Blast Box Office Day 6: India Gross Hits Rs. 3.96 Crore; Holds Strong With a Minor 4% Drop Over Monday

BY SUNIT JANGIR

Mumbai, August 13 - Director Nitesh Tiwari's Ramayana Part 1 is expanding its theatrical footprint to China, marking another major step in the makers' ambitious global release strategy. The Ranbir Kapoor, Sai Pallavi and Yash starrer is reportedly confirmed for a November release in the Chinese market, where it will be presented under the title Ramayana: The Legend of the Prince. The China release could prove to be particularly significant for the film, given how massive it can be for an Indian title. (adsbygoogle = window.adsbygoogle || []).push({}) China is obviously not a regular market for Indian cinema. Only a handful of Indian films have managed to make a significant impact there, with Dangal being the biggest example. The Aamir Khan starrer turned into an unprecedented phenomenon, earning more than $200 million in China and demonstrating just how massive the market can become when an Indian film genuinely connects with Chinese audiences. The challenge for Ramayana is that the Chinese theatrical landscape has changed considerably since Dangal. Domestic productions now dominate the market, with Chinese films accounting for more than 80% of the country's total box office in 2025. The trend has continued into 2026, with domestic titles commanding the majority of the market share, making it increasingly difficult for foreign films to break through. (adsbygoogle = window.adsbygoogle || []).push({}) But this is where content becomes the biggest factor. China's dominance of domestic cinema doesn't mean foreign films cannot succeed; it simply means that a film has to give audiences a strong reason to choose it. Recent exceptions such as Zootopia 2 and Spider-Man: Brand New Day have shown that a foreign production can still become a massive hit when it strikes the right chord with Chinese audiences. For Ramayana, the opportunity is therefore enormous, but so is the uncertainty. The film has the scale, epicness and universal themes of good versus evil, family, sacrifice and duty that could potentially travel beyond India. If those elements resonate with Chinese audiences, the ceiling could be extremely high. After all, Dangal proved that an Indian film can overcome the limitations of the market and create genuine hysteria in China when the content clicks. (adsbygoogle = window.adsbygoogle || []).push({}) A Dangal-like phenomenon is obviously a massive ask, especially in today's more domestically dominated Chinese market. But the beauty of the China opportunity is that Ramayana doesn't necessarily need to perform like a conventional foreign release. If the film gets the Chinese audience talking and generates strong word of mouth, the market could transform from being just another overseas territory into one of the biggest contributors to its worldwide box office. In China, it will ultimately come down to one thing — whether Ramayana clicks. If it does, the sky could be the limit.

BY CHRISTA LINCY

The anticipation for Suriya's latest outing, Vishwanath and Sons, has brought with it a set of massive financial expectations and theatrical challenges that are currently the talk of the industry. According to insights from Valai Pechu, the film's Tamil Nadu theatrical rights have been secured by Primark Productions through a 40 Crore Minimum Guarantee deal. When you factor in GST, prints, and publicity, the total landed cost for the distributor touches roughly 46 Crore. For the film to reach a break-even point , it is estimated that it will need to collect a gross of at least 120 Crore, a high bar that relies heavily on a strong opening and sustained interest. This aggressive valuation is largely attributed to the success of Suriya's previous film, Karuppu. However, the market conditions today are quite different. While Karuppu enjoyed a relatively clear window, Vishwanath and Sons enters a crowded arena. It faces a direct clash with Vishal's Magudam, which releases on the same day, alongside strong holdovers like the domestic hit Jana Nayagan and Hollywood spectacles like The Odyssey and Spider-Man: Brand New Day. Furthermore, since the film is helmed by a Telugu director, the initial buzz in the Tamil market has been somewhat tempered, placing the burden of success squarely on positive word of mouth once the first shows conclude. (adsbygoogle = window.adsbygoogle || []).push({}) A significant hurdle currently affecting the film's domestic rollout is a standoff between the distributors and theatre owners. Reports suggest that reputed exhibitors are demanding a higher share of the revenue in various parts of Chennai. These negotiations have led to delays in opening ticket bookings in several parts of Tamil Nadu. If these issues are not resolved quickly, it could have a noticeable negative impact on the opening day box office collections, as many fans are still waiting for their local screens to become available online. Despite these theatrical hurdles, the advance booking numbers provide a glimpse of the core audience interest. On BookMyShow, the film has seen a steady rise in sales, with 16.89K tickets sold on August 11 and a massive jump to 116.48K tickets on August 12. This brings the two-day total on the platform to 133.37K tickets. Looking at the final hours before release, the momentum stayed healthy with over 32,000 tickets sold between 6 am and 1 pm on the final day, including nearly 7,000 tickets in a single hour in the afternoon. (adsbygoogle = window.adsbygoogle || []).push({}) The performance in national cinema chains also shows a respectable trend. Across the major multiplexes, over 52,000 tickets have been sold for the opening day, resulting in a gross of approximately 1.0 Crore. Breaking this down with rounded values, PVR leads the contributions with nearly 34,000 tickets and a gross of roughly 0.65 Crore. Inox has accounted for about 14,000 tickets with a gross around 0.27 Crore, while Cinepolis has added nearly 4,000 tickets, contributing roughly 0.08 Crore. While these numbers are healthy, they sit quite far behind the record-breaking pre-sales of films like Coolie at 1.82M or Leo at 1.69M, placing Vishwanath and Sons in a more mid-tier position alongside films like Kanguva and Thug Life in terms of final pre-release momentum. On the international front, the stakes are equally high. According to data from Venky Box Office, the film needs to reach a break-even mark of 1.8 Million dollars in North America. Currently, the North American opening day advance sales, including premieres, stand at approximately 245K dollars. Taking the broader overseas market into account, the total opening day advance sales have reached about 450K dollars, which translates to roughly 4.3 Crore. Suriya's reputation as the adopted son of the Telugu states is expected to boost these numbers, as the film is seeing a simultaneous release in both Tamil and Telugu languages.

BY CHRISTA LINCY

IMAX CEO Rich Gelfond has just released a new interview detailing the company's roadmap, which includes at least four unannounced movies slated for a 70mm release in 2027. This move follows a string of sold-out theatrical runs that have proven the massive audience appetite for authentic film projection. Gelfond's insights confirm that IMAX is no longer treating the 70mm format as a relic of the past but as a central part of its global strategy for the coming years. One of the most exciting takeaways from the interview is that IMAX currently has at least four unannounced movies slated for a 70mm release in 2027. While the specific titles remain a secret for now, this commitment shows that filmmakers are increasingly prioritizing the unique aesthetic and scale that only film can provide. This isn't just a one-off event but a growing movement that aims to give major tentpole releases the grand theatrical platform they deserve. The buzz is already building for 2029, with enthusiasts eager to see how the next wave of visionary directors will push the boundaries of this format. (adsbygoogle = window.adsbygoogle || []).push({}) To support this growing demand, IMAX is essentially going on a scavenger hunt to increase its global capacity. Gelfond mentioned that the company is looking to track down and refurbish old 70mm projectors, with a goal of adding 10 more units to their current fleet. This would represent a 30 percent increase in capacity by the year 2027. The ultimate objective is to have roughly 75 of these specialized 70mm projectors functional across the globe. For context, the historical peak was around 102 projectors during the run of The Dark Knight Rises, so getting back toward that number would be a significant milestone for film preservation and exhibition. The expansion plan is also looking beyond North America. Gelfond expressed a clear desire to bring the 70mm experience to major markets like India and China, moving away from the saturation currently seen in the United States. He highlighted the incredible success of the IMAX 70mm screen in Melbourne, Australia, which has been recording insane numbers lately. This global interest proves that audiences everywhere are willing to seek out and pay for a premium, authentic film experience if it is made available to them. (adsbygoogle = window.adsbygoogle || []).push({}) The CEO also addressed the competition, specifically touching upon Disney's Infinity Vision. He characterized this as a clever way for Disney to market and brand their own premium releases, especially when IMAX screens are already occupied by other major studio tentpoles. While IMAX stands for the biggest cinematic events, Infinity Vision provides a dedicated branding tool for Disney's slate. This highlights how crowded the premium large format market has become, with IMAX still holding the crown for the most sought-after film experiences. Finally, the interview provided some rare transparency regarding the costs of these presentations. We now have a clear figure on the production of these massive reels: each IMAX 70mm film print costs roughly 50,000 dollars. When converted, this is approximately 48 lacs in Indian currency for a single print, and that is before you even consider the significant costs of international shipping and logistics. Despite these staggering expenses, the fact that screenings are consistently sold out for months indicates that the investment is paying off. The era of high-fidelity film projection is clearly entering a new golden age, and the roadmap for the next few years looks incredibly promising for moviegoers worldwide.

BY SUNIT JANGIR

Mumbai, August 13 - Emraan Hashmi and Disha Patani's Awarapan 2 is heading for a strong opening at the domestic box office, with the film's booking indicating that it could significantly outperform initial trade expectations. The Nitin Kakkar-directed action thriller, arriving in cinemas on August 14, has benefited from strong audience interest in the Awarapan brand and is currently leading the Independence Day clash against Sunny Deol's Batwara 1947. (adsbygoogle = window.adsbygoogle || []).push({}) As per the latest advance booking data, Awarapan 2 has already sold over 1.25 lakh tickets for Day 1, generating 4 crore gross without blocked seats. Including blocked seats, the pre-sales have crossed 6 crore and are expected to be around 10 crore before the first show begins, giving the film a strong base ahead of its theatrical release. Based on the current momentum, Awarapan 2 is now targeting an opening in the twenty crore net range, which is considerably higher than earlier trade estimates of around twelve to fifteen crore and would give Emraan Hashmi the biggest solo opening of his career. It will also cross the lifetime domestic and worldwide gross of the original Awarapan (~13 crore gross) with only its domestic opening day collection. (adsbygoogle = window.adsbygoogle || []).push({}) The biggest advantage for Awarapan 2 is the Independence Day holiday weekend, which gives the film an extended four-day window to capitalise on the initial buzz. Its direct competition, Batwara 1947, is currently trailing significantly in bookings, allowing the Emraan Hashmi-led film to dominate the Hindi market during the crucial opening weekend. If Awarapan 2 manages to open on the projected lines, it would mark a remarkable turnaround for the franchise, considering the original Awarapan eventually developed a cult following despite its modest theatrical performance. More importantly, such an opening would put the sequel in a strong position to capitalise on the Independence Day holiday and potentially emerge as one of the surprise box office performers of August 2026.

BY CHRISTA LINCY

The release strategy for Nitesh Tiwari’s much-discussed epic, Ramayana: Part 1, has taken an interesting turn as the makers prepare for a massive global rollout. In a departure from the usual practice of domestic-first releases, the international release date for the film has been fixated for November 6, 2026. Audiences in India will get to see the movie two days later, with the domestic launch scheduled for November 8, 2026. A major part of this international strategy involves a significant release in China. Sony Pictures, the studio handling the international distribution, recently revealed the official title for the film in China through their Weibo account. Titled Ramayana: The Legend of the Prince, the movie is being promoted by highlighting director Nitesh Tiwari's connection to Dangal. Since Dangal remains one of the most successful Indian films ever released in China, Sony is clearly using that established goodwill to build anticipation for this mythological project among Chinese moviegoers. (adsbygoogle = window.adsbygoogle || []).push({}) The core narrative follows the classic arc of the demon king Ravana causing chaos across the three realms, leading Lord Vishnu to descend in the incarnation of Rama to protect all beings.The film focuses on the fourteen-year exile, the abduction of Sita, and the subsequent battle that erupts between the vengeful king and the guardian deity. To elevate this grand narrative, the makers have brought on legendary composer Hans Zimmer to provide the score. The collaboration between Zimmer and Tiwari is one of the most analyzed aspects of the project, as fans are curious to see how a global soundscape fits an Indian epic. In terms of casting, the film features Ranbir Kapoor as Lord Rama and Sai Pallavi as Sita. The role of the formidable antagonist, Ravana, is played by Yash, whose involvement has been a major draw for the project. Other notable cast members include Sunny Deol as Hanuman and Ravi Dubey as Lakshman. This ensemble brings together stars from different regional industries, supporting the film's goal of being a truly pan-Indian and global event. (adsbygoogle = window.adsbygoogle || []).push({}) However, the journey toward the big screen has been met with a mixed reception following the initial glimpses of the film. While many viewers have praised the casting choices and the ambitious scale, there has been significant debate regarding the visual effects. Some fans have expressed concerns over the CGI quality, drawing unfavorable comparisons to previous mythological films that failed to deliver on the visual front. There is a visible divide between those who appreciate the modern, sleek aesthetic and those who feel that the digital work might take away from the traditional, grounded feel of the Ramayana story. Despite these varying opinions, the film remains one of the most expensive and ambitious projects ever attempted in Indian cinema. With Sony Pictures managing a massive global rollout and the weight of a legendary story behind it, Ramayana: Part 1 is positioned as a potential landmark release. The coming months will be crucial for the production team as they aim to build momentum for what is expected to be one of the biggest box office events of 2026.

BY CHRISTA LINCY

The wait for Dulquer Salmaan’s much-anticipated return to Malayalam cinema has just been extended by a few weeks. In an official announcement the makers of I'm Game have confirmed that the film will no longer arrive for the Onam season on August 20. Instead, the project is now scheduled for a massive worldwide release on September 3, 2026. While a delay might initially seem like a setback, the production team at Wayfarer Films has clarified that this move is part of a larger vision to ensure the film reaches the widest possible audience. By moving the release date, the team is gearing up for a simultaneous launch in five languages, including Malayalam, Tamil, Telugu, Hindi, and Kannada. This decision highlights the growing trend of Malayalam films aiming for a pan-Indian footprint, especially after the recent success of regional titles on a global scale. For a star like Dulquer Salmaan, who enjoys a significant following in the Telugu and Tamil markets, this wider release strategy makes perfect logical sense. The makers have emphasized that the game is simply getting bigger, allowing them to secure more screens and a better theatrical platform across different regions. (adsbygoogle = window.adsbygoogle || []).push({}) The project itself carries a lot of weight because of the creative minds involved. Director Nahas Hidayath, who delivered the high-octane blockbuster RDX, is leading the ship. His association with the legendary stunt directors Anbariv suggests that I'm Game will feature action sequences of a scale rarely seen in Mollywood. Known for their bone-crunching work in KGF and Vikram, Anbariv’s involvement is a clear indicator that this film is being mounted as a premium action-thriller. Adding to the technical prowess is Jakes Bejoy, who is handling the music and background score, which is always a key component in Nahas's films. In terms of the cast, the movie brings together an interesting mix of talent from various industries. Alongside Dulquer, the film features Antony Varghese, better known as Pepe, which adds a layer of raw energy to the proceedings. The inclusion of Tamil actor-director Mysskin and Kathir further strengthens its pan-Indian appeal. Other notable names in the ensemble include Kayadu Lohar, Vinay Forrt, and Samyuktha Viswanathan. This diverse lineup suggests that the story likely has multiple threads that traverse different geographical settings, making the multi-language release a necessity rather than just a choice. (adsbygoogle = window.adsbygoogle || []).push({}) From an analytical perspective, stepping out of the crowded Onam window of August 20 might actually work in the film's favor. While Onam is traditionally the biggest period for Malayalam cinema, it often leads to a heavy clash where even big films struggle for optimal screen counts. By picking September 3, I'm Game positions itself as a solo heavyweight, allowing it to dominate the box office without the immediate pressure of local competition.

BY CHRISTA LINCY

Fans of classic Bollywood comedies have a reason to celebrate as the much-anticipated sequel to the 2006 hit Malamaal Weekly is finally taking shape. According to an exclusive report by Bollywood Hungama, the project has secured its primary male leads, bringing back a beloved trio while adding a fresh face to the mix. The sequel aims to recapture the chaotic energy that made the original a favorite among audiences two decades ago. The core of the original film featured the impeccable comic timing of Paresh Rawal and Rajpal Yadav, and both veterans are now officially locked in to return. Joining them is Riteish Deshmukh, who is set to lead the film once again. While sources close to the production indicate that Riteish is currently fine-tuning the details and reading the final script before formalizing the paperwork, the verbal confirmation is already in place. In an interesting casting move, popular YouTuber and Bigg Boss OTT Season 2 winner Elvish Yadav has been brought on board as a principal cast member. This will mark his second venture into mainstream Bollywood, following his upcoming debut in an action project. (adsbygoogle = window.adsbygoogle || []).push({}) The female cast is equally impressive and adds significant star power to the ensemble. As previously revealed by Bollywood Hungama, the sequel will feature Parineeti Chopra, Raveena Tandon, and Shilpa Shirodkar in pivotal roles. This blend of seasoned actors and contemporary stars suggests that the makers are looking to appeal to a wide demographic, balancing nostalgia with modern-day popularity. On the creative side, the film will be helmed by Amit Joshi, who recently gained attention for co-directing the robotic rom-com Teri Baaton Mein Aisa Uljha Jiya. Joshi is currently in the process of polishing the script, with plans to start the production cycle by November 2026. While Malamaal Weekly 2 will offer a completely new storyline, it intends to stay true to the thematic roots of its predecessor. The narrative will once again focus on ordinary small-town residents caught in a web of poverty, greed, and the sudden prospect of wealth, leading to a classic comedy of errors. (adsbygoogle = window.adsbygoogle || []).push({}) The decision to revisit this franchise is backed by the impressive commercial legacy of the first film. Released in 2006, Malamaal Weekly was a definitive box office success, earning a superhit verdict from trade analysts. The movie collected a net total of approximately ₹26.70 Cr in India, with the total India gross reaching around ₹36.05 Cr. On the global stage, it performed quite well for its time, securing roughly ₹5.65 Cr from overseas markets and pushing its worldwide gross to a solid ₹41.70 Cr. Its simple yet effective premise of villagers fighting over a lottery ticket struck such a chord that it was eventually remade in several regional languages, including Telugu, Kannada, and Malayalam. Beyond its theatrical run, the film achieved a legendary status on television that few movies can boast of. For over a decade, channels like Set Max and Goldmines broadcasted the movie almost every week, turning it into a staple for Indian households. It consistently delivered massive TRP ratings for networks, eventually becoming one of the most-watched Hindi comedies on the small screen. This enduring television legacy, often compared to other cult classics like Sooryavansham and Nayak, ensured that the characters and their antics remained fresh in the public memory long after the film left the cinema halls. (adsbygoogle = window.adsbygoogle || []).push({}) The decision to revisit this franchise makes sense when looking at the legacy of the 2006 original. Directed by Priyadarshan, Malamaal Weekly was a significant box office success and saw itself remade in several regional languages including Telugu, Kannada, and Malayalam. Its simple yet effective premise of villagers fighting over a lottery ticket struck a chord with the masses. By retaining the comic spirit and the original lead trio, the sequel seems positioned to tap into that established goodwill while offering a fresh perspective for the current generation of cinema-goers.

BY CHRISTA LINCY

As we approach the crucial Independence Day weekend, the box office remains abuzz with the performance of Lokesh Kanagaraj’s latest offering, DC. The film has maintained a remarkably steady trajectory since its release, proving that strong content continues to find its audience even on weekdays. After finishing its first six days in theaters, the movie is showing exactly why it is being hailed as a blockbuster, particularly in the Southern markets. On its sixth day, which was the first Wednesday of its theatrical run, DC earned a gross collection of ₹5.74 Cr in India across 4,715 shows. This takes the total India gross to a commendable ₹43.12 Cr. In terms of net earnings, the film brought in ₹5.00 Cr for the day, which is a minor 9.9 percent drop from the previous day's net of ₹5.55 Cr, bringing the total India net to ₹37.50 Cr so far. The film's international performance also remains steady, adding ₹1.00 Cr from overseas markets on Wednesday to reach an overseas total of ₹15.50 Cr. Consequently, the worldwide gross collection has reached a strong ₹58.62 Cr after 25,645 shows, showcasing its consistent appeal among the global audience. (adsbygoogle = window.adsbygoogle || []).push({}) The most fascinating part of this box office story is the state-wise performance, specifically how Kerala is leading the charge. In a surprising turn for a Tamil-origin film, Kerala has consistently outperformed the home territory of Tamil Nadu. On Day 6, Kerala recorded a gross of ₹1.94 Cr, while Tamil Nadu brought in ₹1.60 Cr. This trend has been visible since the fifth day, showing the massive pull Lokesh Kanagaraj has in the Kerala circuit. Meanwhile, the Andhra Pradesh and Telangana regions are not far behind, contributing ₹1.40 Cr on Wednesday, which is nearly equal to the performance in Tamil Nadu. Karnataka and the rest of India added ₹0.55 Cr and ₹0.25 Cr respectively to the daily total. However, the road ahead in Kerala looks quite competitive. As we enter the Independence Day weekend, a major clash for screens is unfolding at the Kerala box office. DC is fighting for space against Vismaya Mohanlal's Thudakkam, which is holding onto screens in its second week. At the same time, Suriya's Viswanath and Sons and Vishal's Magudam are also vying for prime shows and screens. This competition is intensified by the fact that theaters in Kerala have indicated they will stop showing earlier films by August 20 to make way for the big Onam releases. Despite this scramble for screens, DC remains a formidable player in the region. (adsbygoogle = window.adsbygoogle || []).push({}) When we break down the overall journey by language, the Tamil version remains the primary driver with a gross of ₹29.33 Cr and a net of ₹25.50 Cr. The Telugu version has also made a significant impact, netting ₹9.85 Cr from a gross of ₹11.27 Cr. The Hindi version has contributed a net of ₹2.15 Cr from a gross of ₹2.52 Cr. These numbers reflect a well-distributed interest across the different linguistic markets in India. Occupancy rates for the Tamil 2D version on Wednesday were quite encouraging, averaging at 32.65 percent nationwide. As is common with successful films, the momentum built up throughout the day, starting at 21.31 percent in the morning and jumping to a peak of 44.69 percent for night shows. Looking at the major regions, Kochi stood out with a phenomenal 65.5 percent overall occupancy, with night shows reaching a staggering 82.0 percent across 137 shows. Chennai maintained a solid 39.5 percent occupancy across 298 shows, while Bengaluru saw 20.3 percent occupancy for its 270 shows. (adsbygoogle = window.adsbygoogle || []).push({}) National cinema chains have also played their part in the film's consistent run. DC sold roughly 17,700 tickets across the major multiplexes, resulting in a gross of about ₹0.31 Cr. Breaking this down by chain, PVR led the way with nearly 11,000 tickets sold for a gross of approximately ₹0.20 Cr. Inox followed with about 4,000 tickets and a gross around ₹0.06 Cr, while Cinepolis contributed nearly 2,000 tickets with a gross of about ₹0.05 Cr. These multiplex figures complement the strong performance seen in single screens, especially in the Southern states. Digital booking trends on BookMyShow further highlight the movie's popularity. On Tuesday, the platform saw 142.79K tickets booked, followed by 121.77K tickets on Wednesday. This brings the total tickets booked on the platform to 1,123,500. Furthermore, the tracked gross footfalls for the Tamil 2D version, excluding blocked seats, have reached nearly 1.5 million. These are impressive numbers that showcase the film's wide reach.

BY CHRISTA LINCY

Spider-Man has always held a special place in the hearts of Indian cinema-goers, and the latest outing, Spider-Man: Brand New Day, is proving why this franchise remains a dominant force at the box office. After a high-octane start, the film has now entered its second week, showing the kind of steady performance that characterizes a long-term blockbuster. As we look at the numbers for the second Wednesday, the buzz remains healthy even as the initial frenzy begins to settle into a consistent theatrical run. On its fourteenth day, the film brought in a net collection of ₹6.45 Cr across India. To give you some context, this is a 24.1 percent drop from the previous day's collection of ₹8.50 Cr. While a dip is expected as we head deeper into the weekdays, the film managed to maintain a respectable presence across 12,602 shows nationwide. This latest addition brings the total India net collection to a massive ₹438.00 Cr, with the total India gross collections standing at ₹523.64 Cr so far. These figures place the movie in an elite bracket of Hollywood releases in the country. (adsbygoogle = window.adsbygoogle || []).push({}) Looking at the language-wise breakdown for Day 14, the English version continues to lead the pack with ₹3.25 Cr. The Hindi market is not far behind, contributing ₹2.75 Cr. Regional markets like Tamil and Telugu added ₹0.30 Cr and ₹0.15 Cr respectively. If we take a step back and look at the overall journey, the English version has netted ₹239.25 Cr to date, while the Hindi version has crossed the ₹150 Cr mark, currently sitting at ₹158.40 Cr. Other regional versions, including Tamil at ₹23.25 Cr, Telugu at ₹16.30 Cr, Malayalam at ₹0.48 Cr, and Kannada at ₹0.32 Cr, have also played their parts in building this grand total. Occupancy rates provide an interesting look into how fans are choosing to experience this web-slinging adventure. For the English 3D version, the overall occupancy for the day was 13.83 percent. Interestingly, the numbers grew steadily as the day progressed, starting at 9.22 percent in the morning and peaking at 16.56 percent during the night shows. In terms of regional performance for English 3D, Bengaluru stood out with a 15.8 percent overall occupancy, followed by Mumbai at 9.5 percent and both Hyderabad and the National Capital Region at 8.3 percent. Pune recorded a lower occupancy of 7.8 percent for the same format. (adsbygoogle = window.adsbygoogle || []).push({}) The Hindi 3D version saw an overall occupancy of 10.58 percent on its fourteenth day. Similar to the English format, the evening and night shows were the most popular, recording 12.33 percent and 11.75 percent respectively. In major Hindi-speaking regions, Kolkata led the way with a 12.8 percent occupancy, while Mumbai followed closely at 12.0 percent. The National Capital Region showed a 9.8 percent occupancy, and Ahmedabad reported 8.3 percent. These figures suggest that the 3D experience remains a preferred choice for the audience, especially during prime time hours. The role of national cinema chains in this success story is clearly visible through the daily advance booking figures. Across the major circuits, the movie saw approximately 51,000 tickets sold for the day, contributing nearly ₹1.7 Cr to the total earnings. When we break this down using rounded figures, PVR emerged as the primary contributor with roughly 28,000 tickets resulting in a gross of about ₹1.0 Cr. Inox followed with a solid performance of nearly 17,000 tickets and a gross around ₹0.5 Cr, while Cinepolis added its share with approximately 6,000 tickets and a gross of roughly ₹0.2 Cr. (adsbygoogle = window.adsbygoogle || []).push({}) On BookMyShow, the movie saw 135.66K tickets booked on the second Tuesday. While this dropped to 100K tickets on the second Wednesday, the cumulative total of tickets booked on the platform has reached a staggering 8,583,070. This volume of online transactions highlights the continued interest among the urban audience to catch the movie on the big screen. Spider-Man: Brand New Day is performing exceptionally well in North America. According to data from Venky Box Office, the film earned $20M on Tuesday, which brings its total North American collection to a massive $691M. This international momentum mirrors the trend we see in India, where the film has moved past being just a hit to becoming a significant cultural event of the year.

BY SUNIT JANGIR

Chennai, August 13 - Superstar Rajinikanth's much-awaited Jailer 2 has reportedly achieved a massive milestone even before its theatrical release, with the film reportedly locked in the biggest post-theatrical OTT deal in Tamil cinema. The Nelson Dilipkumar directorial, one of the most anticipated Tamil films, has reportedly been acquired by Amazon Prime Video for a staggering 160 crore. If the reported figure is accurate, the Rajinikanth starrer has established a new record for a Tamil film's post-theatrical streaming rights, underlining the enormous value attached to the superstar and the Jailer franchise. Amazon Prime Video is also not new to the franchise, having acquired the digital rights to the first Jailer, which became a major blockbuster following its theatrical release in 2023. (adsbygoogle = window.adsbygoogle || []).push({}) The sequel is expected to take the franchise on a much bigger scale, with Rajinikanth returning as Muthuvel Pandian and Nelson once again handling the direction. The reported OTT deal comes at a crucial stage for Jailer 2, which has already completed its shoot, with the makers already conforming October 15 release date. Produced by Sun Pictures, Jailer 2 also stars Ramya Krishnan, Yogi Babu, Mirnaa, and Rithvik, reprising their roles from the predecessor, with S. J. Suryah, Mithun Chakraborty, Vidya Balan, Suraj Venjaramoodu, Anna Rajan and Jatin Sarna joining the cast in key roles, while Bollywood star Hrithik Roshan plays a crucial cameo.

BY JITU JANGIR

WWE has had no shortage of talented Superstars who had the charisma, athletic ability and in-ring skills to become major names, only for their careers to stall before reaching the main-event level. From Mr. Kennedy and Shelton Benjamin to Carlito and Paul London, these wrestlers showed flashes of genuine star potential but never received the sustained push needed to turn them into household names. This list looks back at 10 WWE Superstars whose careers had the ingredients for something much bigger. We will examine when they arrived in WWE, how they were introduced, the opportunities they received, the moments when they appeared destined for a major breakthrough, and why they ultimately failed to become consistent main-event stars. 10. D’Lo Brown D’Lo Brown entered WWE during the Attitude Era and initially became part of the Nation of Domination. He made his televised WWF debut in 1997 and quickly became one of the more recognizable members of the group. Brown eventually developed a character of his own, complete with his trademark head shake, chest protector and energetic wrestling style. He also became a two-time European Champion, with WWE’s own title history showing multiple reigns between 1998 and 1999. His athleticism was particularly impressive for his size, and he could work with both high-flyers and larger opponents. He was also involved in some of the most important factions and storylines of the Attitude Era. The problem was that WWE never consistently treated Brown as a potential top-level singles star. He remained an important supporting player rather than someone positioned alongside The Rock, Stone Cold Steve Austin, Triple H or The Undertaker. 9. Paul London Paul London was one of WWE's most naturally gifted high-flyers of the 2000s. He signed with WWE in 2003 and made his television debut on SmackDown against Brock Lesnar. London quickly established himself as an exciting performer in the Cruiserweight division before moving into the tag-team scene. He won the WWE Tag Team Championship with Billy Kidman in 2004 and later formed a highly successful partnership with Brian Kendrick. London and Kendrick defeated MNM at Judgment Day 2006 to win the WWE Tag Team Championship. Their reign eventually lasted 333 days, which WWE's title history records as the longest reign in the championship's history at that time. Despite that success, London was rarely presented as a potential singles main-eventer. WWE had an opportunity to turn him into a major high-flying babyface, but that opportunity never fully materialized. 8. Chris Masters Chris Masters arrived in WWE in early 2005 with almost everything WWE traditionally looked for in a potential star: an imposing physique, a memorable nickname, a simple character and a devastating finishing move. WWE's own profile notes that the 6-foot-4, 265-pound "Masterpiece" quickly attracted attention after debuting on Raw and became famous for his Master Lock Challenge. Masters even entered the Elimination Chamber for the WWE Championship during his first year with the company, demonstrating just how highly WWE initially viewed him. The Master Lock Challenge was one of the strongest concepts WWE had for a mid-2000s heel. Masters could walk into an arena, challenge anyone to escape his hold and immediately create a reason for fans to care. But the momentum didn't last. Instead of becoming a dominant monster heel who could eventually challenge for a world championship, Masters gradually became another name on the roster. 7. Shelton Benjamin Shelton Benjamin arrived in WWE as part of the highly respected duo with Charlie Haas. The pair won tag-team gold and quickly established themselves as one of the company's best young athletic teams. WWE's title history records their multiple World Tag Team Championship reigns beginning in 2003. Benjamin's singles career eventually produced some spectacular moments. His athletic ability was obvious, particularly in his famous matches against Shawn Michaels and other top stars. He also became a two-time Intercontinental Champion. The problem was that WWE often presented Benjamin as an excellent wrestler rather than as a potential superstar. 6. Carlito Carlito may have one of the strongest cases on this list because WWE initially appeared to have enormous confidence in him. He made his SmackDown debut in 2004 and immediately defeated John Cena for the United States Championship. He later won the Intercontinental Championship on his Raw debut against Shelton Benjamin. Carlito also had something many technically gifted wrestlers lacked: natural charisma. His "I spit in the face of people who don't want to be cool" character was simple, memorable and easy for fans to understand. He won multiple championships during his original WWE run, including the United States, Intercontinental and Tag Team Championships. He eventually left WWE in 2010 and returned to the company in 2023, although his later run was largely used in a supporting/comedic role. The frustrating part is that Carlito looked like someone who could have occupied the upper-middle card for years and potentially moved into the world-title picture. Instead, the company never made the long-term commitment necessary to turn him into a true main-event attraction. 5. John Morrison John Morrison had perhaps one of the most complete packages of any wrestler on this list. He originally entered WWE after winning Tough Enough in 2002 and eventually became Johnny Nitro. His partnership with Joey Mercury and Melina created the successful MNM act before Morrison developed into a singles performer. After becoming John Morrison, he captured the ECW Championship and later became a major part of WWE programming alongside The Miz. WWE itself documented the beginning of his "Morrison era" after he reinvented his character. His parkour-inspired movement, athletic entrances and spectacular offense made him one of WWE's most visually impressive wrestlers. Yet despite winning the Intercontinental and Tag Team Championships and becoming ECW Champion, Morrison never won WWE's top world championship during his original run. 4. MVP MVP arrived in WWE with a character that immediately stood out. He made his first SmackDown appearance on August 4, 2006, portraying the arrogant, flashy "Ballin'" superstar. WWE's own biography notes that the company gave him a major contract and positioned him as one of the brand's most intriguing new arrivals. MVP backed up the talk in the ring. Within less than a year, he became United States Champion, and he later won the WWE Tag Team Championship with Matt Hardy. WWE even presented him as someone with the potential to become a future World Champion. His feud and partnership with Matt Hardy were among the highlights of SmackDown during that period. MVP had charisma, a distinctive character, excellent mic skills and enough in-ring ability to work with top stars. Yet WWE never fully pulled the trigger on him as a world-title-level performer. Considering how over his character became, MVP is one of the clearest examples of a wrestler who appeared destined for a much bigger role but never quite received it. 3. Ricochet Ricochet built his reputation on the independent circuit and in New Japan Pro-Wrestling as one of the most innovative high-flyers in the world before signing with WWE and debuting on NXT in 2018, later moving to the main roster in 2019. His arrival came with genuine buzz — WWE even teased a mystery "One" storyline to build anticipation before his reveal. Once on the main roster, however, Ricochet was largely kept in the midcard, frequently used to elevate other performers rather than being elevated himself. His athleticism remained undeniable, but a sustained run at the top of a WWE card never came his way. 2. Zack Ryder Zack Ryder is one of the rare cases of a WWE Superstar who essentially pushed himself. After joining the main roster in the mid-2000s, Ryder found himself stuck in lower-card roles for years until he launched his own YouTube series, "Z! True Long Island Story," around 2011 — building a grassroots fanbase almost entirely outside of WWE's own programming. That fan-driven momentum eventually forced WWE's hand, leading to an Internet Championship run and a surprise Intercontinental Championship win at WrestleMania 32 in 2016. But each time Ryder gained traction, WWE pulled back shortly after, treating his pushes as brief experiments rather than long-term investments — leaving one of wrestling's most fan-beloved underdogs without the sustained spotlight his popularity suggested he'd earned. 1. Mr. Kennedy If there is one wrestler who arguably came closest to becoming a major WWE superstar before his momentum disappeared, it is Mr. Kennedy. Kennedy debuted in WWE in 2005 and quickly developed one of the most recognizable characters on the roster. His microphone work, entrance and "Kennedy... Kennedy!" catchphrase immediately separated him from the rest of the pack. WWE gave him major opportunities early in his career, including a Money in the Bank victory at WrestleMania 23. He was planning to hold the contract until WrestleMania 24 and challenge for the WWE Championship. That alone shows how seriously WWE was considering him. But his planned rise was derailed when he lost the Money in the Bank contract to Edge after defending it on Raw. WWE's own history notes that Kennedy remains the only Money in the Bank contract holder who never successfully cashed in. He also suffered injuries and experienced repeated changes in direction. Instead of becoming a consistent main-event heel, Kennedy's WWE run faded and he departed the company in 2009. For a wrestler with his character, microphone ability and natural presence, his WWE career ended far below the level many fans expected.

BY CHRISTA LINCY

Batwara 1947 is scheduled to arrive in theaters on August 14, 2026, ending a professional hiatus between Sunny Deol and Rajkumar Santoshi that dates back to the mid-nineties. While the duo was once the most formidable force in Hindi cinema with classics like Ghayal and Damini, the journey of this specific project has been a difficult one, spanning roughly 16 years of development hell and industry skepticism. The 16-year timeline began around 2010 when the duo first attempted to pitch Batwara 1947 to major studios. At that time, both the actor and the director were navigating a difficult phase in their careers, marked by several box-office disappointments. This led to a harsh industry perception where the pairing was labeled as not saleable. Financiers were hesitant to back a veteran team that had not delivered a major commercial success in years, and the project was effectively shelved as no big banner was willing to take the risk. (adsbygoogle = window.adsbygoogle || []).push({}) A significant hurdle was the nature of the script itself. While producers were pressuring Sunny Deol to stick to loud, mass-market action films, Batwara 1947 was envisioned as a realistic period drama based on a celebrated play about the emotional trauma of the Partition. Studios viewed a serious, art-house leaning narrative as a massive financial risk, especially when the lead star was struggling with his theatrical pull. For over a decade, the project remained stagnant because the market demanded a version of Sunny Deol that didn't align with the director's grounded vision. The actor's filmography during this 16-year period reflected this struggle. Projects like Singh Saab the Great and his own directorial effort Ghayal Once Again underperformed at the box office. Later films like Poster Boys and Blank were also commercially disappointing, further fueling the narrative that his era as a bankable lead was fading. Without a major hit to his name, the ambitious Batwara 1947 appeared to be a lost cause, existing only in trade discussions rather than active production. (adsbygoogle = window.adsbygoogle || []).push({}) The trajectory shifted entirely with the massive success of Gadar 2, which proved there was still a huge, loyal audience for the veteran actor. This turnaround was further solidified earlier this year with the release of Border 2, which also performed exceptionally well at the box office. These consecutive hits restored his position as a bankable superstar, providing the necessary commercial momentum to revive Batwara 1947 after years of stagnation. Recognizing this renewed market demand, Aamir Khan stepped in under his banner to finance the project, finally allowing the director the creative independence to pursue a realistic and serious tone without the pressure of typical commercial tropes. Batwara 1947 faces a direct clash with Awarapan 2, which is currently leading the race in terms of advance bookings. While the competitor has secured a stronger start with initial ticket sales, the Sunny Deol starrer is positioned as a grounded, realistic drama that might take a bit longer to find its full momentum. Since the film avoids the loud tropes of a typical commercial entertainer, it will be solely dependent on positive word of mouth to prove its worth and draw in the larger family audience over the holiday weekend. (adsbygoogle = window.adsbygoogle || []).push({}) With Aamir Khan backing the project, the production scale was elevated without compromising the artistic integrity of the story. This allowed for a realistic recreation of the 1947 landscape and a cast that prioritized performance over mass appeal, including the return of Preity Zinta. The film is now a reality because a historic box-office turnaround revived a script that had been rejected for over a decade.