Peddi: Ram Charan's film dominates BMS interests as Spider-Man and Avengers: Doomsday eye historic global records

BY CHRISTA LINCY

The collaboration between Natural Star Nani and director Srikanth Odela has become one of the most anticipated projects in Tollywood's 2026 calendar. Titled The Paradise, the film serves as a high-stakes reunion for the duo following their 2023 blockbuster, Dasara. While the project has been under wraps for some time, recent market developments have highlighted just how massive this spectacle is going to be. In a major development for the trade circuit, the theatrical rights for the Nizam region have reportedly been bagged by Mythri Movie Makers. Industry insiders suggest the deal was closed for a reported ₹37 crores, an unprecedented figure for a Nani starrer in this territory. This deal serves as a strong market signal, indicating high distributor confidence in Srikanth Odela's vision and Nani’s box office pull. (adsbygoogle = window.adsbygoogle || []).push({}) The scale of The Paradise is significantly larger than anything Nani has attempted before. The film is being produced on a staggering reported budget that has now escalated into the ₹160 to ₹200-crore range. To put this into perspective, this budget effectively triples the cost of Nani's other concurrent franchise, HIT: The Third Case, which was made for a reported ₹70 crores. The spike in production costs is attributed to director Srikanth Odela's meticulous action choreography and the ambitious nature of the shoot. On the casting front, Nani is set to appear in a rugged transformation as a raw, heavy-bearded fighter named Jadal (or Dhagad). The film also marks the intense Telugu debut of Bollywood actor Raghav Juyal, who plays the primary antagonist, Vikram Malik. Adding further weight to the ensemble is veteran actor Mohan Babu, who portrays a character named Shikanja Malik, alongside Kayadu Lohar and Sonali Kulkarni in pivotal roles. (adsbygoogle = window.adsbygoogle || []).push({}) While fans were initially expecting an August release, the latest industry buzz indicates a shift in the timeline. Originally locked for August 21, 2026, the film is reportedly facing production delays as approximately 30 to 35 shooting days are still pending. Trade reports now reveal that the team is targeting a late September release, specifically September 24 or 25, 2026. This extra time is believed to be necessary to ensure the high-octane action sequences meet the global standards the makers are aiming for.

BY CHRISTA LINCY

With Dhurandhar 2: Raw & Undekha having completed more than a month of streaming on JioHotstar since its early June premiere, the performance data of the first film is being revisited as a key market indicator. Comparing the global reach of the edited version against the domestic success of the uncut release offers significant insights for producers and advertisers about the specific pull of raw content in the Indian market. Currently, RRR (Hindi) maintains its position as the most viewed Indian film on Netflix with approximately 46.25 million views. However, Dhurandhar has secured a strong second place on the all-time list with 38.6 million views, outperforming other major hits like Jawan (35.3M), Animal (33.4M), and Gangubai Kathiawadi (32.84M). These figures, which exclude direct-to-digital releases, reflect the film's standing through June 2026. (adsbygoogle = window.adsbygoogle || []).push({}) A closer look at the Netflix data shows that Dhurandhar remained in the Global Top 10 for ten consecutive weeks. The viewership pattern was steady, starting with 7.6 million views in its first week and peaking at 8.2 million in the second. Interestingly, the film saw a significant resurgence in its eighth week, jumping back up to 2.3 million views. This late-stage push was a direct result of the buzz surrounding the release of the sequel, showing how new theatrical installments can revive interest in older catalogue titles. Here is the week-wise Netflix viewership breakdown for Dhurandhar: 1st Week – 7.6 Million 2nd Week – 8.2 Million 3rd Week – 2.9 Million 4th Week – 2 Million 5th Week – 1.3 Million 6th Week – 1 Million 7th Week – 1 Million 8th Week – 2.3 Million (adsbygoogle = window.adsbygoogle || []).push({}) However, the most intriguing data point comes from the comparison between platforms. While Netflix streamed a cut version of the film for a global audience, JioHotstar carried the Raw & Undekha (uncut) version specifically for the Indian market. The difference in numbers is stark. While Netflix's best global week recorded 8.2 million views that week with 28.1 million hours viewed and 10 weeks in the Top 10, JioHotstar reported that their uncut version garnered more than 32 million views in India within just three days of its release. The marketing strategy played a major role in this domestic surge. Using the campaign line, India Ruka Bhi, JioHotstar Par Dekha Bhi, the platform positioned the film as a national viewing event rather than a standard digital release. The fact that an India-only platform claimed 32 million views in 72 hours—surpassing the global weekly numbers of a giant like Netflix—highlights the massive domestic demand for uncut, mass-market Hindi entertainment.

BY SUNIT JANGIR

Mumbai, July 17 - Warner Bros. and New Line Cinema's Evil Dead Burn has delivered a strong performance at the Indian box office, emerging as the biggest opening week for a horror film released in 2026. The supernatural horror title wrapped up its first seven days with an impressive 25 crore gross, comfortably surpassing the 22 crore-plus opening week of Curry Barker's Obsession. (adsbygoogle = window.adsbygoogle || []).push({}) The film collected 2+ crore gross on its seventh day, taking its first-week total to 25 crore gross. Despite facing competition from multiple Indian releases, Evil Dead Burn maintained steady collections throughout the week, with South India and major metropolitan cities leading its business. The result underlines the growing appetite for horror films among Indian audiences. The latest instalment in Sam Raimi's iconic Evil Dead franchise has also achieved another significant milestone by making India the biggest international opening weekend market for the film. During its opening weekend, the movie grossed approximately 15+ crore, outperforming every overseas territory outside North America and highlighting the franchise's strong fanbase in the country. (adsbygoogle = window.adsbygoogle || []).push({}) With positive word-of-mouth and limited direct competition in the horror genre, Evil Dead Burn now has an opportunity to extend its theatrical run over the coming weeks. Having already overtaken Obsession to register the biggest first week for a horror film in India this year, the film has established itself as one of Hollywood's notable box office successes in the Indian market in 2026. Earlier, Obsession had an excellent run at the Indian box office. Despite starting slowly, the thriller grew exceptionally over the weeks due to extremely positive word of mouth. It became only the second Hollywood horror title to surpass the 100 crore gross mark in India, to emerge as one of the biggest non-Indian titles. It needs to be seen how far Evil Dead Burn can go.

BY CHRISTA LINCY

The arrival of a Christopher Nolan film is often treated more as a global event than a standard movie release, and The Odyssey is certainly living up to that reputation. For months, the buzz surrounding this project has been building, fueled by Nolan’s commitment to large-format practical filmmaking. As the film finally makes its debut today, it is not just the technical scale that is making headlines, but the critical reception as well. With a staggering 98 percent score on Rotten Tomatoes, it has officially become the highest-rated film of Nolan’s career, surpassing iconic masterpieces like The Dark Knight and Memento. To give you some context on how impressive this critical acclaim is, the film currently sits above Oppenheimer and Dunkirk in the director's filmography rankings. This level of praise is undoubtedly a driving force behind the strong turnout we are seeing in India. Technically, Nolan continues to push boundaries, as the film is designed for the rarest of cinematic experiences. It has been confirmed that only 40 cinemas worldwide possess the specific technical capability to screen The Odyssey in its intended 70MM IMAX format, making it a rare artifact for cinema purists. (adsbygoogle = window.adsbygoogle || []).push({}) In India, the anticipation for Christopher Nolan's latest project translated into a final pre-sale tally of approximately 3,39,490 tickets on BookMyShow. This performance places The Odyssey at the fourth spot in the list of highest Hollywood pre-sales in the country, trailing behind Deadpool and Wolverine (505K), Avatar: Fire and Ash (474K), and The Conjuring (443K), while moving ahead of Mission: Impossible - The Final Reckoning (248K). The momentum saw a sharp spike as the release approached, with daily bookings jumping from 36,910 tickets on Tuesday to a massive 1.14 lakh tickets on Thursday alone. This trend has carried into the release day, with real-time data showing over 50,110 tickets sold between 7 am and 1 pm today, including 12,730 tickets booked in the single hour between 12 pm and 1 pm. Looking at the live box office performance, The Odyssey has collected a net of ₹4.04 Cr across India so far on its first Friday. This corresponds to a gross collection of ₹4.77 Cr. The film is currently playing across 4,154 shows nationwide. When we break these numbers down by language, it is clear that the English version is the primary driver, contributing roughly ₹3.26 Cr. The dubbed versions are seeing more modest starts, with Hindi at ₹0.46 Cr, Tamil at ₹0.17 Cr, and Telugu at ₹0.15 Cr. (adsbygoogle = window.adsbygoogle || []).push({}) The occupancy rates for The Odyssey show an exceptional trend across different languages and formats, especially for a morning start. The English version is the primary driver with a 70 percent occupancy across 2,113 shows. In contrast, the Hindi version is running on 1,468 shows with an occupancy of 10 percent. The South Indian markets are showing more immediate interest, with the Tamil version recording 22 percent occupancy over 227 shows and the Telugu version reaching 25 percent across 346 shows. These figures contribute to a total of 4,154 shows nationwide for the opening day. Premium formats are witnessing massive demand, which is typical for a Nolan directorial. The English IMAX 2D screenings are leading the charge with an overall morning occupancy of 73.86 percent. In Bengaluru, this format is performing exceptionally well with 85 percent occupancy for its 29 shows. Other major hubs like NCR and Mumbai are also seeing strong numbers with 70 percent occupancy for 46 shows and 56 percent occupancy for 50 shows respectively. The English 4DX format is also drawing a respectable crowd, maintaining an overall occupancy of 42.29 percent. Regionally, Bengaluru leads this format with 47 percent occupancy for 40 shows, followed by NCR at 23 percent for 35 shows and Mumbai at 17 percent for 21 shows. (adsbygoogle = window.adsbygoogle || []).push({}) The regional distribution for English 2D screenings highlights strong engagement in South India. Chennai is currently leading with 39 percent occupancy across 118 shows, while Hyderabad follows closely at 36 percent across 286 shows. Other key metros like Bengaluru and Pune have recorded occupancies of 17 percent for 439 shows and 16 percent for 180 shows respectively. In the northern and western markets, Mumbai is at 9 percent for 400 shows and NCR is at 8 percent for 481 shows during the morning period. The regional language screenings are also contributing steadily to the day one numbers. In the Telugu market, Vizag has seen 29 percent occupancy across 48 shows, while Hyderabad is at 28 percent for 86 shows and Vijayawada is at 20 percent for 48 shows. The Tamil market shows high interest in Salem with 33 percent occupancy for 28 shows, while Chennai and Coimbatore are at 25 percent for 139 shows and 24 percent for 49 shows respectively. In the Hindi belt, Mumbai is at 7 percent for 161 shows, NCR at 6 percent for 291 shows, and Ahmedabad at 5 percent for 181 shows. These figures suggest that while the English version remains the primary choice for the morning shows, the dubbed versions are finding their footing in specific regional pockets. (adsbygoogle = window.adsbygoogle || []).push({}) In the national chains—PVR, INOX, and Cinepolis—the daily advance for today has been significant. Based on round-off figures, PVR has sold approximately 34,500 tickets, while INOX has moved about 23,200. Cinepolis has contributed roughly 6,000 tickets to the total. This brings the total advance bookings in national chains to about 63,800 tickets for the opening day. These figures highlight that the urban multiplex audience is currently the backbone of the film's Indian run. As the day progresses and evening shows commence, we expect these occupancy numbers to climb even higher. The combination of record-breaking reviews and the promise of a unique technical spectacle has made this a must-watch for many. To see how the general public and critics are responding to this epic journey, we have compiled a series of reactions from viewers who caught the early shows. Here is what audiences and film enthusiasts are saying about Christopher Nolan's latest cinematic journey. #TheOdyssey in #IMAX Review - Magnificent ! Rating : 4/5Christopher Nolan’s magnum opus The Odyssey is an outstanding cinematic experience. A must see in IMAX to get that big screen format feel of a technically brilliant film. The writing, actors along with technical team… pic.twitter.com/nAwJmxfVsh— Sreedhar Pillai (@sri50) July 17, 2026 #TheOdysseyReview ~ Once in a Generation Masterpiece!Rating: ⭐⭐⭐⭐⭐Before writing anything, lemme put this in words: “Even GOD can’t prepare you for the CINEMATIC PEAK that you are going to WITNESS in these three hours.” 🔥Yes, #TheOdyssey is not just a film but an… pic.twitter.com/wuVvrRkigl— CineHub (@Its_CineHub) July 16, 2026 #TheOdyssey Technically Brilliant, A True Cinematic Experience!The first 30 minutes takes time to get going, but once Odysseus’ journey back begins, the film is exhilarating. Some sequences genuinely feel like a horror movie, while others play out like a proper commercial film.…— Venky Reviews (@venkyreviews) July 17, 2026

BY SACNILK TEAM

Mumbai, July 17 - The Punjab and Haryana High Court on Friday declined to entertain a Public Interest Litigation (PIL) seeking the restoration of Diljit Dosanjh-starrer Satluj, which was recently taken down from its OTT platform shortly after its release. The Bench, comprising Acting Chief Justice Ashwani Kumar Mishra and Justice Rohit Kapoor, did not examine the merits of the film's removal and instead questioned the maintainability of the petition. (adsbygoogle = window.adsbygoogle || []).push({}) During the hearing, the Court observed that the petitioner, a Punjab resident, was neither the producer nor the director of the film and therefore lacked the legal standing (locus standi) to seek such relief. Faced with the Court's observations, the petitioner's counsel stated that the plea would be withdrawn and refiled through the film's director. As a result, the High Court declined to entertain the PIL without ruling on whether the takedown of the film was justified. Appearing for the Union Government and the Central Board of Film Certification (CBFC), Senior Advocate Dheeraj Jain argued that the petitioner had no locus to file the PIL and had failed to provide details of the alleged order directing the film's removal. He further submitted that the petition had been filed just days after the movie was taken down without first approaching the concerned authorities or submitting any representation. (adsbygoogle = window.adsbygoogle || []).push({}) The petition had contended that the abrupt removal of Satluj violated the public's fundamental right to receive information and artistic expression under Article 19(1)(a) of the Constitution. It also argued that paying subscribers had been deprived of access to content they had already purchased and claimed that the biographical film, based on the life of human rights activist Jaswant Singh Khalra, did not threaten the country's sovereignty or public order. Originally developed under the title Punjab '95, Satluj has remained at the centre of controversy for years over certification issues and its depiction of sensitive historical events. While the latest PIL has been withdrawn, the legal battle surrounding the film appears far from over, with the possibility of a fresh petition being filed through the film's director in the coming days.

BY CHRISTA LINCY

The collaboration between SS Rajamouli and Mahesh Babu, now officially titled Varanasi, has set a firm release date for April 7, 2027. Following the global reach of RRR, this project is being designed as an international action-adventure, with the script written by Vijayendra Prasad and music by M.M. Keeravani. The film is expected to be a high-budget production, aiming for a wide theatrical release across multiple global markets. Mahesh Babu has spent a significant amount of time preparing for this role, adopting a new look and undergoing a physical transformation to fit the globe-trotting theme of the story. Given Rajamouli's preference for high-end technical standards, the film is being shot with Premium Large Formats (PLF) in mind. The goal is to deliver a visual experience that scales well on international screens, similar to major Hollywood franchises. (adsbygoogle = window.adsbygoogle || []).push({}) However, an interesting challenge has surfaced regarding the film's global release strategy. While the April 7 date is confirmed, it places Varanasi in a very competitive window between two major Hollywood productions. Godzilla x Kong: Supernova is scheduled for March 26, 2027, and the thriller Panic Carefully is set to arrive shortly after on April 9. Both of these films are expected to occupy a large portion of IMAX and premium screens in overseas markets. This creates a potential bottleneck for Varanasi. In the international market, Hollywood studios often secure IMAX and PLF screens well in advance, which could limit the number of premium screens available for an Indian production during that specific two-week window. For Rajamouli, who prioritizes the best possible theatrical presentation, securing these screens is a vital part of the film's global rollout plan. (adsbygoogle = window.adsbygoogle || []).push({}) As of now, the production team has not indicated any plans for a postponement, and the original release date remains unchanged. However, industry observers suggest that the release plan could be revisited if the screen crunch becomes a significant obstacle. For now, the focus remains on completing the project, while trade circles keep a close eye on how the film will navigate this scheduling conflict in the premium screen space.

BY SUNIT JANGIR

Mumbai, July 17 - Bollywood superstar Akshay Kumar's Welcome To The Jungle is now expected to finish its theatrical run below the 200 crore worldwide gross mark, despite looking like a certain entrant into the club just a week ago. The comedy entertainer enjoyed a good opening, maintained healthy collections through its initial days, and appeared comfortably on course to cross the milestone before the box office landscape changed dramatically. (adsbygoogle = window.adsbygoogle || []).push({}) Just a week ago, Welcome 3 looked like a sure-shot 200 crore worldwide grosser. However, the arrival of Dhamaal 4, another major comedy franchise targeting the same audience, has significantly dented its momentum. With exhibitors allocating more shows to the new release and audiences shifting towards the fresher offering, Welcome To The Jungle witnessed a sharp decline in its third-week collections, making the 200 crore mark increasingly difficult to achieve. The timing of Dhamaal 4's release has proved crucial. Since both films belong to the comedy genre, there has been a direct overlap in their target audience. While Welcome To The Jungle had already enjoyed a successful theatrical run, the increased competition curtailed its long legs at the box office. The film is now expected to wrap up its run just short of the double-century milestone worldwide unless it stages an unexpected late surge. (adsbygoogle = window.adsbygoogle || []).push({}) In three weeks, the Ahmed Khan-directed flick has minted around 190 crores gross worldwide, including over 156 crores gross domestically. The turnaround now looks unlikely with Christopher Nolan's highly-anticipated The Odyssey releasing today (July 17), which will be the number 1 movie this week at the Indian box office. Despite missing the 200 crore worldwide mark, Welcome To The Jungle will still be counted among the successful Hindi releases of the year. The film delivered respectable numbers, further strengthened Akshay Kumar's resurgence at the box office, and once again highlighted the commercial appeal of well-made comedy entertainers. However, considering where the film stood only a week ago, falling short of 200 crore worldwide will undoubtedly be viewed as a missed opportunity.

BY CHRISTA LINCY

The film industry often sees massive budget spectacles taking over the box office, but every once in a while, a content-driven project like Lenin arrives and completely shifts the narrative. From its first day of release, the film generated a strong positive buzz, primarily driven by its relatable storytelling and impactful performances. Released on a mid-range scale, Lenin has defied expectations by delivering consistent numbers, proving that word-of-mouth still holds significant power in the 2026 cinematic landscape. The total cost of production and promotion was approximately ₹55 crores. The makers played a smart hand by recovering about 50 percent of this budget—roughly ₹30 crores—through non-theatrical rights like digital and satellite deals before the film even hit the screens. This left a theatrical business value of around ₹20 crores, requiring a distributor share of ₹22 crores to achieve break-even. Remarkably, the film crossed this target by its second day, securing its status as a clean hit almost immediately. (adsbygoogle = window.adsbygoogle || []).push({}) Lenin - Week 1 India Net CollectionDAY NUMBERINDIA NET COLLECTIONSHOW COUNTDay 1 (Friday)₹ 7.15 Cr2,028Day 2 (Saturday)₹ 8.65 Cr2,099Day 3 (Sunday)₹ 9.65 Cr2,324Day 4 (Monday)₹ 3.60 Cr2,122Day 5 (Tuesday)₹ 3.00 Cr2,147Day 6 (Wednesday)₹ 2.15 Cr2,166Day 7 (Thursday)₹ 2.00 Cr2,119Total Week 1₹ 36.20 Cr15,005 The weekly trajectory of Lenin shows a textbook trend for a successful film. It started strong with ₹7.15 Cr on Friday and saw healthy growth over the weekend, peaking on Sunday with ₹9.65 Cr. Even more impressive was the Monday hold, which saw a collection of ₹3.60 Cr. By the time it finished its seventh day on Thursday, the film added ₹2.00 Cr, bringing its total India net collection to ₹36.20 Cr. The show count remained incredibly stable throughout the week, starting at 2,028 and finishing with 2,119 shows on Thursday, indicating that theater owners were actually adding screenings to accommodate the demand. (adsbygoogle = window.adsbygoogle || []).push({}) Regional data highlights that the film is a major force in the Telugu-speaking states (APTG), which contributed a massive ₹36.55 Cr to the total India gross of ₹41.52 Cr. Karnataka also provided strong support with nearly ₹4.00 Cr in gross collections. While the performance in Tamil Nadu and other regions was more modest, the overwhelming dominance in its home circuit has been the driving force behind the hit status. Occupancy rates remained high, starting at 50 percent on Friday and soaring to 59 percent on Sunday, before settling into a respectable 22 percent by Thursday. The international performance of Lenin has been equally consistent, helping the film secure its profitable status globally. By Wednesday, the sixth day of its release, the film successfully completed its break-even target in overseas markets, emerging as a clean hit. According to data from Venky Box Office, the North American circuit contributed 26k dollars (approximately ₹22 lakh) on Wednesday, bringing the regional total to 703k dollars (approximately ₹5.9 Cr). With a total overseas gross of ₹9.40 Cr, the film's cumulative worldwide gross reached ₹50.92 Cr at the end of its first week. (adsbygoogle = window.adsbygoogle || []).push({}) Ticket sales data from BookMyShow reinforces the films mass appeal. Over the last 24 hours alone, nearly 33,000 tickets were sold, bringing the total tickets booked on the platform to over 9.3 lakh for the week. Furthermore, the film saw strong engagement at national chains like PVR, INOX, and Cinepolis, where over 51,000 tickets were moved during the seven-day period. These numbers, combined with the fact that the film has achieved break-even in all territories, solidify Lenin as one of the most profitable and well-received films of the year so far.

BY CHRISTA LINCY

Akshay Kumar's Welcome To The Jungle, serving as the third installment of the beloved comedy franchise, has now concluded its third week at the box office. With a reported production budget of 120 crore, the film has successfully navigated past that figure to emerge as a hit, currently standing with a net collection of 131.85 Cr. While the project achieved profitability, there is a distinct feeling that it could have reached a much higher peak had it not been for the aggressive competitive waves that have effectively inhabited its throne. The arrival of fresh releases has squeezed its screen presence, leaving the film to navigate a significantly tighter market as it heads toward its final lifetime numbers. As of the end of its third week, Welcome To The Jungle has achieved a cumulative worldwide gross collection of ₹190.00 Cr. This includes a domestic gross of ₹156.65 Cr and an overseas contribution of ₹33.35 Cr. In terms of India net collections, the film currently stands at ₹131.85 Cr. While the numbers are respectable, the drop from the previous weeks is quite evident as the screening landscape shifted significantly over the last seven days. (adsbygoogle = window.adsbygoogle || []).push({}) Welcome To The Jungle - Week 3 India Net CollectionDAY NUMBERINDIA NET COLLECTIONSHOW COUNTDay 15 (3rd Friday)₹ 1.00 Cr3,769Day 16 (3rd Saturday)₹ 1.60 Cr2,315Day 17 (3rd Sunday)₹ 1.90 Cr2,273Day 18 (3rd Monday)₹ 0.55 Cr1,917Day 19 (3rd Tuesday)₹ 0.75 Cr1,951Day 20 (3rd Wednesday)₹ 0.50 Cr1,908Day 21 (3rd Thursday)₹ 0.50 Cr1,902Total Week 3₹ 6.80 Cr16,035 As we look at the cumulative performance, the film has reached an India net collection of ₹131.85 Cr. However, the momentum has shifted noticeably with each passing week. After a strong ₹93.15 Cr start in its opening week, the second week saw a standard dip to ₹31.90 Cr. The most drastic change occurred in this third week, where earnings fell to ₹6.80 Cr—a sharp drop of nearly 78 percent from the previous week. This decline is largely attributed to the arrival of new major releases like Dhamaal 4 and Alpha, which took away a substantial portion of the screens and show counts. By the end of the third week, the film was operating on 1,902 shows on Thursday, a steep decline from its peak show counts in the first fortnight. Occupancy remained on the lower side, averaging around 9 to 10 percent during the weekdays. (adsbygoogle = window.adsbygoogle || []).push({}) Daily performance during the third week showed some resilience over the weekend, with Saturday and Sunday bringing in ₹1.60 Cr and ₹1.90 Cr respectively. However, the weekdays saw the numbers settling into the 50 to 75 lakh range. On its 21st day, the film collected ₹0.50 Cr net, showing a flat trend from the previous day. This stability at lower levels suggests that the film has reached its saturation point in most urban centers. Ticket sales data from BookMyShow further illustrates this journey. For the third week alone, the platform recorded roughly 1 lakh tickets sold, with the weekend accounting for more than half of that volume. Cumulatively, the film has sold over 2.32 million tickets on the platform since its release. In the broader context of 2026 releases, Welcome To The Jungle currently holds the 4th position in terms of ticket sales, trailing only behind major hits like Dhurandhar 2, Border 2, and Bhooth Bangla. While it narrowly missed the overall top 10 list for the 2025-26 period, its performance remains notable for a comedy sequel. (adsbygoogle = window.adsbygoogle || []).push({}) Multiplex engagement also saw a dip, with national chains like PVR, INOX, and Cinepolis selling approximately 24,000 tickets throughout the third week. On the international front, the film added around ₹1.65 Cr during the third week, taking its total overseas gross to ₹33.35 Cr. The slow pace in the international market mirrors the domestic trend, as the diaspora audience also shifts focus toward newer releases. Looking ahead, the path for Welcome To The Jungle is expected to narrow even further. With Christopher Nolans The Odyssey arriving in theaters today, all premium formats and a vast majority of general screens will be occupied by the global tentpole. This will likely limit the films fourth-week prospects significantly. Based on current trends, the film is expected to finish its lifetime run with an India net collection in the range of ₹135 Cr to ₹138 Cr. While it has managed to cross the 130 Cr mark, the intense competition in the 2026 calendar has curtailed its ability to reach the 150 Cr milestone.

BY CHRISTA LINCY

The Dhamaal franchise has always relied on its core strength of slapstick humor and a massive ensemble cast that appeals to family audiences. With Dhamaal 4, the expectations were high for it to replicate the success of its predecessors. Released during a busy 2026 cinematic calendar, the film has managed to carve out its own space by maintaining a steady flow of audience interest throughout its opening week. Looking at the cumulative data for the first seven days, Dhamaal 4 has closed its first week with a worldwide gross collection of ₹132.74 Cr. This total is comprised of an India gross of ₹114.49 Cr and an overseas contribution of ₹18.25 Cr. On a net basis, the film has reached ₹96.00 Cr in India, placing it on the verge of a significant milestone. If the trend continues, it is poised to become the fifth movie of 2026 to enter the 100 Crore club, following in the footsteps of Dhurandhar 2, Border 2, Bhooth Bangla, and Welcome to the Jungle. (adsbygoogle = window.adsbygoogle || []).push({}) In terms of franchise performance, Dhamaal 4 has officially set a new benchmark for the series. By finishing its first week at 96.00 Cr, it has successfully surpassed the 94.55 Cr opening week record previously held by Total Dhamaal. This makes it the strongest-performing first week in the history of the franchise so far. However, the momentum will face a significant test starting today, Friday, 17 July. With the massive arrival of Christopher Nolans The Odyssey, Dhamaal 4 is retaining roughly 45 percent of its screens and has lost all its premium IMAX and large-format allocations. The final push toward the 100 Cr mark will now depend on how well the film holds in its remaining general screens against this high-profile Hollywood competition. Dhamaal 4 - Week 1 India Net CollectionDAY NUMBERINDIA NET COLLECTIONSHOW COUNTDay 1 (Friday)₹ 14.00 Cr10,669Day 2 (Saturday)₹ 22.50 Cr10,954Day 3 (Sunday)₹ 28.50 Cr11,481Day 4 (Monday)₹ 8.75 Cr10,598Day 5 (Tuesday)₹ 9.50 Cr11,077Day 6 (Wednesday)₹ 6.75 Cr11,137Day 7 (Thursday)₹ 6.00 Cr11,006Total Week 1₹ 96.00 Cr76,922 (adsbygoogle = window.adsbygoogle || []).push({}) Analyzing the daily trends, we see that the film peaked during the first weekend, with Sunday bringing in ₹28.50 Cr. Like most comedies, the weekdays saw a standard drop, but the film remained fairly resilient. On its seventh day, Dhamaal 4 collected ₹6.00 Cr net, which is an 11.1 percent drop compared to the previous day. This drop is considered within the normal range for a film heading into its second week. The total show count for the week was a massive 76,922, showing that exhibitors have given the film ample breathing room. The occupancy rates on the seventh day provide a clear picture of how the film is currently being consumed, showing a distinct preference for later screenings. While the overall occupancy for the day was 12.95 percent, the trajectory throughout the day was steadily upward. Morning shows started at a modest 6.38 percent, but momentum built through the afternoon at 13.08 percent and evening at 14.69 percent, eventually peaking at 16.15 percent for night shows. (adsbygoogle = window.adsbygoogle || []).push({}) On a regional level, the performance was varied across major circuits. Ahmedabad emerged as the top performer with a robust 18.5 percent occupancy across its 643 shows. In the high-volume markets, the National Capital Region and Mumbai remained incredibly steady, recording 12.8 percent and 12.5 percent respectively despite having the highest number of screenings. Other key cities also showed consistent interest, with Bengaluru at 11.5 percent and Pune at 11.3 percent. Meanwhile, Surat saw a softer response with an occupancy of 6.3 percent for the day. These numbers across diverse regions indicate that while the initial frenzy has leveled off, the film maintains a respectable baseline as it completes its first full week in theaters. On BookMyShow alone, Dhamaal 4 has moved approximately 1.7 million tickets throughout its opening week. The momentum peaked over the first three days with nearly 2.7 lakh tickets sold on Friday, followed by a massive surge on Saturday with roughly 4.5 lakh and Sunday with around 4.3 lakh tickets. Even as the week transitioned into the working days, the film maintained a steady rhythm, selling about 1.2 lakh tickets on Monday and around 1.3 lakh on Tuesday. (adsbygoogle = window.adsbygoogle || []).push({}) As we look at the tail end of the first week, the digital demand settled into a consistent pattern. On Wednesday, bookings were around 1 lakh, and on Thursday, which was the seventh day of the week, nearly 95,000 tickets were booked through the platform. The performance in national chains like PVR, INOX, and Cinepolis - the numbers tell a more specific story of multiplex engagement. For the entire week, these chains accounted for approximately 2.7 lakh tickets. On the seventh day specifically, the daily advance bookings in these chains reached around 1,600 tickets across roughly 420 shows in 45 venues. PVR emerged as the primary contributor for this specific period, selling nearly 1,570 of those tickets with no notable contributions form other chains. (adsbygoogle = window.adsbygoogle || []).push({}) On the international front, the film has found a respectable audience, especially in the Western markets. In North America, according to data shared by Venky Box Office, the film earned 63k dollars (approximately ₹53 lakh) on Wednesday, which brought its total in that specific region to 777k dollars (approximately ₹6.5 Cr). Looking at the broader global picture as the first week comes to a close, early estimates for the seventh-day overseas collections stand at ₹1.00 Cr. This pushes the total cumulative overseas gross to ₹18.25 Cr so far. As the film transitions into its second week, all eyes are on that final 4 Cr gap needed to reach the 100 Cr net milestone. While the first-week momentum was strong, the path ahead has become significantly narrower starting today. With Christopher Nolans The Odyssey taking over the lions share of premium space, Dhamaal 4 is now operating on roughly 45 percent of its original screen count and has relinquished all its IMAX and large-format allocations. The films success in the coming days will depend entirely on its ability to maintain high occupancy in general screenings.

BY SUNIT JANGIR

Mumbai, July 17 - Superstar Aamir Khan has addressed one of the most persistent beliefs surrounding 3 Idiots, clarifying that his iconic character Rancho, also known as Phunsukh Wangdu, was not inspired by education reformer and climate activist Sonam Wangchuk. The actor made the statement while expressing concern over Wangchuk's ongoing hunger strike and health. (adsbygoogle = window.adsbygoogle || []).push({}) Speaking to the media, Aamir said he hoped Wangchuk would end his fast soon and that he was worried about his well-being. However, he also emphasised that the 2009 blockbuster was not based on Wangchuk's life, putting to rest the long-standing assumption that the character of Phunsukh Wangdu was modelled on the Ladakh-based innovator. The association between 3 Idiots and Sonam Wangchuk has existed since the film's release. Many viewers believed that Wangchuk served as the real-life inspiration for Rancho because of his work in alternative education and sustainable development. The similarity between Wangchuk's educational initiatives and the film's philosophy further strengthened that perception over the years. (adsbygoogle = window.adsbygoogle || []).push({}) Today at @BFI I asked Mr Amir Khan about @Wangchuk66 and his fast. Here is his response: @abhijeet_dipke @CJP_2029 @Cockroachisback @SauravDassss pic.twitter.com/jkeKFssrDX— nabanita sircar (@sircarnabanita) July 16, 2026 Interestingly, Wangchuk himself has previously stated that the filmmakers never consulted him and does not consider himself to be the real-life Phunsukh Wangdu, despite the widespread public belief. His comments had earlier sparked debate about how closely (or not) the film's fictional narrative was connected to his life and work. The discussion resurfaced recently after actor Omi Vaidya, who played Chatur Ramalingam in 3 Idiots, appealed for support for Sonam Wangchuk during his hunger strike and referred to him as the "real-life Phunsukh Wangdu." Aamir Khan's latest clarification has once again brought the issue into the spotlight while separating the film's beloved fictional character from the real-life activist. (adsbygoogle = window.adsbygoogle || []).push({}) Directed by Rajkumar Hirani, 3 Idiots remains one of the most influential films in Indian cinema. Starring Aamir Khan, R. Madhavan, Sharman Joshi, Kareena Kapoor, and Boman Irani, the film remains celebrated for its commentary on India's education system, even as the debate over Rancho's real-life inspiration rages. A sequel to the blockbuster is in the making with the original cast set to return.

BY CHRISTA LINCY

The cinematic adaptation of the timeless epic, Ramayana, directed by Nitesh Tiwari, has remained one of the most discussed projects in Indian cinema. With a massive budget and a stellar cast that brings together the best of various industries, the film is being crafted as a global spectacle. In a significant development, it has come to light that a 34-minute footage of the film has been officially certified by the Australian Classification Board. This news has sparked a lot of conversation among fans who are eagerly waiting for the first glimpse of Ranbir Kapoor as Lord Ram and Sai Pallavi as Sita. According to the official certification details, the 34-minute footage has been granted an M (Moderate) rating. The primary reason cited by the Australian board for this classification is moderate violence. The application for this certification was submitted by Prathyangira Cinemas PTY LTD, indicating that the makers are already laying the groundwork for a massive international rollout. A 34-minute duration is quite substantial for a censor filing at this stage, leading to speculation that this could be a special extended preview, a prologue, or a detailed glimpse intended for international distributors and trade showcases. (adsbygoogle = window.adsbygoogle || []).push({}) To understand the implications of this rating, we must look at how the Australian classification system works. The M classification stands for Mature, signifying content with a moderate impact (such as moderate violence), and functions as an advisory guidance category rather than a legally restrictive one.Unlike the MA 15+ rating, which legally restricts entry to those under 15 unless accompanied by a parent or adult guardian, the M rating is advisory. It suggests that the content is best suited for persons aged 15 and over, but it does not legally prevent children of any age from viewing the film. Essentially, anyone can see an M-rated film, but the board advises parents that the themes or sequences might not be suitable for younger children. The mention of moderate violence is particularly interesting given the nature of the source material. While the Ramayana is a spiritual and emotional journey, it also culminates in a grand scale conflict between the forces of good and evil. The M rating suggests that Nitesh Tiwari is not shying away from a realistic portrayal of the epic's battlefield sequences. By opting for a tone that includes moderate violence, the film appears to be targeting a more grounded and intense cinematic experience rather than a purely sanitized version often seen in older television adaptations. (adsbygoogle = window.adsbygoogle || []).push({}) The buzz surrounding the film is amplified by its extraordinary ensemble. Apart from Ranbir Kapoor and Sai Pallavi, the film features Yash as the formidable Ravana, Sunny Deol as Hanuman, and Lara Dutta as Kaikeyi. The technical side is equally strong, with Namit Malhotra's Prime Focus and the Oscar-winning VFX house DNEG handling the visual effects. The goal is to create a visual masterpiece that matches the standards of global fantasy epics, and this early certification in Australia is a clear sign that the production is moving at a steady pace toward its massive theatrical release. As the project nears its next phases, this M-rated footage provides the first concrete hint regarding the film's artistic direction. It suggests a mature, high-stakes narrative that balances the divinity of the story with the gritty reality of an ancient war. For the global audience, this certification confirms that Ramayana is being prepared as a top-tier international production, ready to compete on the world stage with its scale, storytelling, and now, a certified mature tone.