and Raúl García, the Singaporean and Spanish directing duo behind best animated film contender “The Violinist.”

Tracey Vieira, chair of the Asia Pacific Screen Academy, said: “When you look across this year’s nominations, what really stands out is the level of collaboration behind these films. We are seeing filmmakers and creative teams from countries across the Asia Pacific working together, and in many cases partnering with countries well beyond the region, to bring these stories to the screen.”

Three projects backed by the MPA APSA Academy Film Fund earned nominations this year: “9 Temples to Heaven,” funded in 2021; Sara Ishaq’s “The Station” (Yemen, Jordan, France, Germany, Netherlands, Norway, Qatar), funded in 2019; and Anthony Chen’s “We Are All Strangers” (Singapore), funded in 2023. Submissions for this year’s fund remain open through Sept. 25.

Mandy Walker ASC ACS, the APSA international jury president, said: “Watching and celebrating movies from other cultures only enriches our own experiences and views of the world. I have the honor to be heading the International Jury this year to recognize the achievements of these talented filmmakers.”

The Asia Pacific Screen Forum will run Oct. 28–30 on the Gold Coast ahead of the awards ceremony, with sessions on financing, distribution and cross-border collaboration alongside a masterclass with Walker. Gold Coast Mayor Tom Tate said: “The Gold Coast is proud to be a creative crossroads for the Asia Pacific, and APSA is a big part of that story.”

FULL LIST OF APSA 2026 NOMINEES:

BEST FILM
“All of a Sudden” (France, Japan, Germany, Belgium), directed by Hamaguchi Ryusuke
“Elephants in the Fog” (Nepal, Germany, Brazil, France, Norway), directed by Abinash Bikram Shah
“No Good Men” (Germany, France, Norway, Denmark, Afghanistan), directed by Shahrbanoo Sadat
“Guria” (Georgia, Switzerland, Luxembourg, Bulgaria, Türkiye, U.K., Norway, Saudi Arabia), directed by Levan Koguashvili
“9 Temples to Heaven” (Thailand, Singapore, France, Norway, China, Hong Kong, Indonesia, Qatar), directed by Sompot Chidgasornpongse

BEST YOUTH FILM
“Big Girls Don’t Cry” (New Zealand), directed by Paloma Schneideman
“Don’t Tell Mother” (India, Australia), directed by Anoop Lokkur
“En Route To” (Republic of Korea), directed by Yoo Jaein
“Funky Freaky Freaks” (Republic of Korea), directed by Han Chang-lok
“Our Share of Sand” (India, U.K., Greece), directed by Shalini Adnani

BEST ANIMATED FILM
“Light Pillar” (China), directed by Xu Zao
“Magic Atlas” (Singapore), directed by Sun Xun
“A Mighty Adventure” (Taiwan, Malaysia, Hong Kong), directed by Toe Yuen
“The Violinist” (Singapore, Spain, Italy), directed by Ervin Han, Raúl García
“Zsazsa Zaturnnah” (Philippines, France), directed by Avid Liongoren

BEST DOCUMENTARY FILM
“32 Meters” (Iran, Türkiye, Qatar), directed by Morteza Atabaki
“Colors of White Rock” (France, Mongolia), directed by Khoroldorj Choijoovanchig
“Baby Jackfruit Baby Guava” (Vietnam, Republic of Korea), directed by Nhật Quang Nông
“One in a Million” (U.K., U.S.), directed by Itab Azzam, Jack MacInness
“Rehearsals for a Revolution” (Czech Republic, Spain), directed by Pegah Ahangarani

BEST DIRECTOR
Hamaguchi Ryusuke, “All of a Sudden” (France, Japan, Germany, Belgium)
Abinash Bikram Shah, “Elephants in the Fog” (Nepal, Germany, Brazil, France, Norway)
Sompot Chidgasornpongse, “9 Temples to Heaven” (Thailand, Singapore, France, Norway, China, Hong Kong, Indonesia, Qatar)
Jennifer Peedom, “Tenzing” (U.S., Australia)
Aung Phyoe, “Fruit Gathering” (Myanmar, Czech Republic, France)

BEST SCREENPLAY
Ghasideh Golmakani, “Head to Head” (Iran, Germany)
Yashasvi Juyal and Ankit Thapa, “The Ink Stained Hand and the Missing Thumb” (India, U.S., Saudi Arabia)
Mohammed Hammad, “Safe Exit” (Egypt, Libya, Tunisia, Qatar, Germany)
Sara Ishaq and Nadia Eliewat, “The Station” (Yemen, Jordan, France, Germany, Netherlands, Norway, Qatar)
Rakan Mayasi, “Yesterday the Eye Didn’t Sleep” (Belgium, Lebanon, Palestine, Qatar, Saudi Arabia)

BEST CINEMATOGRAPHY
Batara Goempar, “Four Seasons in Java” (Indonesia, France, Netherlands, Norway, Poland, Saudi Arabia, Singapore)
Nguyễn Vinh Phúc, “Hearing” (Vietnam, Singapore, Norway, France, Indonesia, Saudi Arabia, Cambodia, Thailand, Taiwan)
Gigi Samsonadze and Giorgi Shvelidze, “Guria” (Georgia, Switzerland, Luxembourg, Bulgaria, Türkiye, U.K., Norway, Saudi Arabia)
Warwick Thornton, “Wolfram” (Australia)
Emo Weemhoff, “The Burning Giants” (Thailand, Singapore, France, Netherlands)

BEST PERFORMANCE
Virginie Efira and Okamoto Tao, “All of a Sudden” (France, Japan, Germany, Belgium)
Anwar Hashimi, “No Good Men” (Germany, France, Norway, Denmark, Afghanistan)
Pushpa Thing Lama, “Elephants in the Fog” (Nepal, Germany, Brazil, France, Norway)
Ghassan Saad, “Pipes” (Lebanon, Qatar, Saudi Arabia)
Yeo Yann Yann, “We Are All Strangers” (Singapore)

The vital act of storytelling drives Casey Affleck’s “Company.” Knowing those stories and the people in them also passes on lessons learned involving grief, regret and forgiveness. The film premieres in competition at Venice.

“Company” stars Nick Nolte, Adelaide Clemens, Ben Mendelsohn, Scoot McNairy, Emily Alyn Lind, Caylee Cowan and Atticus Affleck. The film jumps between 1975, 1953 and 1903, connected by stories in each era. Much of the film involves just two actors in a shot, or one actor in a beautifully composed shot.
“When Casey sets up the camera, you know by the angles that he’s shooting from that it’s going to be much more intimate,” says Nolte.

Nolte’s Tom is an old man living alone. It’s winter, and he sees a young woman passed out on the snow outside his isolated cabin. He brings Alice (Cowan) in, warms her up and she tells him a story about a couple living in a cabin quite like his in 1903.

“It was the script, and it was so delicate,” Nolte says of what drew him to the project. “It had these silences and gaps, and the storytelling was obvious. I just found that intriguing. It wasn’t like any script that normally comes in. You know, it was one of those special ones.”

Nolte didn’t want to play Tom as necessarily a hermit, though, as we do discover his story as the film unspools. “I looked at him as somebody that wanted to not be with humanity in general. He was a reclusive, and he lived in isolation, and he’d probably be a trapper.”

Affleck’s direction is quite intentional, with each scene meticulously framed and lit, allowing stillness to permeate. Nolte’s expressive eyes and face do a lot of the work in each scene as Alice talks. “It was really about listening, just really listening to the story,” he says.

In the 1903 segment, Clemens and McNairy play a couple on an isolated farm, who, like Tom, find and rescue a young person from the snow. Caleb (Atticus Affleck) intrigues Rebecca (Clemens), as he brags about his world travels and personal philosophy with a familiar mix of confidence and insecurity — she’s wary, and his presence creates delicious tension.

“As I’ve gotten older, and I’ve worked more in the industry, I’ve started to learn the power of a two shot, and I’ve also started to learn that you need really skilled professionals to execute that in a powerful way,” she says. “You need an incredible cinematographer who we have on this film, Marcell Rév — everything was so beautiful.”

Clemens says that working with Casey is “what you dream of” because he is an Oscar-winning actor himself.

“Directors will often do a two shot, but then they’ll cover it as well. But if you have two actors who are in an environment where they’re supported, then you can have a really powerful scene, and you can see our whole bodies,” Clemens says of the framing, noting that she and her colleagues had to use their whole bodies. “We tell this whole story from the shins up. It wouldn’t be executed in the way it was if we didn’t have Casey trusting us.”

Clemens brought a “Buddha-like” demeanor and maternal depth and empathy to Rebecca, whereas Atticus Affleck had to leave everyone wondering about his truth. Clemens says that while he was well-prepared for the film, and “rehearsed intensely,” his performance was natural and “didn’t feel like a performance … He was amazing.”

Have some people in Hollywood figured out how to continue to spotlight Hollywood’s greats? “I’m 86, and real limited in the kind of roles I can play now, but I find that without the work, there just isn’t any reason to keep on going,” says Nolte, who has more projects on deck. “You know your creativity is tied into it, and as long as I’m physically capable, I encourage them to consider me. I haven’t thought about retiring.”