BY CHRISTA LINCY

Ram Pothineni is set to embark on the most ambitious phase of his career with his upcoming project, tentatively titled #RAPO23. In a significant move that has caught the industry's attention, the actor is taking full creative control by serving as both the writer and director for the first time. This transition places him in an elite category of Tollywood stars like Sr NTR, Krishna, and Pawan Kalyan, who have successfully balanced acting and directing their own visions. On the casting front, the project has reached a major milestone with Srinidhi Shetty being finalized as the female lead. The actress, who gained massive popularity through the KGF franchise, will be making her first collaboration with Ram in this psychological action thriller. While the female lead is locked, the hunt for a powerful antagonist is currently the subject of much discussion within trade circles. Reports indicate that the team is currently in talks with SJ Suryah to play the antagonist. Interestingly, the role was initially offered to Fahadh Faasil, but discussions did not move forward due to remuneration-related issues. If the deal with SJ Suryah is finalized, the film will feature a high-intensity face-off between him and Ram, adding significant weight to the film's Lone Wolf narrative. (adsbygoogle = window.adsbygoogle || []).push({}) The film, titled Veera, is being described as a stylish psychological action thriller, a genre that remains relatively rare in mainstream Telugu cinema. The first-look poster has already hinted at a dark and gritty aesthetic, featuring Ram in a leather jacket with a distinct V-shaped haircut. The Lone Wolf tag suggests a character-driven story with intense psychological depth, moving away from standard commercial tropes. Production for Veera is being handled by Ram's brother, Krishna Pothineni, under the newly launched Rapo Cinematics banner. This homegrown production approach ensures that the project remains a close-knit family venture as Ram steps into his new role behind the camera. The team is currently busy with pre-production work and finalizing the rest of the supporting cast and technical crew. As per the current schedule, regular shooting for #RAPO23 is set to begin in June 2026. The makers are aiming for a swift production cycle to ensure the film is ready for a theatrical release in December 2026. Given the unique genre and Rams directorial debut, the film is expected to be one of the most anticipated releases in the second half of the year.

BY CHRISTA LINCY

The upcoming Bollywood romantic drama Tera Yaar Hoon Main has seen a shift in its theatrical release plans. The makers have officially moved the film from its original May 22 slot to a new release date of July 31, 2026. This postponement places the movie in the heart of the monsoon season, aiming to capture the mid-year audience with its mix of music and emotional storytelling. The film carries significant industry interest as it marks the acting debut of Aman Indra Kumar, the son of veteran filmmaker Indra Kumar. In this project, Aman is paired with Akanksha Sharma, creating a fresh on-screen duo for the audience. The narrative, described as a relatable coming-of-age story, follows the journey of a carefree boy from Nagpur who moves to the bustling city of Mumbai. The plot is expected to delve into the complexities of friendship, love, and the inevitable heartbreaks that come with life in a new city. Directing this venture is Milap Milan Zaveri, who is known for his work on commercial entertainers like Ek Deewane Ki Deewaniyat. Zaveri's involvement suggests a film that will balance mass appeal with a strong emotional core. To further strengthen the cast, the production has brought in veteran actor Paresh Rawal for a pivotal role, ensuring that the younger leads are supported by a seasoned performer who can add depth to the family and friendship dynamics of the script. (adsbygoogle = window.adsbygoogle || []).push({}) One of the major highlights of Tera Yaar Hoon Main is its soundtrack, which features a rare and nostalgic musical collaboration. Legendary singer Udit Narayan has teamed up with his son Aditya Narayan for a specific track in the film. This father-son recording is being viewed as a full-circle moment for producer Indra Kumar, who has a long-standing history of working with Udit Narayan on some of his biggest musical hits in the past. The emphasis on a strong emotional score aligns with the film's positioning as a heartfelt entertainer. This musical partnership between the Indra Kumar family and Udit Narayan is one of the most successful in Hindi cinema history. It has previously yielded chart-topping albums for blockbuster films such as Dil, Beta, Raja, Ishq, and Mann. Their collaboration continued into the 2000s with successful soundtracks in movies like Aashiq, Rishtey, Masti, and Pyare Mohan. By bringing Udit Narayan back for Aman Indra Kumar's debut, the makers are revisiting a legacy that has defined the musical identity of their production house for over three decades. Produced by Bina Indra Kumar, Ajay Murdia, and Manish Singhal under the banner of A Camera Take Films, the project is presented by Ajay Murdia in association with Mumbai Films, BIK Productions, and Enter10 Television. With the new July 31 release date, the team is banking on the film's blend of relatable character arcs and high-quality music to stand out in the 2026 box office calendar.

BY CHRISTA LINCY

Pati Patni Aur Woh Do faced the standard first Monday test, a day that typically sets the pace for a film's theatrical run. On its fourth day, the movie earned 3.25 crore net in India, which is a 58.1 percent drop from the 7.75 crore it collected on Sunday. While a Monday dip is expected for most releases, these numbers indicate a softer trajectory when compared specifically to the high benchmark set by the original film in the franchise. When looking at the performance within the franchise, the sequel is noticeably underperforming compared to the 2019 original. The first Pati Patni Aur Woh had managed a much stronger first Monday, collecting 5.70 crore net. The fact that the sequel has collected nearly 40 percent less on the same day, despite having the advantage of a pre-established brand, indicates that the audience response this time around has been more reserved. The total India net collection now stands at 20.75 crore, while the domestic gross has reached 24.84 crore. The film's performance in national chains offers some insight into its current standing. On Monday, Pati Patni Aur Woh Do sold approximately 6,740 tickets across the three major circuits. Breaking this down, PVR contributed 3,530 tickets, INOX followed with 2,500, and Cinepolis added 710 tickets. Interestingly, despite the lower overall numbers, it remains the highest ticket-selling Hindi movie currently playing in national chains, though it trails significantly behind major South Indian release like Karuppu. (adsbygoogle = window.adsbygoogle || []).push({}) Data from BookMyShow also reflects a steady but slow pace, with 44.36 thousand tickets sold on the first Monday, bringing the platform's total to 317.81 thousand tickets. The film operated across 5,563 shows nationwide, with an overall occupancy of 13 percent. Regional data shows that Mumbai was the most active market with 409 shows and a 16 percent occupancy, peaking at 30 percent during night screenings. The National Capital Region (NCR) had the highest show count with 837 shows and an 11 percent occupancy, while Lucknow maintained a 12.5 percent occupancy across 173 shows. On the global front, the film added 0.75 crore from overseas markets on Monday, taking the total overseas gross to 4.00 crore. This brings the worldwide gross collection to 28.84 crore after four days. As the film moves through the rest of its first week, the focus will be on whether it can stabilize at these levels. However, given the current trend and the comparison with its predecessor, Pati Patni Aur Woh Do faces a difficult road ahead to match the success of the first installment.

BY CHRISTA LINCY

Raja Shivaji has maintained a steady presence at the box office as it enters its third week of release. While the initial momentum has naturally slowed down, the film is now approaching a significant historical milestone in Marathi cinema. On its 18th day, which was the third Monday, the movie collected a net of 1.15 crore across India. This represents a 66.7 percent drop from the previous day's collection of 3.45 crore, a trend that is expected for a weekday following a weekend. The language-wise breakdown for Day 18 shows that the Marathi version remains the primary driver of revenue, contributing 1.00 crore from 1,401 shows with an overall occupancy of 17 percent. The Hindi version added 0.15 crore from 764 shows, operating at an 8 percent occupancy level. These numbers bring the total India net collection to 85.70 crore, with the Marathi version accounting for 62.00 crore and the Hindi version contributing 23.70 crore so far. The total India gross has now reached 101.42 crore. Regional occupancy data for the Marathi version highlights strong interest in key cities like Pune and Mumbai. In Pune, the film saw an overall occupancy of 19.8 percent across 270 shows, with night screenings peaking at 23 percent. Mumbai followed with 337 shows and an overall occupancy of 15.3 percent. On the Hindi front, the film saw a 7.8 percent occupancy in both Ahmedabad and Surat, while the National Capital Region recorded 6 percent occupancy across 45 shows. This suggests that while the Marathi version holds strong in its home state, the Hindi version is finding its audience primarily in specific urban pockets. (adsbygoogle = window.adsbygoogle || []).push({}) The film's performance in national chains on Monday saw a total of approximately 3,540 tickets sold. Breaking this down, PVR contributed 1,310 tickets, INOX followed with 1,240, and Cinepolis added around 990 tickets. On the BookMyShow platform, the movie sold 38.92 thousand tickets on its third Monday, bringing the total ticket sales on the site to over 23.32 lakh. These figures indicate that the movie still has a functional level of demand despite the length of its theatrical run. Looking at the broader financial picture, the film added 0.10 crore from overseas markets on Day 18, taking the total overseas gross to 4.00 crore. This brings the total worldwide gross collection to 105.42 crore. In North America, however, the film has struggled to find significant footing, closing its recent gross at 202 thousand dollars, which is categorized as a flop in that specific territory. Domestically, the film had a strong start with a Week 1 collection of 52.65 crore, followed by 24.30 crore in its second week. The most important story for Raja Shivaji right now is its pursuit of the all-time Marathi box office record. The film is currently just 5 crore away from surpassing Sairat to become the number one Marathi movie of all time. If it continues at this pace, it is projected to reach a worldwide total of 110 crore by the end of its third week. Achieving this would cement its legacy as a historic success and a new benchmark for Marathi cinema on the global stage.

BY CHRISTA LINCY

While Karuppu continues its strong run at the box office, the conversation around the film has shifted from its collection numbers to its sharp, satirical dialogues. The film is packed with meta-humor and roasts aimed at the film industry, social media culture, and current events. However, one specific dialogue involving legendary composer Ilaiyaraaja has recently led to an official statement from the makers. The dialogue in question features RJ Balaji's character asking, Enna... idhukkum Ilayaraja kitta permission vaanganuma? (What... do we need to get permission from Ilayaraja for this too?). This line was a direct reference to the ongoing real-life discussions regarding music royalties and copyright permissions associated with the Maestro. While the scene received loud cheers in theaters for its timely sarcasm, it also raised concerns regarding the sensitivity of the topic. In response to the feedback, Dream Warrior Pictures issued a public announcement on May 19, 2026. The production house expressed their sincere respect for Maestro Ilaiyaraaja and clarified that there was absolutely no intention to offend or disrespect him. They explained that the reference was part of a broader satirical context and not a personal remark. As a gesture of regard, the makers have decided to remove or modify the concerned portion from all future versions and subsequent exploitations of the film. (adsbygoogle = window.adsbygoogle || []).push({}) #Pressrelease #PublicAnnouncement #Karuppu #MaestroIlayaraaja pic.twitter.com/hdgP3wZhBL— DreamWarriorPictures (@DreamWarriorpic) May 19, 2026 This Ilayaraja dialogue isn't the only moment where the film takes a dig at industry trends. Karuppu is filled with roasts that have quickly turned into viral memes. In another scene, when a character starts humming a tune, RJ Balaji stops them by saying, Paadaadhini... royalties kettu notice anuppuvaanga! (Don't sing... they'll send a notice asking for royalties!). Even A.R. Rahman's recent concert mismanagement issues weren't spared, with Suriya's character jokingly asking if a technical delay was due to a concert delay. The film also spends a significant amount of time mocking social media culture and movie reviewers. There is a clear shade-throwing moment aimed at popular reviewers, where Balaji remarks that some people think the color of their shirt is the most important part of a review—a clear nod to the Blue Shirt reviewer. Another line takes aim at PR machinery, suggesting that whether a movie is good or not, the positive hashtags always look great on social media. Beyond music and social media, the script roasts the film industry's current obsessions. One dialogue mocks the Sequel Fever by stating that even if there is no story, adding Part 2 to a title is enough to bring in a crowd. The Pan-India trend is also poked fun at, with a character observing that even tea is being sold as Pan-India tea these days. Even the lead actors' real-life careers were brought into the script; Suriya asks RJ Balaji if he plans to keep talking about Thala Dhoni even during movie scenes, referencing Balaji's successful stint as a cricket commentator. Many of these witty lines are reported to be RJ Balaji’s own improvisations, which has made the experience in theaters much more lively for the viewers. While the removal of the Ilaiyaraaja dialogue puts an end to that specific controversy, the rest of the film's satirical humor remains a big draw for the audience. This approach highlights a shift in Tamil cinema, where movies are increasingly using self-referential humor to stay connected with current trends and real-life conversations.

BY CHRISTA LINCY

Suriya has officially delivered the biggest hit of his career in record time, as his latest release Karuppu continues to dominate the box office. Within just four days of its theatrical run, the film has eclipsed the lifetime collections of Singam to become Suriya's highest-grossing movie. This rapid ascent highlights the massive reception the film has received across both Tamil and Telugu-speaking belts, establishing a new benchmark for the actor. On its crucial first Monday, Karuppu passed the litmus test with flying colours by earning a net collection of 14.30 crore in India. This represents a 49.6 per cent drop from Sunday’s massive net of 28.35 crore, which is considered a very strong hold for a big-budget entertainer. The film operated across 5,947 shows on Monday, maintaining a solid occupancy of 40 per cent. The language breakdown for the day saw the Tamil version contributing 12.10 crore, while the Telugu version added 2.20 crore to the total. With this Monday performance, Karuppu has etched its name among the all-time greats of Kollywood. The Tamil version's net of 12.10 crore makes it the 9th highest first Monday grosser in the history of Tamil cinema. The film now sits comfortably in a list dominated by industrial hits, trailing just behind Varisu and ahead of Thunivu. Below is the historical breakdown of the top first Monday performers in Kollywood: (adsbygoogle = window.adsbygoogle || []).push({}) Top 10 Kollywood 1st Monday Net Collection (Tamil Version)RANKMOVIE NAME1ST MONDAY NET1Leo₹ 29.50 Cr2Ponniyin Selvan - Part 2₹ 18.46 Cr3Jailer₹ 18.00 Cr4Ponniyin Selvan - Part 1₹ 16.30 Cr5Good Bad Ugly₹ 14.50 Cr6Vikram₹ 13.70 Cr7The Greatest of All Time₹ 13.25 Cr8Varisu₹ 12.20 Cr9Karuppu₹ 12.10 Cr10Thunivu₹ 10.60 Cr The film's dominance is further reflected in the ticket sales data from BookMyShow. Karuppu sold 300 thousand tickets on its first Monday alone, ranking as the third-highest Monday sales for a Tamil film on the platform, behind only Jailer and Leo. It outperformed recent hits like Amaran and Dude significantly. Furthermore, Karuppu became the top priority in national chains on Monday, selling more tickets in PVR, INOX, and Cinepolis than any other film currently in theatres. Specifically, PVR recorded 35,197 tickets, INOX saw 12,181, and Cinepolis added 3,136 tickets, resulting in a total of 50,514 tickets across these major chains for the day. Looking at the four-day aggregate, the India net collection has reached 82.30 crore, with the Tamil version accounting for 69.80 crore and the Telugu version for 12.50 crore. The total gross of India stands at 95.30 crore. While the overseas data for Day 4 is currently awaited, the worldwide gross after three days was already at 121.75 crore. Given the steady domestic performance on Monday, the film crossed the 140 crore worldwide gross mark. (adsbygoogle = window.adsbygoogle || []).push({}) The day-wise breakdown of the domestic net collections shows the incredible momentum the film has maintained since its opening day: Day 1 (Friday): ₹ 15.50 Cr Day 2 (Saturday): ₹ 24.15 Cr Day 3 (Sunday): ₹ 28.35 Cr Day 4 (Monday): ₹ 14.30 Cr Total 4 Days Net: ₹ 82.30 Cr Karuppu has officially crossed the 50 crore net milestone in India and is now rapidly approaching the 100 crore mark. The film's ability to draw audiences even on weekdays suggests it will have a long and successful theatrical run. With its current pace, it has not only broken Suriya's personal records but has also positioned itself as one of the most successful Tamil films of the year.

BY SUNIT JANGIR

Mumbai, May 19 - The Indian box office is expected to continue the winning streak this coming weekend with a couple of major films making their way to the big screens apart from the strong holdovers. The final full-fledged weekend of May is bringing a packed slate of theatrical releases across Indian cinema, led by the highly anticipated crime thriller Drishyam 3 and the romantic drama Chand Mera Dil. From sequels to fresh romantic entertainers, theatres are set to witness a diverse mix of genres on May 21 and 22. Drishyam 3 (Malayalam) (adsbygoogle = window.adsbygoogle || []).push({}) The biggest release of the week is undoubtedly Drishyam 3, which marks the return of Mohanlal as Georgekutty in the final chapter of one of Indian cinema's most celebrated thriller franchises. Directed by Jeethu Joseph, the film has already generated massive pre-release hype with strong advance bookings worldwide. Reports suggest the film crossed 20 crore in global pre-sales even before release. Also starring Meena, Ansiba Hassan, and Esther Anil in their returning roles, the film releases theatrically on May 21 in Malayalam along with dubbed versions in Tamil, Telugu, and Kannada. It is reportedly the final chapter in a decade-long film series. Chand Mera Dil (Hindi) (adsbygoogle = window.adsbygoogle || []).push({}) Chand Mera Dil brings together Lakshya and Ananya Panday in an intense romantic drama directed by Vivek Soni. The film's songs, youthful visuals, and emotional tone have already created buzz among younger audiences. The movie recently cleared censorship formalities with a U/A 16+ certificate ahead of its May 22 release. Star Wars: The Mandalorian and Grogu (English) (adsbygoogle = window.adsbygoogle || []).push({}) Hollywood's major theatrical attraction this week is The Mandalorian and Grogu. The latest big-screen expansion of the Star Wars universe continues the journey of Din Djarin and Grogu, characters who became hugely popular through Disney’s streaming series. The film releases in India on May 22 and is expected to attract franchise fans and premium format audiences. Deool Band 2 (Marathi) (adsbygoogle = window.adsbygoogle || []).push({}) Marathi cinema is also getting a notable release with Deool Band 2. Directed by Pravin Tarde, the sequel arrives more than a decade after the original social drama gained critical acclaim. Carrying the tagline "Now it's God's test," the film promises a mix of emotion, faith, and social commentary. The film releases on May 21. Ugly Story (Telugu) (adsbygoogle = window.adsbygoogle || []).push({}) A romantic thriller with psychological undertones, Ugly Story follows a woman whose relationship slowly turns unsettling as hidden truths emerge. Directed by L. Pranava Swaroop, the film stars Nandu Vijay Krishna, Avika Gor and Ravi Teja Mahadasyam. It is scheduled to release on May 22.

BY CHRISTA LINCY

The third installment of the Drishyam franchise is set to return to the big screen on a date that carries significant importance for fans. With the release scheduled for May 21 to coincide with Mohanlal's 66th birthday, the film's arrival has moved beyond a standard theatrical debut to become a major event across Kerala and the global diaspora. In a significant turn of events this morning, Drishyam 3 has officially overtaken the final pre-sales tally of the Mammootty-Mohanlal spy thriller, Patriot. While Patriot held strong with 333,000 tickets on BookMyShow, Drishyam 3 has now surged past the 334,000 mark, securing its position as the second-highest Malayalam pre-seller in the history of the platform. It now trails only behind the massive 1.33 million record set by L2: Empuraan. What makes this achievement particularly remarkable is the genre; while the top spots are traditionally dominated by high-octane action films, Drishyam 3 has become the first pure suspense-drama in Mollywood history to command this level of pre-release dominance. The momentum is clearly visible in the real-time data, with the film currently selling nearly 30,000 tickets every 24 hours. In Kerala alone, the Day 1 advances have already breached the 5 crore mark, with over 2 lakh tickets sold in the state. Major urban centers like Kochi, Trivandrum, and Calicut are seeing a massive rush, with many 4:00 AM and 7:00 AM fan shows already reported as sold out. Currently, over 1,200 shows are being tracked across the state, and many are moving into the fast-filling category as the release date approaches. (adsbygoogle = window.adsbygoogle || []).push({}) On the global stage, the film has officially crossed the 15 crore mark in worldwide opening day advances. The Gulf region remains the strongest overseas fortress for the franchise, contributing over 4 crore from the GCC market alone. This is largely due to the massive diaspora following and special early premieres scheduled to begin on the evening of May 20. The United Kingdom is also showing exceptional numbers, with over 9,500 tickets sold and several premiere shows nearing full capacity. The performance in North America is equally noteworthy, with projections placing the opening in the 2.0 to 2.5 crore range. This makes it the second-fastest Malayalam film to reach the 1,000-ticket milestone in the region. Although the late start of show bookings initially limited its potential in certain US circuits, the current pace suggests a massive weekend ahead as more screens are being added to meet the demand. With two full days still left before the first show begins, Drishyam 3 is expected to widen the gap between itself and other recent blockbusters like The GOAT Life and Aadu 3. While challenging the top spot held by L2: Empuraan remains unlikely, the film has already established itself as the ultimate benchmark for the thriller genre. The birthday factor for Mohanlal, combined with the legacy of the Drishyam brand, has ensured that Georgekutty's final outing is set for a historic opening at the box office.

BY CHRISTA LINCY

Bhooth Bangla has successfully completed its first month at the box office, and as it enters its fifth week, the film is showing the kind of steady hold often seen with successful horror-comedies. On its 32nd day, which was the fifth Monday, the movie earned a net collection of 0.70 crore. This marks a 63.2 percent drop compared to the previous day's 1.90 crore, a typical trend for a weekday following a strong weekend performance. With this, the total India net collection has reached 169.05 crore, while the domestic gross has crossed the 200 crore milestone, currently standing at 200.45 crore. The film has also found a decent audience in the international markets, contributing 53.50 crore in overseas gross. This brings the total worldwide gross collection to 253.95 crore, cementing its position as a solid performer in this genre. What makes this 32nd-day performance interesting is how it stacks up against the Bhool Bhulaiyaa franchise. According to historical data, Bhool Bhulaiyaa 2 collected 0.76 crore on its 32nd day, while Bhool Bhulaiyaa 3 collected exactly 0.70 crore. By matching the numbers of Bhool Bhulaiyaa 3 on this specific day, Bhooth Bangla has proven that it is operating in the same league as some of the biggest horror-comedy hits in recent years. While it remains slightly behind the second installment of that franchise, the consistency in these numbers suggests a very healthy theatrical run. (adsbygoogle = window.adsbygoogle || []).push({}) While Bhooth Bangla is currently trailing behind the domestic lifetime numbers of Bhool Bhulaiyaa 2, it has already managed to score a significant victory in the international markets. Bhool Bhulaiyaa 2 finished its overseas run with 49 crore, a figure that Bhooth Bangla has already eclipsed with its 53.50 crore collection. However, the domestic challenge remains. To surpass the 184.32 crore India net lifetime record of the Kartik Aaryan starrer, Bhooth Bangla still needs to collect an additional 15.27 crore. The film currently requires about 11.55 crore more to overtake the 265.50 crore worldwide total of the second Bhool Bhulaiyaa installment. The ticket sales data from BookMyShow also reflects this steady interest. On its fifth Monday, the film sold 15.09 thousand tickets, taking the total ticket count on the platform to over 31.51 lakh. Even with the reduced show count, the film managed to pull in an audience across 2,384 shows nationwide. Looking at the major national chains, PVR contributed approximately 760 tickets, INOX saw about 1,150, and Cinepolis added another 600. This brings the total sales from these three major chains to around 2,510 tickets for the day. Regional occupancy also highlights where the film is still drawing crowds. In Mumbai, the movie recorded an overall occupancy of 12.8 percent across 87 shows, with afternoon screenings peaking at 17 percent. The National Capital Region followed with 290 shows and an overall occupancy of 9.8 percent, where both afternoon and evening shows saw a 12 percent turnout. In Ahmedabad, the film maintained a 7.5 percent overall occupancy across 160 shows, with evening screenings being the most preferred at 12 percent. Bhooth Bangla is currently in a stable position as a box office success. The fact that its late-run figures are on par with established franchises indicates a steady interest in this genre. For the rest of its fifth week, the main goal will be to see how close the India net collection can get to the 175 crore mark before the theatrical run concludes.

BY CHRISTA LINCY

The SPY Universe has officially cemented its place as a juggernaut in Indian cinema, with Dhurandhar 2: The Revenge continuing to rewrite history books even as it enters its ninth week of release. It is rare to see a film maintain this level of conversation two months after its debut, but this sequel has proven that the audience's appetite for this cinematic world is far from satisfied. If we look at the performance on Day 61, which was its ninth Monday, the movie earned a net collection of 0.15 crore. This represents a 76.2 percent drop from the 0.63 crore it managed on the previous day. While the numbers are naturally tapering off, we have to keep in mind that the film is still running on about 390 shows across the country. For a movie to even have nearly 400 shows at the end of its second month is a feat that most blockbusters fail to achieve. The total India net collection now stands at a staggering 1,146.13 crore, while the domestic gross has reached 1,371.69 crore. When you factor in the overseas market, where it has collected 426.67 crore, the total worldwide gross stands at a massive 1,798.36 crore. We are looking at a film that is just a few steps away from the 1,800 crore milestone, which will officially make it the second-highest-grossing Indian movie of all time, trailing only behind Dangal. However, there is a very important distinction to make when comparing Dhurandhar 2 with Dangal. While Dangal remains at the top spot due to its massive success in China, Dhurandhar 2 has achieved these numbers without a China release. If we look at the Phase 1 records—which refers to the initial global release excluding markets like China—Dhurandhar 2 is the undisputed king. It is the number one Indian film in history when comparing pure organic growth across standard global territories. This is a record that is unlikely to be broken anytime soon, as it reflects a level of domestic and NRI dominance that we have never seen before. (adsbygoogle = window.adsbygoogle || []).push({}) Comparing the sequel to the first Dhurandhar highlights how much the brand has grown on digital platforms like BookMyShow. The original film ended its run with 14.19 million tickets sold, but the sequel has already moved past 18.33 million. This brings the total ticket sales for the franchise to 32.52 million on this platform alone. The most significant jump is seen in the pre-sales, where the first film had 224 thousand tickets booked before release, while the sequel opened with a massive 2.41 million pre-booked tickets. The way these two films performed over time also shows a shift in audience behavior. The first Dhurandhar actually saw its highest sales in the second week with 4.73 million tickets, indicating it was a word-of-mouth success. On the other hand, Dhurandhar 2 functioned as a massive front-loaded blockbuster, pulling in 8.92 million tickets in its first extended week. Even though the numbers have naturally slowed down by the ninth week, the sequel still managed to sell 30 thousand tickets over its latest weekend, showing that it still has a steady presence in the market despite the long theatrical run. The ticket sales data further supports this incredible run. On its 61st day, the film sold 5.24 thousand tickets on BookMyShow alone. Looking at the bigger picture, the total ticket sales have crossed 1.83 crore, which is a testament to the film's massive footfall. Even on a weekday in its ninth week, the national chains are still seeing activity. PVR contributed around 680 tickets, Inox followed with 600, and Cinepolis added roughly 270. This brings the total across the three major national chains to approximately 1,550 tickets for the day, showing that the movie is still a preferred choice for urban audiences. When we break down the regional performance for the Hindi version on its 61st day the National Capital Region operated with 67 shows and maintained an overall occupancy of 12 percent, peaking during the afternoon shows at 15 percent. Mumbai, however, showed even stronger momentum despite having fewer shows. With 37 shows in the region, Mumbai recorded an impressive overall occupancy of 18 percent, with evening shows climbing as high as 23 percent. Even in Ahmedabad, where morning shows were quiet, the film picked up pace in the afternoon to reach a 13 percent overall occupancy across its 21 shows. These figures indicate that the Hindi belt is still providing a steady flow of audience, particularly in the metro cities during late-day screenings. As the film winds down its theatrical journey, it has firmly established itself as the ultimate king of the box office. Whether or not it eventually opens in China, its current standing as the highest-grossing film in Phase 1 history is a monumental achievement for the SPY Universe. It has not just collected money; it has created a benchmark for how a franchise should be scaled in Indian cinema.

BY SUNIT JANGIR

Chennai, May 18 - Suriya has delivered one of the biggest overseas successes of his career with Karuppu, as the action drama continues its phenomenal run across international markets. The film has now emerged as the biggest Kollywood international grosser of 2026, setting several new milestones for the actor in key territories worldwide. The movie has witnessed excellent traction in the Middle East, North America, the United Kingdom, Europe, Australia, Malaysia, and Singapore, proving Suriya's growing global appeal among Tamil cinema audiences. During its 3-day weekend, RJ Balaji's directorial grossed 42+ crores overseas, which is the biggest weekend for Suriya. Karuppu has officially become: (adsbygoogle = window.adsbygoogle || []).push({}) - Suriya's biggest grosser in the Middle East - Suriya's biggest grosser in North America (excluding the Telugu version of 24) - Suriya's biggest grosser in the United Kingdom - Suriya's biggest grosser across Europe - Suriya's biggest grosser in Australia within just four days - The film with the biggest opening weekend for Suriya in Malaysia - The film with the biggest opening weekend for Suriya in Singapore - The film with the biggest opening weekend for Suriya internationally (adsbygoogle = window.adsbygoogle || []).push({}) The film's strong overseas performance has played a major role in its massive worldwide total of 120+ crores gross (3 days), with several international centres reporting houseful shows through the opening weekend and strong weekday occupancy as well. Karuppu is not only performing strongly in Tamil Nadu but is also maintaining impressive momentum in the rest of India market and internationally. The film has particularly benefited from positive word-of-mouth among family audiences and fans of large-scale action entertainers. (adsbygoogle = window.adsbygoogle || []).push({}) The movie's success in regions such as the Gulf, North America, and Southeast Asia highlights the increasing demand for Tamil cinema in overseas territories. Suriya's star power, combined with the film's action-packed presentation and emotional core, appears to have resonated strongly with audiences worldwide. The international rollout of Karuppu has been handled by Phars Film, one of the leading overseas distributors for Indian films, particularly for South Indian cinema, in global markets. The distributor ensured a wide release across multiple territories, contributing significantly to the film’s record-breaking start overseas.

BY CHRISTA LINCY

When you walk into a screening of Suriya's latest film, Karuppu, you quickly realize that you aren't just there for the visuals. The atmosphere in the theater is heavy with a specific kind of energy, largely driven by a soundscape that feels both ancient and modern. At the center of this musical storm is Sai Abhyankkar, a young composer who has made a staggering leap from independent singles to scoring one of the biggest films of 2026. Replacing a legend like A.R. Rahman is no small feat, but Abhyankkar has managed to create a signature sound that has turned movie halls into spaces of communal celebration and, in some cases, devotional trance. Sai Abhyankkar's journey to this moment started with the viral success of his independent tracks like Katchi Sera and Aasa Kooda. While those songs proved he could craft a global pop hook, Karuppu required something far more grounded and raw. His signature style—a clean, international production quality blended with deep local roots—is on full display here. He doesn't just provide a background score; he creates a rhythmic narrative that guides the audience through the life of Saravanan, a lawyer who transforms into a vigilante saviour by night. The God Mode anthem is the real standout of the soundtrack, and it feels nothing like a typical movie song. Instead of following the usual formula, Sai Abhyankkar created a unique beat inspired by traditional folk music. By mixing powerful drum beats with modern electronic sounds, he captured the wild energy of a temple festival. With lyrics by Vishnu Edavan and vocals by both Abhyankkar and Gana Muthu, the song became an instant hit, pulling in over 6 million views in just 24 hours and quickly topping music charts around the world. While the God Mode anthem provides the adrenaline, the overall background score is where the film's divine presence truly lives. Abhyankkar uses a minimalist approach in the courtroom scenes, employing eerie strings to build a tension that feels almost suffocating. This silence makes the eventual explosion of the God Mode theme during action sequences feel even more earned. There is also a specific motif—a haunting flute and vocal chant—that plays every time the camera focuses on the Karuppasamy idol. It ensures that the audience feels the weight of the village guardian deity throughout the story. (adsbygoogle = window.adsbygoogle || []).push({}) The cultural impact has been so intense that reports have surfaced of fans entering a trance-like state, locally known as Arul Vaaku, during the high-energy folk sequences. This has prompted a heartfelt note from the team. RJ Balaji recently released a statement thanking the audience for embracing the film’s spiritual energy but also included a gentle request. He urged theater-goers to be kind and compassionate toward those touched by this divine energy, asking them to provide water and space, and to help theater staff care for everyone with dignity. The feedback from fans and critics alike suggests that we are witnessing the beginning of a new era in film music. Many have noted that the transition from courtroom silence to the God Mode drop is one of the best theater moments in recent history. Critics have even started using the hashtag #TheAbhyankkarEra to describe his fresh use of traditional instruments in a modern context. By blending Sambalpuri and Bengali folk with contemporary swing grooves, Sai Abhyankkar hasn't just composed a soundtrack; he has successfully summoned a cultural mood that resonates deeply with the soil and soul of the audience. The massive success of Karuppu has clearly established Sai Abhyankkar as the new favorite in the industry, and his upcoming lineup is proof of that. He has already signed several major projects with top-tier stars and directors. This includes the much-anticipated Raaka (AA22) starring Allu Arjun and directed by Atlee, as well as Marshal with Karthi and STR 49 with Silambarasan TR. He is also set to compose for Sivakarthikeyan's SK24 and the film Benz starring Raghava Lawrence. With such a busy schedule involving the biggest names in South Indian cinema, it is clear that the industry is eager to see how he continues to evolve the mass music genre. (adsbygoogle = window.adsbygoogle || []).push({}) Below is a glimpse of the intense atmosphere in theaters where the music has led fans into a state of spiritual trance. Thambi.@SaiAbhyankkar, do you even realize what you’ve done to #TamilNadu?.@RJ_Balaji’ climax of #Karuppu starring.@Suriya_offl has sent theatres into absolute madness fans screaming, dancing, and literally “saami aadifying” inside cinema halls! Mass hysteria at another level! pic.twitter.com/83dKEmXDtJ— Parthiban Shanmugam (@hollywoodcurry) May 15, 2026 #Karuppu day 3 night show at Rohini😭🔥🔥🔥🔥🔥🔥 pic.twitter.com/xtagPdAgnF— W (@Gowtham_sfc_) May 17, 2026 #Karuppu fever everywhere! 📈👺🔥 pic.twitter.com/pzjvvlwfGp— All India Suriya Fans Club (@Suriya_AISFC) May 17, 2026 (adsbygoogle = window.adsbygoogle || []).push({}) Karuppu storms into 2026 as Kollywood's HIGHEST GROSSER !!#Karuppu rewrites Tamil cinema in 2026 — highest grosser of Kollywood, highest opening day, highest weekend, and the crown jewel of @Suriya_offl's legacy 🔥🔥What a COMEBACK !!! pic.twitter.com/XVihbDx9X2— Let's X OTT GLOBAL (@LetsXOtt) May 18, 2026 Enna maathiri velaipaaduyaa🥵💥 @SaiAbhyankkar#Karuppupic.twitter.com/5sIICG2EvV— 𝐆𝐎𝐋𝐃 𝐒𝐔𝐑𝐈𝐘𝐀😈♠️ (@GoldSuriya_FC) May 15, 2026 Trivandrum is officially SHAKING! 🌋 The Kairali Sree Nila Theatre has turned into a literal stadium for the #Karuppu . The King of Kerala’s heart is back, and this comeback energy is absolutely PEAK. This isn't just a movie, it’s a whole festival! 🦁🔥📽️#Suriya #KaruppuFDFS… pic.twitter.com/KDfPT4KWdZ— karthikeyann_offl (@KarthikeyanSp13) May 17, 2026