Akshay Kumar's ‘Housefull 5' Emerges as 2nd biggest Hindi grosser of 2025, surpasses Ajay Devgn's ‘Raid 2' at the box office
Akshay Kumar's Housefull 5 continues its box office reign, becoming the second-highest-grossing Bollywood film of 2025 with a net collection of Rs 175.95 crore. The film surpassed Ajay Devgn's Raid 2, driven by its mass appeal and ensemble cast. This success marks a significant comeback for Akshay Kumar, solidifying the Housefull franchise as a bankable comedy series.
Akshay Kumar
's comic caper Housefull 5 continues to dominate the box office, emerging as the second biggest Bollywood hit of 2025. With a staggering 17-day all-language net collection of Rs 175.95 crore, the film has now surpassed the lifetime earnings of
Ajay Devgn
's Raid 2, which has till now earned Rs 173.26 crore from it's theatrical run.
Directed by
Tarun Mansukhani
, Housefull 5 had a spectacular opening weekend, raking in Rs 87.5 crore in its first three days alone. The film's explosive start, driven by mass appeal, ensemble cast, and a mix of slapstick humour and lavish visuals, made it an instant crowd-puller. Despite the usual weekday drops, it sustained well enough to end Week 1 with a solid ₹Rs 27.25 crore.
The Madness is Real: Housefull 5 Cast Goes All Out!
The second week witnessed a noticeable dip in collections, typical for high-octane entertainers, yet the film added Rs 40.85 crore more to its kitty. As it entered its third weekend, Housefull 5 showed signs of renewed momentum, earning Rs 2 crore on Friday, Rs 2.5 crore on Saturday, and an estimated Rs 3.35 crore on Sunday, bringing the 17-day total to Rs 175.95 crore.This was despite the magical run by
Aamir Khan
and Genelia D'Souza's Sitaare Zameen Par which went on earn about Rs 59 crore over the weekend.
In doing so, it edged past Raid 2, which was previously the second highest-grossing Bollywood film of the year. Ajay Devgn's crime thriller had garnered praise for its gripping storyline and intense performances, ending its run at Rs 173.26 crore. However, the sheer entertainment quotient and franchise value of Housefull 5 helped it go one step further.
The only film ahead of Housefull 5 in 2025's box office race is
Vicky Kaushal
's Chhaava which has earned over Rs 600 crore across languages this year..
With this success, Akshay Kumar also marks a major comeback after a string of underwhelming releases in the last two years. The Housefull franchise now boasts five consistent commercial hits, reinforcing its reputation as one of Bollywood's most bankable comedy series.
As it inches closer to the Rs 180 crore mark, Housefull 5 cements its place not just in 2025's charts, but also in the broader legacy of big-ticket Bollywood entertainers.
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Time of India
40 minutes ago
- Time of India
Kochi's film renaissance
Kochi: There was pin-drop silence inside the state-of-the-art dubbing suite, even as heavy rains pounded on the tin roofs in the neighbourhood. Actor Fahadh Faasil peered into the 150-inch projection screen, emoting the dialogue, fully immersed in the character from the yet-to-be-released Tamil movie 'Mareeshan'. Dubbing engineer Subin Joseph worked meticulously to match the actor's resonant voice with the fast-moving images, to get a frame-byframe precision. After a short break on the verandah, Fahadh returned to the Audi 1 suite situated on the third floor of Lal Media Arts film studio to continue dubbing. Although a major portion of the road movie was shot in Chennai, Fahadh chose Kochi for its post-production work: A testament to the city's rise in prominence in the South Indian film production ecosystem. Lal Media in fact has two more dubbing studios on its third floor that have been booked for two major upcoming film projects. Next to it, the post-production work of another major movie was on at DLS Studio — one of the largest and most advanced Dolby atmos studios in Kerala — and a team led by sound designer P C Vishnu was in the final stages of mixing a movie starring Saiju Kurup. With nearly 20 digital studios, sound and editing suites and production floors equipped with cutting-edge technology coming up in Kochi in the last five years, the state's business capital has metamorphosed into a post-production and virtual film production hub in South India. Gone are the days when Malayalam cine artists and singers used to travel to Chennai, for post-production work and even made Chennai their second home due to easy access to big studios there. Today, blockbusters like the Rs 200-crore hit 'Thudarum' were entirely produced and post-produced in Kochi, from concept to completion. The AI-generated young look of Mammootty of the 80s for Rekhachithram was created at a Kochi-based AI studio. It earned nationwide acclaim and became a box office success. Similarly, the stunning Computer-Generated Imagery (CGI) of '2018', based on Kerala floods, was developed by Kochi's visual effects team and the movie proved that a world-class post-production can be done on a modest budget, redefining what's possible for regional cinema. 'Premalu' which grossed Rs 100 crore had completed its post-production including Digital Intermediate (DI) and VFX in Kochi. Producers of several upcoming bigbudget films, including 'Kadamattathu Kathanar' and 'Aadu 3', are planning to carry out large-scale VFX work in Kochi. The city has firmly established itself as one of the country's leading post-production hubs — home to cutting- edge DI studios and one of the largest studio floors in India by Gokulam Group, spanning a massive 45,000 sq ft at Pookkattupady on the city outskirts. Today, a leading film studio in Kochi handles the post-production works — including editing, dubbing, sound mixing, VFX and DI — for over a hundred films each year. "It was a revolutionary step," recalls senior sound designer Vinod P Sivaram, an FTII Pune alumnus who played a key role in this transformation by helping set up Lal Media. "Our studio began in a modest rented building and the first recording done there was of the songs of the movie Kannaki," he says. Shibu G Susheelan, senior production executive and general secretary of Fefka's production executive wing, said currently, post-production work for at least 10 films is under way in the city, with studios operating in three six-hour shifts due to packed schedules. "The relatively low production costs for computer graphics (CG) and DI work in Kochi, coupled with the improved quality of output, are prompting many producers to choose Kochi over post-production teams from other states," he says. Even Tamil and Telugu films are increasingly turning to Kochi. "In Malayalam, almost all major production houses — such as Anto Joseph Film Company, Aashirvad Cinemas, Gokulam Movies, Friday Film House, Kavya Films etc — are now based in Kochi and rely on local studios for post-production. Gokulam's studio floor to come up in Pookkattupady will be a milestone in virtual film production," Susheelan says. Alan, who is managing the Lal Media says the studio has all modern post-production facilities in Kochi including two Dolby Atmos mixing studios, through an investment of Dolby Atmos mixing facility costing around Rs 2 crore. "DLS Studio has already done Dolby Atmos mixing for 35-40 films, including several non-Malayalam projects, in the past one year alone. During the same period, Lal Media handled 45 to 50 dubbing assignments, reflecting Kochi's growing strength in post-production services. If we opt for Chennai, logistics and accommodation costs can be more than four times higher than what we spend in Kochi," he says. Jithendran, a senior dubbing engineer pointed out that almost all advanced studio microphone systems, such as the well-regarded U-87 and AKG are available in Kochi now and even the senior film stars are very satisfied with the post-production services available here. Although the roots of Malayalam cinema trace back to Kerala's capital, Thiruvananthapuram, where J C Daniel — the father of Malayalam cinema — made the first film with a locally assembled crew and studio, the industry soon migrated to Madras (now Chennai). By the 1930s, Malayalam cinema was entirely based there. For over five decades, Madras remained the nerve centre of Mollywood, where stars lived, technicians thrived and production houses flourished — many of them dominated by Tamil-speaking professionals, particularly in the technical departments. It wasn't until the 1960s that Kerala began to build its own cinematic infrastructure with the emergence of two major studios — Udaya and Merryland. The establishment of Chitranjali Studio in 1980 further strengthened local production capabilities. Even then, post-production and technical work remained tied to Kodambakkam in Tamil Nadu for many decades. The real shift began in the early 2000s, when Kochi started attracting young new-gen filmmakers with its modern facilities. Until the turn of the millennium, almost all post-production work for Malayalam films was done in Chennai. That pattern began to shift when filmmaker Lal, of the Siddique-Lal duo, launched Lal Media in Kochi. In 2001, 'Kalyanaraman' became the first Malayalam film to complete nearly 90% of its post-production work in Kochi. The movie went on to become a massive hit. The momentum continued with Thilakkam, followed by other notable movies like 'Vellithira' and 'Mizhi Randilum', all of which completed their post-production at the same studio. In 2004, the studio moved to a permanent facility and during Vishu 2006, six out of seven Malayalam releases had completed their post-production there. Building on this momentum, several prominent film personalities also established their own ventures. Actor Dileep, in collaboration with Lal and Suresh Gopi, founded DLS Studios — a full-fledged post-production facility that quickly became one of the busiest in the city. Similarly, Mohanlal launched Vismayas Max Studios in Kochi in 2006, expanding from his original base in Thiruvananthapuram. "Now known as Aries Vismayas Max,the studio has grown into one of the region's most technically advanced facilities, serving both Malayalam and other South Indian language productions," Vinod says. 'Colour Planet' -- a joint venture of Fahadh, Dileesh Pothan and Shyam Pushakaran -- started an advanced post-production DI studio in the city, specialising in colour correction and grading. 'Sapthaa Records' which established the first Atmos studio in Kochi, in 2020 became a favourite among South Indian filmmakers. The studio has provided services for nearly 200 films across Tamil, Telugu, Kannada and Malayalam, including notable titles like Kanthara. Kerala now does not depend on Hyderabad for good sound designing technology. "Currently we have two Dolby Atmos mixing facilities in Kochi and many more are to come. Specialised sound mixing facilities for OTT release are available in Kochi's studios. Many more Malayalam movies are coming with Dolby Atmos, as the number of Dolby Atmos theatres are increasing in the state," sound designer Dan Jose says. Over the past five years, most music studios associated with the Malayalam film industry have also relocated from Chennai to Kochi and popular musicians like Bijipal, Deepak Dev and Alphons have their own studios in the city. "Many talented musicians from Kerala are now able to stay and work within the state, instead of seeking opportunities elsewhere. With studios in Kochi, costs are lower and the overall environment is comfortable and thriving. Currently, only foreign-style string and brass recordings are done in Chennai. But even that may soon shift to Kochi, making the city self-sufficient in the orchestral segment as well," Deepak Dev says.
Indian Express
an hour ago
- Indian Express
Kajol admits she's like the ‘Maa' from K3G who'd whistle and hoot for kids Nysa, Yug when they're on stage: ‘It really embarrasses them'
Nobody slays mothering like Kajol does. The actor will next headline a mythological horror film Maa, which is from the same world as her husband Ajay Devgn's hit Shaitaan from last year. In an exclusive interview with SCREEN, Kajol goes down the memory lane and talks about her most enduring roles as a mother, lessons on motherhood from legendary actor Tanuja, and raising her kids Nysa and Yug Devgan. You've played a lot of memorable 'maa' roles on screen. You weren't a mother in real life the first time you played one in Kabhi Khushi Kabhie Gham (2001). Does it take a different muscle to play a mom when you aren't one, as opposed to when you were one in Fanaa (2006)? I think most women have that slight motherly tendency. But yes, body language comes more naturally when you have a child. There are a lot more things you'd do more instinctively as a mother, as opposed to someone who's never had kids. You were such a mom in K3G, when you whistled and hooted for your son who's going to perform on stage for the first time. Are you like that in real life as well? I am! And trust me, it really embarrasses my kids. My kids have much more severe reactions to that than that poor child ever did (laughs). I've stood up during all of Yug's musical and Nysa's stage performances, where she's surrounded by 15 other girls, and I'm just clapping away. She just (signals her to sit down and not embarrass her). You also played a mom in U Me Aur Hum (2008), with Ajay Devgn as your husband and director. I can't forget the scene where you're heavily pregnant yet skipping rope because you think you've just gained weight, thanks to Alzheimer's disease. How scary was that? It was scary, and for everybody around me. As an actor, you're just doing it. You're not really worried because you know what's going to happen. It's just an enhancement on your belly. But when you see the scene, it just gives you this really shocking feel! Equally scary is the scene in My Name Is Khan (2010) when your son dies. It still gives me goosebumps how you cried your heart out. Do you remember shooting that scene? Yes, it gives me goosebumps too! It was visceral. I remember telling Karan (Johar, director), 'I'm only going to give you one take. So you better have all your cameras lined up! Don't ask me for close-ups or to do it again because I don't think I can do it again. After the scene was over, I kept crying for another 10 minutes. Karan was also crying by the end of it. We were both hugging each other and crying. It took a while to subside. In both We Are Family (2010) and Salaam Venky (2022), you have a star-crossed relationship with your kids. You know it's not going to last long because either you're ill or your son is. How difficult was it for you to translate that on screen? In We Are Family, there are so many nuances and layers underneath. It was fun to play. Salaam Venky was my worst nightmare coming to life. You just can't do anything. You just have to watch your child as he is. He has a wonderful personality and everything's going for him, but you have to see all that go to waste and for him to die in front of you. I almost refused to do the film. I told Revathy (director), 'I'm going to hear you out, but I'm going to say no.' Then of course, I went ahead and did the film because she's such a fabulous director and I think I deserved her. Enough of darkness. How much fun was it to play a helicopter mom in Helicopter Eela (2018)? It was great fun! I definitely was a helicopter mom, but not anymore. My children have grown up and they'll kill me if I try to be one. It's natural for mothers, especially for single mothers who have that responsibility thrust onto them. Eela was a single mother. You're so used to managing everything on your own, you don't know where to draw the line as far as independence is concerned. That's something I learnt from life, so it was easy for me to identify with Eela. In Tribhanga (2021), you have your own mommy issues and you subconsciously end up doing the same deeds to your daughter that your mother did to you. How do you ensure in your life to not let your kids fall in the same patterns that you did? You can't stop certain things regardless of how much you try. But what you can do as a parent is give them different reasons to have therapy rather than have the same reasons you got therapy for. No, I'm just kidding. Today's children are very different from how we are. My kids are far more informed and aware of the world than how I was. I had no clue what the world was about. But the world was also much safer then. Now, because of the internet, it's a completely different world. So today's children have to be brought up very differently. So we've tried to keep the changing world in mind and not be too rigid, but also not allow the change to make too much of a difference in our upbringing. Everyone assumed your daughter is going to be an actor, but it's your son Yug who's got a headstart, right? Yes, he's dubbed in Hindi for Karate Kid: Legends, which he's quite proud of. But he's only 14 right now. I have seen only parts of the film. I'm yet to watch it in full. What have you learnt about motherhood from your mom, Tanuja? The biggest learning I got from my mom was when she sat me down and told me you have to think for yourself, take responsibility for your actions, and live with the consequences, whatever they may be. Credit or discredit, both are yours. I hope I have made my children also understand that particular part of being an adult. How different is your role as a mother in Maa than all the previous times you've played one? It's going to be very, very different. The world is very different. The circumstances are much more extreme as compared to anything I've played before as a mother. It's one of those films that's really challenged me as a person and as an actor, physically as well. But it's also one of those films which have given me a lot of hope. It's a film I'll deeply appreciate forever. Your first tryst with VFX and green screen was in Tanhaji: The Unsung Warrior (2020), where you had to light a diya on top of a castle, but all you could see was the green screen. Since there's a lot of that in Maa, how challenging is it for a spontaneous actor like you? The green screen doesn't give you the space to improvise anything. You really have no choice in the matter. You have to look in a particular way, raise your hand in a particular way, your body language has to be a certain way. If you get a little leeway, you can improvise to a certain extent, but not much. It's a very different way of working and performing altogether. It took a little while getting used to. Wrapping your head around it takes one or two days. And you need to have complete faith in your director. He needs to know what you're doing because you definitely don't. Also Read — Kajol says she's happy when Ajay Devgn goes on 40-day outdoor shoots; admits she had complaints with him: 'In the past…' You take pride in being the queen of taking breaks. But this year, you have three releases — Maa, Sarzameen, and The Trial season 2, and then Maharagni: Queen of Queens next year. How did you manage that? Ya, I was telling somebody that in the 34 years of my career, I've worked more in my 33rd year than I have in the last god knows how many years. It's time for me to take a break, right? (Laughs). All of these came to me at around the same time, and I didn't want to not do them just because of time constraints. I thoroughly enjoyed doing them and am very, very happy with everything that's coming up. This year marks 30 years of your iconic film, Dilwale Dulhania Le Jayenge (1995). How has the Kajol, who played Simran, changed over the years? She's grown exponentially. My life is pretty much out there on the internet. There's nothing about it you haven't seen. But yes, if Simran was a bud, I'm definitely a full-blown flower by now. Maa is slated to release in cinemas on June 27.
Indian Express
an hour ago
- Indian Express
A look inside Rs 400 crore luxury apartment in Mumbai's Worli by Swades actor Gayatri Joshi and husband Vikas Oberoi
Many billionaires, businessmen, top executives, and celebrities have invested in Oberoi Realty's premium 360 West project in Mumbai's Worli. The development features ultra-luxurious 4 BHK and 5 BHK apartments, with Shahid Kapoor, Abhishek Bachchan and Akshay Kumar (who recently sold the apartment) investing here. Not many know, however, that Swades actor Gayatri Joshialso calls it home. Her husband, billionaire Vikas Oberoi, is the chairman and managing director of Oberoi Realty. Recently, YouTuber and real estate enthusiast Enes Yilmazer offered an exclusive peek into both towers of the high-end complex. Three Sixty West gets its name from its soaring 360-metre height and west-facing sea views. In his video tour, Enes steps inside the ultra-spacious apartments and showcases several top-tier amenities, including a private theatre, bowling alley, rock-climbing wall, squash, basketball, and cricket courts, a state-of-the-art gym, multiple swimming pools, and other luxurious in-house facilities. Enes Yilmazer called it 'one of the most prestigious buildings in India.' Tower A comprises 27 residential floors, with one apartment per floor, each sprawling over 16,000 sq ft. The base of Tower A houses the Ritz-Carlton hotel. Tower B, on the other hand, is purely residential and features 66 floors. According to the YouTuber, the listing price is a staggering $50 million (approximately Rs 428.96 crore). As per listings on Square Yard, a 4 BHK apartment (5,235 sq ft) is priced at around Rs 45 crore, while a 5 BHK apartment (6,651 sq ft) is listed for Rs 57.17 crore in Tower B. In 2024, actor Shahid Kapoor reportedly bought two sea-facing apartments in the project for around Rs 60 crore. Actor Abhishek Bachchan also owns flats in the same towers. In February 2023, Radhakishan Damani, founder of DMart, and his associates acquired a massive stake worth Rs 1,238 crore in the same development. Last year, Karan Bhagat, founder and CEO of 360 One (formerly IIFL Wealth & Asset Management), purchased two units for over Rs 170 crore. The promoters of Kiran Gems also acquired a 16,000 sq ft sea-facing apartment in the building for approximately Rs 97.4 crore. In 2023, the promoters of spice giant Everest Food Products bought two luxury apartments for over Rs 143 crore in the project. According to Forbes, Vikas Oberoi's net worth is estimated at around $5.7 billion as of June 2025, placing him among the top 800 billionaires globally. His real estate empire also includes major commercial properties, including a lease with Morgan Stanley. In Forbes' 2024 list of India's 100 richest, Oberoi ranked 50th, with a net worth of $5.9 billion.
