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Category: Movies

  • KriArj gets into film acquisition & distribution, hires veteran Girish Johar

    MUBAI: After the success of Rustom, Girish Johar has joined KriArj Entertainment, who will be leading its foray into film acquisition for the Indian & overseas markets.

    This association will fully equip team KriArj to not only monetise its own films but will also give them the strength to provide marketing & distribution services to other independent film makers. Additionally, KriArj plans to acquire big films for not only their pan-India distribution but also for the overseas territories.

    A graduate in Economic Honors and an MBA in Marketing and I.T, Girish Johar has worked with leading players like Balaji Motion Pictures, Sony, UTV Disney, PVR & Zee Studios, and has immense experience in marketing, production, exhibition and global distribution of films. During his tenure, he has defined the business and market for films releasing in various languages – Hindi, English, Bengali, Punjabi, Tamil, Telugu and Marathi. Johar, a young veteran, has an experience of around 20 years in this field and was involved in more than 140 films, in various capacities. Jodhaa Akbar, DevD, A Wednesday, Ragini MMS, The Dirty Picture, Jazbaa, Rustom & many more form part of his repertoire within the industry.

    KriArj has not only taken a strong foothold, within a very short span of time, but have also chalked out major plans for their foray into films acquisition aggressively.

    Fresh from the success of Rustom and the much awaited Toilet-Ek Prem Katha, which is a summer 2017 release with Viacom18, KriArj has announced their association with John Abraham Entertainment for PARMANU The Story of Pokhran with Zee Studios & Kyta Productions , Clean Slate Films PARI (Anushka Sharma’s production banner), Anees Bazmi’s next with TSeries, Fanney Khan starring Anil Kapoor & Aishwarya Rai of a Rakeysh Om Prakash Mehra production and also Vishal Bhardwaj’s production. They are also in the final stages for locking other prestigious projects with leading stars, details of which will be announced shortly.

    Confirms Johar: “Films are made with lot of passion, energy & commitment, which I feel, am very lucky to have found in Prernaa Arora & Arjun N. Kapoor, as in their inherent DNAs! Super charged up, at KriArj Entertainment, to make good & economically viable content, not only in Hindi but regional languages too and not only for the BIG screen but Digital too.”

    Says, KriArj chairman Virindrra Arora: “I am confident that Girish Johar’s passion in movies & his experience in business of movies will lead us through to our next stage in expansion. His leadership qualities and strong business acumen is utmost we are confident of. We, all at team KriArj, will not only fuel & streamline our present projects but also our build for our major expansion plans”

  • Nondescript films got much coveted play time

    It is unimaginable. The week had 10 new Indian films releasing along with two foreign films. Yet, it was not the time for the exhibitors to rejoice. These 10 films included a variety from thriller to horror adapted from Hollywood, to a kid’s film.

    No major film is released during the Muslim holy month of Ramzan. Once upon a time, these film lovers made a major film going population. However, the things have changed since the advent of multiplexes.

    Yet, this year, the fasting month also coincides with the Champions Trophy 2017 being played in UK where the eight major cricket playing nations are participating. And, cricket has long replaced films as the most popular medium of entertainment.

    In this event, small, nondescript films got their much coveted play time at the cinema halls which, otherwise, is rationed out to them as gap fillers during shows when the footfall is scarce.

    *To start with, A Death In The Gunj boasted of a familiar star cast. It starred Om Puri, Tanuja along with Ranvir Shorey, Tillotomma Shome, Kalki Koechlin alongwith lesser known but talented names such as Gulshan Devaiyah and Vikrant Massey. The film was directed by yet another well-known name, Konkona Sensharma. What failed the film was its sadistic idea for a story and poor promotion. There was no awareness about the film. As a result, the film failed to attract footfalls.

    *The other noticeable film was Dear Maya if only for it being a comeback film for the yesteryear star, Manisha Koirala. It was a feeble attempt, concentrating at the limited histrionics of Koirala again, with nil promotion. The result was disastrous.

    *The animation film, Hanuman Da’ Damdaar was one more film trying to cash in on the childhood exploits of Hanuman (the other popular character being childhood stories of Ganesh). Here, Hanuman was made to mouth today slangs through the voice of Salman Khan. The film also boasted of voices of Raveena Tandon, Javed Akhtar, Makrand Deshpande and Kunal Khemu. This kind of stuff works in Hollywood. Here, in India, it has yet to work. The film was lost in the crowd.

    *The other releases were Sweetiee Weds NRI, Dobaara- See Your Evil (which boasted of a Hollywood film adaptation), Bachche Kachche Sachche), Lakme, Little Sholay, Mirror Game-Ab Khel Shuru, Black Future, etc were all losers.

    *Sachin: A Billion Dreams, coming as it did in the footsteps of another cricketer biopic, M K Dhoni: An Untold Story, failed to make a mark. It turned out to be just a dull documentary. The film depicted Sachin, the cricketing legend, as a man full of self-pity, whining about his struggles rather than success. The film failed to be an example for the new generation

    The film, which collected Rs. 23.4 crore for first three days, managed to finish its first week with just another 10 crore accounting for its first week total of Rs. 33.5 crore. . The film’s second weekend is not encouraging.

    *Hallf Girlfriend does little to improve its lot as the film manages to add Rs. 8.1 crore in its second week to take its two week total to Rs. 52.9 crore. The film still stands to lose on Indian domestic market.

    *Hindi Medium goes on to become a mini budget major hit. The film matched its first week collections by almost 80% which is a rare feat. The film collected 19.1 crore in its second week, the film took its two week total to Rs. 42.6 crore.

    *Bahubali 2: The Conclusion (Hindi-Dubbed) is not yet fading away. The film added Rs. 12.2 crore in its fifth week to take its five week total to Rs. 492.1 crore.

  • Sony can air ‘Danish Girl’ on TV as Tribunal reverses CBFC order

    MUMBAI: Sony Pictures is now free to telecast ‘The Danish Girl’ on television.

    The Film Certification Appellate Tribunal (FCAT) has ordered the Censor Board to grant certification to the British-American film for viewing on TV channels, by reversing the Board’s directive against airing the film on television.

    The FCAT observed the film shows the “travails and sufferings of a husband who struggles to find his own identity, believing that he should be a woman.” “His wife empathises with him, remaining by his bed side all through his sex reassignment surgery in the 18th century,” it said.

    The Central Board of Film Certification (CBFC) had approved the film for a theatrical release in January 2017 and granted it an A certificate. In March, however, the CBFC refused U/UA certification to the film necessary for a film to be telecast on TV channels, saying that the film should be viewed only by “mature adults”, Hindustan Times reported.

    Based on by David Ebershoff’s fictional novel, the 2015 biographical romantic drama film directed by Tom Hooper is loosely inspired by the lives of Danish painters Lili Elbe and Gerda Wegener. The film features Eddie Redmayne as Elbe, one of the first known recipients of the reassignment surgery. 

    Citing a Supreme Court decision that granted recognition of gender identity to the transgender community by acknowledging the existence of the ‘third gender’, the FCAT chaired by Justice Manmohan Sarin reversed the CBFC’s decision.

    Sony Pictures had, in their appeal, showed television shows revolving around similar subjects. Seeking U/UA certification, they had also offered 14 cuts in scenes and dialogues to make the film eligible for the small screen viewers.

    Sony cited the examples of films such as Milk, The Brokeback Mountain, Boys Don’t Cry and D Train, and stated that these movies had been approved for telecast on Indian television after grant of U/UAcertificate. The production house, similarly, referred to shows such as Shakti-Ek Ehsaas Ki and The Big F that were being telecast on different channels.

  • Hanuman Da’ Damdaar….Kid stuff

    Hanuman and Ganesh seem to be the most popular figures / gods for Indian animation filmmakers. Also, among them, the favourite theme is the two idols’ childhood because that allows a maker to spin any convenient story around them.

    Also, dealing with one character keeps budgets in control unlike making an animated Ramayana or Mahabharata.

    For any such animated film, its claim to fame is which all renowned film actors lent their voice, to dub for the animated characters. Hanuman Da’ Damdaar boasts of quite a celebrity list landing its voice to the animated characters.

    The little Hanuman is back from one more dangerous adventure after which a curfew is imposed on him. He can’t leave home. But, you can’t keep Hanuman down for long, and off he is on another adventure. He is now the mighty Hanuman the myth about him has told us all along.

    There was a lineup of such animation films a few years ago and the flooding did not help anybody’s cause. Hanuman Da’ Damdaar tries to be different in that it is some renowned film personalities giving voice to the animated characters. They include Salman Khan, Javed Akhtar, Raveena Tandon, Makarand Deshpande, Hussain Dalal and Kunal Kemmu.

    The film also takes the contemporary language today’s youth use in its efforts to add humour.

    The film boasts of good animation generally while music is also a help. Where it lacks is in content as it has nothing exciting to tell or add to match the persona of the legend, Hanuman, from earlier such attempts.

    Producers: Ashutosh Shah, Taher Shabbir, Ruchi Narain.

    Direction: Ruchi Narain.

    Cast/Voice: Salman Khan, Javed Akhtar, Raveena Tandon, Makarand Deshpande, Hussain Dalal and Kunal Kemmu.

  • Dear Maya….Meandering malady!

    There is an interminable line-up of experimental films being made by aspiring new makers.

    This happens because many people want to make a mark with their first film so that they can gate-crash the Who is Who of the film industry. That is not easy as innumerable small films are made, of which some find an outlet, some never do and, from among those which make it to the silver screen, just one turns out to be something good like Hindi Medium, last week’s release with Irrfan playing the lead.

    If Hindi Medium worked, it was because it tackled a contemporary issue that wrecks the life of many a parent when it comes to the education of their child. And what makes it watchable is the way it has been scripted and executed in an entertaining way while also conveying the message. (This mention of another film while reviewing Dear Maya is inevitable because such a film also carries a message for other filmmakers; make a relevant film.)

    Dear Maya is one such film which tries to be different but the idea is totally alien for the Hindi film viewer. It is loosely based on PS: I Love You and, probably, has some more sources of inspiration. It also attempts to bring to the fore a forgotten yesteryear actor, Manisha Koirala.

    Manisha, playing Maya, is a victim of her uncle’s greedy tortures who wanted to take over her inheritance by hook or by crook. She lives in a palatial but dilapidated mansion in Shimla. She is a recluse at times seen peeping through her windows. For company, she has a maid and two ferocious dogs besides a sanctuary full of birds.

    Two teenage school-going girls, played by Madeha Imam and Shreya Chaudhary, are always up to mischief, watch her in her window on their way back from school. Curious, Madeha learns of the past misfortunes of Manisha in which she is still wallowing.

    Maheda and Shreya decide to play a prank on Manisha if only to bring her out of her sorrowful life. They send her a chain of love letters posing as one of her suitors who fell in love with her on first sight and was rejected by her evil uncle but who still loves and thinks of her.

    Following this chain of love letters, Maya brings herself back to life. She opens up to the world. And, one fine day, she decides to sell all her possessions along with her palatial house to go search of the one who wrote those letters to her.

    Madeha and Shreya realize that their prank has backfired and that shatters them besides destroying their friendship.

    There was one woman wallowing in self-pity in Manisha, now we have three with Madeha and Shreya added to the list, all living the life of self-inflicted torture and, soon, it’s the viewer’s turn to join the club!

    Manisha has willingly left Shimla for Delhi after announcing it to whole the town but, for convenience sake, the script dubs her as a missing person. And, Madeha and Shreya embark on her search. They carry the burden of some unnecessary side tracks which takes the film to an intolerable duration of 131 minutes.

    The script and direction are weak. The one good thing about the film is its scenic location of Shimla though that also has limited exploitation. Manisha Koirala fails to get her manners right of a 20 year recluse closeted from the world, mentally destroyed. Shreya and Madeha are pleasing though the latter needs a few variations in her expressions.

    Producers: Shobhna Yadav, Sandeep Leyzell.

    Director: Sunaina Bhatnagar.

    Cast: Manisha Koirala, Madeha Imam, Shreya Chaudhary, Irawati Hershe, Rohit Saraf, Reuben Israel, Rakyesh Omprakash Mehra.

  • A Death In The Gunj (English- mixed): Still born

    A Death In The Gunj is one of those films which reminds one of the mystery novels and movies from the British black-and-white era. A bunch of people, usually friends, family and extended family gather at a lonely — as in far from a civilisation — place for a vacation. Seemingly, there is laughter and bonhomie yet, the vibes are not good.

    For such a story to be told, a film’s roster needs to be talented. And, on that count, the film is well equipped. The writer director being Konkona Sensharma, an industry person herself, her goodwill counts to this end to put together a good cast.

    The characters of Om Puri and Tanuja live in a remote place called McCluskieganj, in Bihar (now Jharkhand). During the winter of late 70s, the couple’s family comes to visit. It includes Gulshan Devaiah, Tillotoma Shome, Arya Sharma, Vikrant Massey and Kalki Koechlin. Ranvir Shorey, Jim Sarbh, their local friends also join in.

    The makers dont deem it necessary to enlighten you as to how they are related or what their connections are. They know each other from before but we, the viewers, don’t and that does not seem to matter! So one assumes, Om Puri and Tanuja are a retired old couple living a life of seclusion but peace in this far off place in a huge cottage surrounded by jungles. The character of Gulshan is their son and Tillotoma the daughter in law with Arya being the granddaughter. Vikrant is Tanuja’s nephew from her sister’s side. There is no way of placing Ranvir, Jim and Kalki except as family friends.

    Among those gathered, Vikrant comes out as the odd man out. All pranks are made at his cost.
    The place has no TV and the only transistor radio is monopolised by Om Puri for cricket updates. It is an open house and there is no taboo on alcohol or smoking. The crowd gets around to play old-fashioned games. Being of Bengali origin, the first try is planchette, a board game (?) about calling the souls of dead folks who are asked to reveal family secrets.

    But, they are not really playing a game, they are all together in targeting Vikrant for no rhyme or reason and making him the butt of a practical joke. Next, they play kabaddi and, again, Vikrant is almost throttled when he seems to be winning.

    Vikrant, who has had a bad time in college, is avoiding his widowed mother and is a total wreck mentally, comes to terms with the fact that not only is he not welcome here but also nobody cares if he lives or dies.

    The script of the film expects the viewer to understand a lot without being told. What is happening and why stops mattering because if you ask your companion next to you, he/she is as much at loss as you are. By the time the film reaches its conclusion, which lacks logic, it makes the whole lot out on a vacation look like a bunch of sadists who derive more fun out of teasing and torturing an innocent young man looking for a shoulder to lean on than their planchette and kabaddi. Direction is average as in what could have been a 75 minute narration is stretched to 110 minutes and yet failing to establish connections as well as the purpose of torturing a down and out youth! There is no comic relief, music or visuals for distraction. Only sadism.

    The casting is good as mentioned earlier, but the characters lack background. Om Puri and Tanuja, the two stalwarts, have nothing to do and they do it ably. Rest act well but to no avail. Vikrant Massey is the one excels.

    Producers: Honey Trehan, Abhishek Chaubey, Raagi Bhatnagar, Ashish Bhatnagar, Vijay Kumar R Swami.

    Director: Konkona Sensharma.

    Cast: Tanuja, Om Puri, Gulshan Devaiyah, Tillotoma Shome, Vikrant Massey, Kalki Koechlin, Ranvir Shorey, Jim Sarbh, Arya Sharma, Promila Pradhan, Ashok Pathak, Saraswati Devi. 

  • Indian director Ramana’s short film ‘Living Idle’ wins international acclaim

    MUMBAI: Prolific filmmaker Ramana’s short film ‘Living Idle’ has received accolades by winning 26 international awards at various Film Festivals across the globe. Five Continents International Film Festival (FICOCC) is the latest win, in May 2017.

    The film revolves around the basic idea of unconditional love and how a woman loves her husband and family and goes to any extent to fulfilher duty of love without any expectations or biases towards her oppressors. It runs for duration of seven minutes.

    Ramana is, at present, the Art Director at Assemblage – a leading feature film focused CGI production animation studio based out of Mumbai. At Assemblage, Ramana closely works with its Hollywood clients in areas related to visual development, visual scripting and design.

    Throughout his career, he has worked on many great films like Puss in Boots, Madagascar, Elizabeth 2 & 3, and Prince of Persia, etc. Ramana has been working in the movie business for over 20 years and has been a part of renowned studios including the likes of DreamWorks and mentored by great film-makers such as Shekhar Kapur. He has always been an inspiration the artists in the Indian animation and creative industry.

    Ramana is the latest addition to the award-winning team at Assemblage Entertainment, that consists of technocrats, artists and production managers with several years of experience in creating world-class animation productions in collaboration with major Hollywood studios and independent production companies globally.

    On his film receivingworldwide appreciation, Ramana said, “The most important thing for a creative person to excel at his work is when he is allowed the freedom of expression. This automatically translated into one’s body of work. Working here at Assemblage, I have been given the kind of freedom that a film maker can only dream of!”

    Congratulating Ramana on his recent success, ArjunMadhavan, Head of Strategy and New Business at Assemblage adds, “Ramana’s ability to translate his creative visualisation into celluloid, over a weekend’s worth of a shoot has been very impressive. Kudos to him, the brilliant actors and execution team for pulling this off!”

    Living Idle is a symbolic short film that reflects actions have consequences. This is the story of an artist, a creative sculptor of idols,that puts life and colour into clusters of mud and clay. Ironically, he fails to add colour to his own creation- his world, his family, his child. The narrative revolves around how a creation of the sculptor- an idol of Ma Durga punishes him (by rendering him indisposed and idle), when he crosses all limits of abuse and shows him a life of yearning. The film concludes with a deep dawn of realisation – of how a single action- takes away from him his ability to be a prolific sculptor- that of clay and stone and that of his child’s future. The film is embedded with contrasting symbolism, as aptly reflected in its title, most strongly that of the strength of a woman, of a mother, which is – representative in Ma Durga’s rendition of ‘Good over Evil’.

    The hunger for food, the hunger for physical fulfilment and the hunger for creativity are natural, necessary, and common human instincts. However, an unbalanced, excessive, and uncontrolled desire to fulfil one’s hunger leads to dire consequences, which is the story of ‘Living Idle’.

  • B. A. G. Films reports improved top and bottom lines

    BENGALURU: The Anurradha Prasad led B. A. G. Films and Media Limited (BAG Films) reported improved revenue and profit after tax (PAT) for the year ended 31 March 2017 (FY-17, current year or fiscal) as compared to fiscal 2016.

    Two of the company’s four segments – Television broadcasting and FM Radio reported increase in operating revenues and operating profits in the current year as compared to the previous year. Its Audio Visual production segment reported lower operating revenue and operating profits, while operating revenue and operating losses of its Leasing segment declined in fiscal 2017 as compared to fiscal 2016.

    The company’s income from operations or operating revenue increased 16.6 percent to Rs1,366.84 million in FY-17 to Rs 1,17241 million in the previous year. BAG Films reported PAT of Rs 8.43 million in FY-17 as compared to a loss of Rs 28.94 million in the previous year. Simple EBIDTA excluding other income increased 12.9 percent to Rs 319.34 million (23.4 percent of Operating Revnue) in FY-17 from Rs 282.76 million (24.1 percent of Operating Revenue).

    The company’s Total Expenses increased 13.1 percent to Rs 1,177.42 million (86.1 percent of Operating Revenue) in FY-17 from Rs 1,041.15 million (88.8 percent of Operating Revenue). Employee costs increased 4.3 percent in fiscal 2017 to Rs 209.90 million (15.3 percent of Operating Revenue) from Rs 200.35 million (17.1 percent of Operating Revenue) in the previous year. Other expenses increased 14.5 percent in FY-17 to Rs 814.64 million (59.6 percent of Operating Revenue) from Rs 711.52 million (60.7 percent of Operating Revenue) in FY-16. Finance costs increased 7.5 percent to Rs 163.5 million (12 percent of Operating Revenue) in the current year from Rs 152.16 million (13 percent of Operating Revenue) in the previous year.

    Segment Numbers

    BAG Films Television segment has three channels News 24, E24 and Darshan 24, while its Radio segment, Radio Dhamaal 24 operates 10 FM radio stations in the country.

    BAG Films biggest segment is its Television Broadcasting (TV) segment. TV segment’s operating revenue increased 22.9 percent in FY-17 to Rs1,126.05 million from Rs 916.56 million in FY-16. TV segment’s operating profit increased 33.2 percent in FY-17 to Rs 315.34 million from Rs 236.7 million in the previous fiscal.

    Audio Visual Production segment revenue for fiscal 2017 declined 20.3 percent to Rs 137.54 million from Rs 172.67 million in the previous fiscal. The segment’s operating revenue declined 42 percent to Rs 52.16 million from Rs 89.88 million in the previous year.

    FM Radio segment’s operating revenue increased 25.5 percent to Rs 100.75 million from Rs 80.26 million in the previous year. The segment’s operating profit more than doubled (increased by 2.5 times) to Rs 33.93 million from Rs 13.51 million.

    BAG Films Leasing segment revenue declined 14.1 percent in FY-17 to Rs 2.50 million from Rs 2.92 million in FY-16. Leasing segment operating loss reduced in FY-17 to Rs 31.97 million from a loss of Rs 38.38 million in the previous year.

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  • US$ 20m Drishyam fund for 10 Indian films in two years, releases showreel

    MUMBAI: Mumbai-based Drishyam Films is set to launch a $20m Production Fund to facilitate the growth of independent Indian cinema and to escalate it to a global reach.

    The fund will be spent in developing and producing cutting edge original content that will be true to the Drishyam vision of cinema, i.e. local in its setting but global in its appeal. It will be put to use for producing 10 independent Indian films over the next two years.

    Manish Mundra, founder of Drishyam Films, expects to announce the first projects under the fund in the early 2018. In addition to the production of the films, the fund will also be used to develop Drishyam Films’ VFX Studio in Mumbai.

    The production fund, which is raised independently by Manish Mundra, will help Drishyam Films towards accomplishing their goals of building a platform for unique voices of Indian independent cinema and create global content with rich Indian flavours. 

    Mundra says: “This fund has been set up with the objective of taking Indian cinema to the next level internationally. We plan to take our focus on content driven cinema and merge it with high technical finesse to make films that will travel across the world.”

    The studio which has produced some of the most acclaimed and globally feted Indian films recently such as Ankhon Dekhi, Masaan, Dhanak, Umrika and Waiting also released a special showreel that celebrates their impressive body of work, and also gives audiences a sneak preview of their forthcoming releases.

    Apart from the fund, Mundra has two new features going into production over the summer – Mohamed Gani’s Cycle, about the importance of the humble bicycle in small-town India, and Ganesh Shetty’s Anonymous, about a woman and her relationship with society as she undergoes an abortion. Both films are being readied for festival submission by the end of the year.

    Drishyam Films has already had a great start to 2017, with their next release Newton starring Rajkummar Rao winning the CICAE Award at the Berlin International Film Festival 2017 and the Jury Prize for Best Film at the 41st Hong Kong Film Festival, 2017. More recently, their films won big at the 64th National Film Awards where Dhanak won Best Children’s Film, while Kadvi Hawa bagged a Special Mention.

  • Real life-based, fiction & sequel to hit — hardly get average biz

    “Sachin: A Billion Dreams” opened with fairly decent collections. It could be because of the fact that he is an icon and that the cricket fever is in the air with the IPL just having got over even as the Champions Trophy is slated to commence come 1 June.

    The film has not been dramatised and that limits its appeal to those who are not cricket buffs. For example, the added spice of the two romance stories in Dhoni’s life added to the humane side of the protagonist’s character in M S Dhoni: The Untold Story. Here, though you are told that Sachin and Anjali’s romance lasted four years before they decided to tie the knot, there is no romance depicted on screen.

    As the film proceeds, it is as much about the rise of the Indian cricket in the last 20 or so years, as it is about the ups and downs in Sachin’s cricketing career.

    The film collected a little over seven crore on day one while the rise on Saturday was negligible. The film did its best on Sunday by collecting around nine crore to end its first weekend with Rs 23.4 crore.

    * “Hindi Medium,” following much appreciation and a positive word of mouth, has gone on to become a hit even as it entered its second week. This small budget film kept improving its collections as the week progressed and even managed to collect better figures on its eighth day compared to first.

    The film collected more in the rest of the week than it did in its opening weekend which is a rare feat nowadays. The film collected Rs 23.5 crore for the opening week and is reported to be holding well through its second weekend.

    * “Half Girlfriend” failed to appeal to the youth which it was expected to draw. The rich girl poor boy old-fashioned angle of the story, indifferently treated, had little to hold the interest of the viewer. The film dropped during the week day to end its first week with a total of Rs 44. 8 crore. The price the film’s domestic rights have been acquired at, will lead to a shortfall in the recovery of over Rs 10 crore.

    * “Meri Pyaari Bindu” emerged as an average film. Being a YRF film sans a price tag but enjoying YRF brand equity, it stands to earn little something for the company and all of that from the domestic theatrical exploitation. The film’s collection hovers around Rs 10 crore mark.

    * “Sarkar” failed miserably. Failing to provide any variety or novelty from its earlier two versions nor any continuity or link to the previous stories, it takes the viewer for granted and pays for it. The film collected around Rs 50 lakh in its second week to take its two week total to Rs 6.7 crore.

    * “Bahubali 2: The Conclusion” (Hindi-Dubbed) continues with its winning run, setting records in the process. The film collected Rs 29.4 crore in its fourth week to take its four week total to Rs 478.9 crore.