• Karwaan is an entertaining fare but only for the classes and city audiences. Its collections will pick up in the premium multiplexes of the cities due to positive word of mouth but the dull start will tell on the ultimate business because films like these do not have the power to sustain in the cinemas for too long.

  • Dhadak is a good entertainer and will emerge victorious at the ticket windows. The outstanding performances of Ishaan and Janhvi could take the film to the ‘A’ class level too.

  • Sanju is a definite blockbuster. It will work wonders for Ranbir Kapoor and Vicky Kaushal in particular. It will also boost the image of Sanjay Dutt in the public eye, which will help in Dutt’s future career. It can easily cross the Rs. 250-crore mark in India. It shouldn’t be a surprise if it even joins the 300-crore club, making it one of the biggest blockbusters of Hindi cinema!! Its business in multiplexes will be HUGE.

  • Race 3 is saved because of an engaging post-interval portion. Despite the terribly dull first half, it will do decent business. Since its cost of production has already been recovered from sale of non-theatrical rights, shares from India and Overseas theatrical revenues will be good enough to generate handsome profits to the producers. But those distributors, who have acquired the rights at very high prices, would lose a small part of their investments. It will definitely not qualify as a box-office hit because of the poor pre-interval portion. Collections on second day (Eid) and third day (post-Eid; Sunday) will be phenomenal.

  • Veere Di Wedding has taken a flying start and it will keep everyone smiling despite the fact that a section of the audience will be critical of the content. In commercial terms, this one will turn out to be a richly rewarding proposal.

  • Raazi is a box-office winner and will keep all concerned very happy. The story, script, direction and, of course, Alia Bhatt, will ensure that people flock to the cinemas.

  • Omertà is too class-appealing to make any impact at the box-office. It will, therefore, flop at the turnstiles. It has some hope in the very high-end multiplexes, that too, just in the first weekend.

  • …a beautifully shot and beautifully made human drama with some sterling performances. But it has limited appeal at the box-office because of the way in which it has been treated. Its difficult English title and lack of recognisable faces will further restrict its commercial chances. The film will do well in select high-end multiplexes of a few cities only. It will, however, win a lot of critical acclaim.

  • October has class appeal but it has enough soul to touch many hearts and reach the winning post at the box-office, more so because its entire investment (cost of production plus cost of promotion, publicity and marketing) has been recovered completely from non-theatrical sources (satellite, digital, audio rights). Public reports will vary from boring to very sensitive but it will appeal to the target audience and do fair business at the ticket windows in the final tally. It may have started slow but collections will pick up, especially in good multiplexes and big cities. Business in small centres and mass-frequented single-screen cinemas as also in lesser multiplexes will, of course, be very dull.

  • Missing has very limited appeal and given its low promotion and slow start, it will go largely unnoticed.

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