For most of 2025, Mohanlal appeared to be enjoying one of the strongest commercial phases of his career. Back-to-back successes reaffirmed his box-office authority, and the narrative around the “Complete Actor” seemed unassailable. That makes the fate of Vrusshabha all the more startling. Positioned as a big-ticket, pan-Indian spectacle and mounted on a reported budget of ₹70 crore, the film has ended its theatrical run as the biggest commercial disaster of Mohanlal’s career—and one of the most severe box-office collapses seen in recent Indian cinema.

The numbers leave little room for debate. Trade estimates place the film’s India opening day collections at around ₹60–61 lakh, among the weakest openings for a Mohanlal release in the modern era. After six days, worldwide theatrical collections reportedly stalled at approximately ₹2.04 crore. Against a production cost of ₹70 crore, this translates into a recovery of less than three per cent, or a deficit of roughly 97 per cent—an extraordinary figure for a film carrying such scale, ambition, and star value.

A closer look at the language-wise performance underscores the depth of the rejection. On day one, the Malayalam version reportedly collected around ₹46 lakh, while the Hindi version struggled at about ₹2 lakh. Other dubbed versions failed to make any meaningful impact. This was not a case of one market underperforming while another compensated; Vrusshabha failed to connect across the board.

Released on Christmas Day, the film was clearly designed as a festive tentpole. Instead, it encountered swift and decisive resistance from both critics and audiences. Reviews were largely unforgiving, describing the film as an uninspired reincarnation drama weighed down by weak writing and uneven execution. Particular criticism was directed at the visual effects, with several reviewers calling the AI-assisted imagery distracting or even unintentionally comic. The screenplay, meanwhile, was widely labelled rushed and emotionally hollow.

Ironically, the very element meant to anchor the film—Mohanlal’s dual role as a medieval king and a contemporary businessman—proved insufficient. Trade commentary repeatedly pointed to a wafer-thin story and tacky dialogue that failed to exploit the dramatic potential of the concept. In a market increasingly driven by content credibility, scale alone could not compensate for the lack of narrative depth.

The timing of the release further complicated matters. The Christmas corridor was crowded, and competing titles quickly seized audience attention. Most notably, the Hindi hit Dhurandhar dominated the festive box office, leaving little oxygen for a film already struggling with poor word of mouth. Within days, exhibitors in Kerala reportedly began replacing Vrusshabha to minimise losses—a rare and telling move for a Mohanlal-led project. In many centres, the film failed to complete even a full week in theatres.

What makes this collapse particularly historic is the contrast with Mohanlal’s other releases in the same year. L2 Empuraan opened with massive momentum and went on to achieve all-time blockbuster status. Thudarum sustained strong weekend growth to emerge as a blockbuster, while Hridayapoorvam comfortably secured a super-hit verdict. Against these films, Vrusshabha appeared dead on arrival, showing no signs of a weekend rebound.

The day-wise India net figures tell a stark story. From ₹0.60 crore on day one, collections fell sharply to ₹0.32 crore on Friday, then slid further over the weekend, dropping to ₹0.19 crore on Saturday and ₹0.10 crore on Sunday. By Monday and Tuesday, daily numbers were negligible, prompting widespread removal from screens. For exhibitors, the decision was pragmatic rather than dramatic: continuing to run the film meant compounding losses.

Historically, the scale of the failure is what sets Vrusshabha apart. L2: Empuraan reportedly earned more in its first 48 hours than Vrusshabha is expected to make over its entire theatrical lifetime. Ticketing data paints an equally grim picture, with Thudarum clocking millions of admissions while Vrusshabha reportedly managed only around 14,000 tickets in its first five days—a career low for the superstar.

As the industry looks toward 2026, focus shifts to Mohanlal’s upcoming Drishyam 3. Vrusshabha, however, will linger as a cautionary tale—proof that in today’s theatrical ecosystem, star power and scale cannot override weak storytelling. For the trade, it is a reminder that spectacle without substance is no longer a risk worth taking.

Note: Box-office figures mentioned are based on trade estimates and publicly reported data from multiple industry trackers and may vary slightly from final audited numbers.

As New Year 2026 approaches, Nagarjuna Akkineni is closing 2025 on a deeply content note. In a recent interaction, the veteran actor reflected on the past year with gratitude, calling it one of the most satisfying phases of his life — both personally and professionally. According to Nagarjuna, 2025 gave him everything he could have hoped for.

Speaking to ETimes, Nagarjuna described the year as “very, very satisfying,” adding that the greatest happiness came from seeing his sons settled and content in their personal lives. His younger son, Akhil Akkineni, tied the knot with Zainab Ravdjee in June this year, while his elder son, Naga Chaitanya, completed one year of marriage with Sobhita Dhulipala in December.

Reflecting on this, Nagarjuna said that life inevitably comes with its share of challenges, but he feels relieved and proud that both his sons have found happiness. Seeing them settled, he admitted, has brought him immense peace and fulfilment as a father.

On the professional front, 2025 proved equally memorable. Nagarjuna revisited some of his most exciting projects of the year, beginning with Kubera, where he collaborated with Dhanush for the first time. Calling the experience joyful, Nagarjuna noted that both actors share a similar mindset — confident, secure, and unthreatened by each other’s presence on screen.

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Later in the year came Coolie, which marked another major milestone. The film allowed Nagarjuna to work alongside Tamil cinema legend Rajinikanth for the first time. Adding to the significance, Coolie also saw Nagarjuna step into the role of a villain — a first in his long and celebrated career.

Beyond new projects, 2025 also revived nostalgia with the re-release of Shiva. Nagarjuna expressed amazement at the film’s renewed impact, especially among Gen Z audiences. Decades after its original release, Shiva managed to connect with young viewers just as powerfully as it had with audiences 30 years ago. He also shared that internationally, Shiva remains one of the films he is most recognized for, alongside Geethanjali.

Earlier this year, Nagarjuna had also shared an emotional note welcoming Zainab Ravdjee into the family after Akhil’s wedding. The intimate ceremony, held at his home, was a moment of immense joy for him and his wife Amala, making 2025 a year he will always cherish.

For over three decades, A R Rahman has ruled Indian cinema as one of its most celebrated music composers, delivering timeless soundtracks that continue to define generations. Now, in a move that has taken fans completely by surprise, the Oscar-winning maestro is set to make his acting debut—and that too in a full-fledged comedy film titled Moonwalk.

Directed by Manoj N S and produced by Behindwoods Productions, Moonwalk is already being described as one of the most unusual and exciting projects scheduled for a May 2026 theatrical release. Adding to the film’s buzz is the presence of legendary dancer and actor Prabhudeva, who plays a pivotal role alongside Rahman.

In the film, A R Rahman will be seen portraying a fictional “angry young film director,” a character that marks a complete departure from the calm, reserved public image audiences associate with him. Interestingly, this isn’t Rahman’s only first in Moonwalk. The composer has also lent his voice to all five songs in the film, giving the soundtrack a singular and cohesive musical identity.

Talking about the collaboration, director Manoj N S shared his excitement about filming the song “Mayile” with Rahman and Prabhudeva. He revealed that the number turned into a visual treat, with Prabhudeva delivering one of his finest dance performances. Manoj also thanked choreographer Sekhar Master for elevating the song with his creative vision.

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What makes Rahman’s presence even more special is that he appears throughout the song, adding what the director described as a “cute charm” and a “very special vibe.” After witnessing Rahman’s comfort on camera, Manoj decided to expand his role beyond the song. The composer graciously agreed, leading to a surprise scene that audiences won’t see coming. According to the director, the entire set was thrilled watching Rahman enjoy himself as an actor, making the moment truly memorable.

Prabhudeva essays the role of Babootty, a young and passionate film choreographer, while comedian Yogi Babu adds to the madness by playing multiple quirky characters, including Kavarimaan Narayanan and Dubai Mathew. Manoj has teased a major surprise related to Yogi Babu’s role, which will be revealed at the audio launch.

With a strong ensemble cast featuring Aju Varghese, Arjun Ashokan, Redin Kingsley, Rajendran and several others, Moonwalk promises a laugh-packed cinematic experience—one that will showcase A R Rahman like never before.