
‘Housefull 5' Among Global Top Scoring Films For Second Week In A Row
The new Hindi film 'Housefull 5' released in theatres with two different climax sequences.
Akshay Kumar's latest Hindi release - Housefull 5 - is raking huge numbers at the box office even as it entered the second week at the global box office. Directed by Tarun Mansukhani, the comedy-thriller has had gross global collections of $28 million in ten days. It also ranked among top-scoring films worldwide for the weekend ending June 15. Akshay Kumar stars in the film alongside Nana Patekar, Riteish Deshmukh, Abhishek Bachchan, Jackie Shroff, Sanjay Dutt, Sonam Bajwa, Nargis Fakhri and Jacqueline Fernandez. Fardeen Khan, Dino Morea, Johnny Lever, Chunky Panday, Shreyas Talpade and Niketan Dheer also play important roles in the film.
Housefull 5 had a good second weekend at the box office and became the ninth highest-grossing film at the global box office this week, on Comscore's weekly list. The Indian film scored nearly $4.5 million worldwide over the past three days alone. It earned nearly $270,000 in the US markets in its second weekend. This is the second consecutive week for which Housefull 5 ranked among top-scoring films of the world for a weekend.
The Akshay Kumar film made its debut on the Comscore list of top ten highest grossing films worldwide for a weekend. It was the fifth highest-scoring film last weekend, with a three-day total of $16.5 million.
After an impressive $4.6 million global gross collection on the opening day, Housefull 5 collections rose over the first weekend, crossing $6 million on both days. In the Indian markets, Housefull 5 made an opening collection of $3.3 million and $12.5 million over the first weekend.
On its first Monday, the film saw a significant but expected drop and earned mere $2 million worldwide. The collections dipped consistently through the week, only to bounce back over the second weekend. The film saw a major jump in Indian markets on its second Sunday, June 15.
Made on an estimated budget of $25 million, Housefull 5 is among the costliest comedies made in Hindi. The collection figures - big and significant in comparison with other films - are not as impressive when we consider the budget of the film. By the end of the first week, the film has just covered the budget costs with the box office collections. That, however, does not mean the producers are not making profits already - the music, digital and satellite rights are sold for handsome amounts of money even before the film hit theatres.
The fifth film in its hit comedy franchise, Housefull 5 is the story of three men claiming to be the real heirs to a big businessman who dies right before his big birthday party on a private cruise. Producer Sajid Nadiadwala and director Tarun Mansukhani have co-written the film. Ranjeet is back as Papa Ranjit - the rich old man in the new Housefull movie and Akshay Kumar, Riteish Deshmukh, and Abhishek Bachchan - each claim to be Jolly - the heir to Ranjit's business empire. Nana Patekar, Jackie Shroff, and Sanjay Dutt play cops in the film which features Chunky Panday as Akhri Pasta, Johnny Lever, Shreyas Talpade, Soundarya Sharma, Nikitin Dheer, and Dino Morea as Ranjit's employees while Fardeen Khan plays Ranjeet's second son in Housefull 5.
True to the Housefull world, Housefull 5 is a no-brainer, full of slapstick comedy, vulgar and suggestive dialogues and mostly unfunny jokes. The film relies less on comic punches or mystery-filled moments and more on cleavages to trigger the laughs. Nonetheless, actors such as Nana Patekar add gravitas to Housefull 5 with their non-chalant and brilliant performance.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Vogue
3 hours ago
- Vogue
Undercover Resort 2026 Menswear Collection
Jun Takahashi's Undercover is one of fashion's most evocatively articulate labels when it comes to wreathing its collections with atmosphere and storytelling. The flipside of that upside is that when a collection is delivered in purely photographic format, as here, the absence of atmosphere and storytelling feels magnified. Still, with a little imagination, you could project a path for Undercover's breezily attired pre-spring protagonists. They trod it in slingback mules, quite Birkenstock Tokio but more refined of sole. Like the painted straw wide-brimmed hats that topped each look, these mules were marked with cursive scrawl that read 'i am chaos.' Yet that graphic seemed misdirectionally performative decoration in a collection that was highly organized in its exploration of multiple menswear standards. Bowling shirts, tailored collar parka jackets, camp collar shirts in washed cotton with interestingly textured patches, henleys, oversized linen suiting, short-shirt sets studded with utility pockets, cardigans, frayed knit sweater vests, a knit-backed leather jacket and some stadium jackets were amongst the repertoire. The collection displayed Undercover's new wave resonance, but at an extremely gentle frequency: punk but politely so.


Forbes
4 hours ago
- Forbes
What Happened With PS5 Exclusives This Generation?
The Last of Us Part 2 In a recent, large-scale report on the state of the company and brand, Sony said that the upcoming PlayStation 6 was 'top of mind' for the company, with some estimates putting it at a potential 2027 release date. But that raises a question. Despite its solid sales, was this…actually a good generation for PlayStation, namely its PS5 exclusives? It's been a strange generation. The concept of 'true' PS5 exclusives, ones maximizing the power of the new system without being cross-gen with PS4 at the same time, has been limited. We might as well start with what's arguably the biggest success, at least critically, PlayStation's most Nintendo-like game, Astro Bot. The GOTY winner was in fact PS5-only, and was a celebration of PlayStation itself. Fantastic! Moving on from there, we have a pair of Final Fantasy games, First, XVI, where there's some debate about whether that underperformed, and now it's no longer exclusive to PS5 at all, having hit Xbox. The other is Final Fantasy VII Rebirth, the next installment after Remake, which was a PS4 launch game, putting it in a weird space. Final Fantasy XVI You can count the Demon's Souls remake, but that is, of course, a remake. Ratchet and Clank was a solid, if not overlooked, demonstration of PS5 tech in a way practically no other games utilized. Returnal is a bit of a cult favorite among some at this point but did not sell terribly well. FEATURED | Frase ByForbes™ Unscramble The Anagram To Reveal The Phrase Pinpoint By Linkedin Guess The Category Queens By Linkedin Crown Each Region Crossclimb By Linkedin Unlock A Trivia Ladder One of the most successful PS5-only games was Stellar Blade, from a studio and IP Sony doesn't even own, but credit to them for seeing the potential and landing that deal. Helldivers 2 was a huge hit, but it had a day-and-date release on PC, where Steam was the larger platform for the game. Finally, we have the most 'major' release to date, Marvel's Spider-Man 2, which tripled the cost of the first game arguably without being significantly better, reusing large chunks of the old city and adding a character that was already added in a previous side-game. Projects like a Venom spin-off and a Spider-Verse multiplayer game were cancelled. Thankfully, we have Ghost of Yotei, PS5 only, out this fall. I would not be surprised if that ended up being the best non-Astro Bot PS5 exclusive. Hopefully, at least. Ghost of Yotei I listed a decent amount of games there, yes. But how many games of true significance? Taking a step back, this entire generation, we did not see a PS5-only game from Guerilla, Sony Santa Monica or Naughty Dog, the last of which became a meme for its endless remasters of its Last of Us games. Naughty Dog has announced Intergalactic: The Heretic Prophet, but that may not be out until PS6 itself. We have no idea when either new Horizon or God of War games are coming from those studios, much less them branching into potentially new IPs instead of endless sequels. Sony purchased Bungie this generation for $3.6 billion, but it did little except drift on with Destiny 2 and hammer away at a game that seems on the verge of bombing, Marathon. And neither of those games are exclusive, much less PS5-exclusive. It's not like there was nothing to play, but true PS5 exclusives were few and far between, and it's a situation where the most significant introduction of a new IP was Stellar Blade, not even a game from Sony directly, merely a deal it had secured. The same goes for Final Fantasy, where Square Enix seems to now be realizing locking themselves to PlayStation this tightly may be a sales mistake. None of this is to say that Xbox, in contrast, had some great console generation. I've devoted a lot of ink to its collapsed hardware sales, and the concept of an Xbox exclusive is close to not existing at all now. But if we're comparing the PS5 to past eras, I'd probably rank it fourth or even fifth in terms of what it has produced in terms of true exclusives. We'll see if the PS6 can change that, whenever it arrives. Follow me on Twitter, YouTube, Bluesky and Instagram. Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy.


Forbes
4 hours ago
- Forbes
How Namit Malhotra Is Building the Future of AI Content Creation
DNEG Founder & CEO Namit Malhotra In an era where content is king and scale is everything, Namit Malhotra is rewriting the playbook—merging Oscar-winning artistry with generative AI, proprietary IP, and global production infrastructure. As Chairman and CEO of DNEG—the eight-time Academy Award®-winning visual effects giant behind Dune, Oppenheimer, and Tenet—Malhotra is building not just a studio, but a blueprint for the future of storytelling and AI content creation. "We've always been a creative-first company," he says. "But the way we deliver creativity has to evolve." That evolution is now playing out across continents and sectors, anchored by a singular vision: position India not just as a services hub, but as the world's most advanced engine for content creation. Through a series of strategic acquisitions—from London-based VFX leader Double Negative to AI powerhouse Metaphysic (Forbes)—and the launch of his own content production and financing arm Prime Focus Studios, Malhotra has scaled his company into a global juggernaut operating in 24 cities across four continents. He's layered on deep technical innovation through Brahma's AI product suite, and paired it with a bold infrastructure-first mindset—building not just tools or studios, but a full-stack ecosystem to control every stage of storytelling, from data to distribution. His ambition isn't to serve the global entertainment industry. It's to redefine it. At just 18, Namit Malhotra turned his father's garage in Mumbai into ground zero for what would become a global media empire. It was 1995, and a computer graphics course had shown him the future: entire films, made on a single Mac. While others scoffed, Malhotra moved fast. He recruited three instructors from the graphics school where he studied, launched Video Workshop, and began editing shows and music videos for India's top networks. To fund it, he bet everything, securing a loan against the family home. "Digital tools were going to transform cinema—I could feel it. I just had to move first." During the '90s boom in Indian pop culture, Video Workshop built early momentum producing dance-offs, music countdowns, and youth entertainment for mainstream pop culture shows and networks, including Channel V, India's equivalent of MTV. Behind the headlines is a rare advantage: Malhotra's fluency across capital markets, creative storytelling, and deep tech. He's one of the few founder-operators to take a company public, raise hundreds of millions in private equity, execute global M&A, and simultaneously lead creative production and technology development. From acquiring Double Negative—a top-tier British VFX studio known for Inception, The Dark Knight Rises, and Harry Potter films—to raising hundreds of millions from investors such as Novator Capital and United Al Saqer Group, and leading the development of an enterprise AI platform now valued at $$1, Malhotra has consistently used his financial savvy to fuel platform innovation and his creative instinct to give it cultural resonance. Legendary Hollywood producers Charles Roven and Namit Malhotra on set. Roven is involved as a ... More producer, alongside Namit Malhotra, for the live-action Ramayana film. His producer credits through Prime Focus Studios span both Hollywood and Indian blockbusters, reflecting a global vision for storytelling at scale, including: "The biggest challenge lies in navigating three moving targets: ever-evolving technology, unpredictable creative processes, and a rapidly shifting financial model. Understanding business, tech, and creative gives me a 360-degree view," Malhotra says. In 1997, Malhotra merged his Video Workshop with his father's equipment rental company to form Prime Focus. By 2006, he had taken the company public on the Indian stock exchange (Forbes) and expanded operations to London, Los Angeles, New York, and Vancouver. Prime Focus gained prominence by pioneering theatrical 3D conversion for major franchises like Harry Potter and Star Wars, backed by institutional investors including Standard Chartered PE, Macquarie and Aid Capital. But the game-changing move came in 2014, when Prime Focus acquired Double Negative, an acclaimed London-based VFX studio. The merger formed DNEG, combining Prime Focus's global scale with Double Negative's creative pedigree. Renowned Hollywood stunt director Guy Norris with Namit Malhotra on the set of Ramayana. Norris is ... More collaborating with actor and producer Yash to choreograph the action sequences for the movie. The film is directed by Nitesh Tiwari and is being produced by Namit Malhotra's Prime Focus Studios and Yash's Monster Mind Creations. The result was a global powerhouse that bridged Hollywood studio relationships with a scalable production platform. Under Malhotra's leadership, DNEG has since won eight Academy Awards for Best Visual Effects, partnering with some of the most visionary directors in the world: (Forbes) While a planned SPAC deal fell through in 2022, momentum never slowed. DNEG now builds the underlying infrastructure of visual storytelling. From cloud-based workflows and real-time rendering to virtual production and AI content creation, it enables scalable creative delivery. "Technology isn't the product—it's what enables the experience," Malhotra says. In February 2025, Brahma, the content-tech venture backed by Malhotra, acquired Metaphysic, the generative AI startup known for its photorealistic neural performance toolset as used in feature films such as HERE, Furiosa and Alien: Romulus. The deal values Brahma at $1.43 billion, with support from Abu Dhabi's United Al Saqer Group. With 800+ engineers, Brahma is building AI-native products across video, image, and audio—bringing together DNEG's industry-leading VFX tools, Metaphysic's groundbreaking AI technology, Ziva's award-winnning technology for the creation of digital human and character simulations, and CLEARⓇ's purpose-built enterprise AI platform - and opening up new sectors beyond film & TV, including advertising, gaming and sports. 'This isn't about chasing AI trends,' Malhotra says. 'It's about building foundational infrastructure.' "We're moving from bespoke productions to modular storytelling," Malhotra says. "You don't need to fly a crew across five countries. Brahma lets you simulate the entire experience in high fidelity." This modular model opens up new frontiers—from immersive brand campaigns with AI ambassadors to personalized mental health therapy powered by emotional modeling. Brahma's infrastructure enables creators to generate, license, and monetize synthetic content at scale. Think: AWS for storytelling. Smart contracts and on-chain IP rights management ensure transparency and trust as AI reshapes media ownership. Malhotra's strategy isn't to chase features. It's to build a vertically integrated platform platform that future content runs on, spanning from pre-production to post, from data to distribution. "Whoever owns the pipes, wins," he says. "Features fade. Infrastructure lasts." Namit Malhotra In May 2025, Malhotra and the State Government of Maharashtra in India announced a $400M entertainment complex in Mumbai, combining: world-class production studios to facilitate high-end content creation, supported by a state-of-the-art digital infrastructure; live entertainment facilities, including theme parks and experience centres; and lifestyle experiences, including shopping and dining destinations. All in one global destination. 'We're creating the most advanced content hub in the world—rooted in Mumbai, made for the world,' says Malhotra. 'This new site will be a best practice example of what India can deliver in technology, creativity, and entertainment, and will become a worldwide leisure destination, right at the heart of one of the world's oldest filmmaking industries. We are bringing India to the world by bringing the world to India.' Malhotra's vision is to own the entire pipeline—from the tools to the platforms, from training to monetization. And it's global. "We're not just telling Indian stories," he says. "We're building Indian systems that can scale globally." Streaming put Indian content on the global map. DNEG, Prime Focus Studios, and Brahma aim to make India the world's content creation engine. As streaming plateaus and AI hype gives way to infrastructure wars, Namit Malhotra isn't waiting to be disrupted—he's building the infrastructure, controlling the platforms, and shaping the future of content creation. "The world doesn't need more content," he says. "It needs better systems to create it--AI content creation. That's what we're building."