Crime Today News
The Indian box office saw a major shake-up this weekend as five big releases clashed for audience attention, The Conjuring: Last Rites, Baaghi 4, Madhraasi, Ghaati, and The Bengal Files. While expectations were high for Bollywood and South Indian titles to dominate their respective markets, it was the Hollywood horror film that surprised everyone by pulling in the maximum numbers.
According to early estimates by Sacnilk, The Conjuring: Last Rites, the final film in the popular horror franchise, opened with a massive Rs 18 crore net on Day 1 in India. The film outpaced all domestic releases by a clear margin, reaffirming Hollywood’s growing influence in Indian theatres.
Among Indian films, the strongest performance came from Sivakarthikeyan’s Tamil action entertainer Madhraasi, which earned Rs 13 crore net across all languages. Directed by A.R. Murugadoss, the film was expected to be a big draw, especially with the director making a comeback after Sikandar. While the opening was impressive, trade experts caution that the film needs strong word-of-mouth to sustain beyond its initial buzz.
Tiger Shroff’s Baaghi 4 followed close behind with a Rs 12 crore net opening. However, much of its first-day total came under a “Buy One Get One” ticketing offer, raising questions about its true strength at the box office. With the Ganpati festival wrapping up and mixed reviews coming in, the film’s performance over the next few days will be crucial.
The smaller releases could not make much of an impact. Anushka Shetty’s Ghaati managed just Rs 2 crore, while Vivek Agnihotri’s The Bengal Files opened at Rs 1.75 crore. Agnihotri’s previous films in the Files franchise have often picked up momentum from Day 2 onwards, so the coming weekend will decide its fate.
For now, The Conjuring: Last Rites has clearly taken the lead, showing once again how Hollywood films are finding stronger footing in Indian markets. With three Hollywood titles already crossing 100 crore this year, the dominance of international releases is becoming hard to ignore.
This article first appeared on Filmfare
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