Ramayana Worldwide Box Office: Ranbir Kapoor–Yash epic enters ALL-TIME TOP 5 Bollywood grossers excluding China; ranks No. 6 including China

Ranbir Kapoor and Yash's mythological epic, *Ramayana* – Part I, directed by Nitesh Tiwari, has etched another monumental achievement into box office history by surpassing the prestigious Rs.1000 crore threshold, with global gross collections now reaching an impressive Rs.1010.60 crores.This remarkable feat propels the film into the elite echelon of the Top 5 highest-grossing Bollywood productions of all time on a worldwide basis, provided that revenue from China is excluded.Notably, upon incorporating Chinese collections, the film assumes the sixth position in the all-time rankings.

This distinction holds particular intrigue given China's historically substantial impact on Bollywood's global box office standings; the inclusion or exclusion of revenues generated within the Chinese market can fundamentally alter a film's worldwide ranking, as certain productions have achieved extraordinary commercial success in that specific region.

Excluding the Chinese market, the all-time global box office rankings place *Dhurandhar: The Revenge* (2026) at the summit with a worldwide gross of ₹18,524.40 crore, followed closely by *Dhurandhar* (2025) at ₹13,508.30 crore.

*Jawan* (2023) claims the third position with earnings of ₹11,483.20 crore, while *Pathaan* (2023) secures fourth place with ₹10,503.00 crore.By amassing global collections totaling ₹10,106.00 crore, *Ramayana* has clinched the fifth spot, thereby joining an exclusive cohort of Bollywood's most significant international blockbusters.

Remarkably, the film now necessitates an additional 39.70 crore rupees to equate its global lifetime gross with that of *Pathaan*, thereby positioning itself nearer to the fourth place.

Incorporating data from Chinese collections into the analysis results in a reconfiguration of the rankings.

Amidst this compilation, *Dangal* (2016), featuring Aamir Khan, claims the premier position, having amassed an extraordinary Rs.

1968.03 crores globally.*Dhurandhar The Revenge* trails closely in second place, while *Dhurandhar*, *Jawan*, and *Pathaan* secure the third, fourth, and fifth slots, respectively.Consequently, *Ramayana* assumes the sixth rank, generating Rs.1010.60 crores.

Ektaa R Kapoor and Amar Butala announce Sajid Khan’s horror film Hero Ki Horrorine on Friday the 13th, watch motion poster

On the fifteenth day of the month of May, a date historically imbued with superstition and ominous portents, Ektaa R Kapoor and Amar Butala have unveiled the title of their forthcoming horror feature, Hero Ki Horrorine.Under the direction of Sajid Khan, this production from Jai Ho Media Ventures is presented by Balaji Telefilms Ltd.and brought to fruition by Shobha Kapoor, Ektaa R Kapoor, and Amar Butala.The film is slated for its theatrical release in the year 2027.

Concurrent with the title announcement, the production team has unveiled the inaugural poster, providing a harrowing preview of the film's terror-infused narrative.

The imagery depicts a menacing female entity adorned in a crimson sari, her form obscured by a cascading mass of hair.Her visage is profoundly distorted, characterized by pallid, sightless eyes, jagged dentition, and talon-like digits, all contributing to an atmosphere of profound unease.Positioned against a backdrop of obsidian smoke and shadow, this visual establishes what appears to be the story's central antagonist.While the title evokes the archetype of a heroine, the first glimpse reveals a profoundly disturbing figure who serves as the narrative's focal point.

Following a year defined by a robust slate of theatrical and television endeavors, Ektaa R Kapoor has reasserted her prominence in the industry.

Her cinematic efforts, notably *Bhooth Bangla*, which achieved significant box-office triumph, and *The Vvaan*, which secured a dedicated viewership, underscore her versatility across the screen.Simultaneously, her television portfolio has been bolstered by her contributions to Balaji's fiction lineup through *Kyunki Saas Bhi Kabhi Bahu Thi 2* and *Naagin 7*.Furthermore, the production house is actively broadening its digital footprint by leveraging a strategic partnership with YouTube to distribute exclusive premium content.In this latest venture, *Hero Ki Horrorine*, Kapoor revisits the horror genre, a medium she has previously navigated by fusing supernatural elements with mainstream entertainment.

Amar Butala, the producer behind commercially successful ventures like *Bajrangi Bhaijaan*, *Kesari*, and the critically lauded *Mission Majnu*, has partnered with Kapoor on this theatrical undertaking.

Under the direction of Sajid Khan, the project synthesizes the creators' established prowess in mainstream cinema with the conventions of the horror genre.

The Friday the 13th title announcement establishes a distinctive atmosphere for the film, which pledges to present audiences with an unconventional interpretation of the heroine archetype.

Produced by Shobha Kapoor, Ektaa R Kapoor, and Amar Butala under the banner of Jai Ho Media Ventures, and presented by Balaji Telefilms Ltd, the project distinguishes itself through this novel approach to its central character.

Amit Sadh makes SHOCKING confession: “I don’t know why certain filmmakers and casting directors are UPSET with me and why they don’t give me work”

 Amit Sadh has cultivated a devoted fanbase, bolstered not only by his striking appearance and formidable acting prowess but also by his forthright, pragmatic demeanor beyond the camera. Over the past few years, he has garnered critical acclaim for his nuanced portrayals in highly regarded productions such as *Breathe*, *Avrodh: The Siege Within*, and *Jeet Ki Zid*.He is now poised for the theatrical debut of his forthcoming film, *Pratap*.Notably, this release signifies his first major cinematic role in eight years to receive a proper theatrical outing, with his previous significant release being *Gold* (2018).

In our conversation with Amit Sadh, it is evident that he possesses a profound comprehension of the craft of filmmaking.

Consequently, we inquired whether he harbors an aspiration to direct a feature film. Responding with characteristic poise, Amit Sadh stated, "I do not currently hold such an ambition. My sole desire is for Pratap to succeed; the dream that brought Warna to Mumbai will inevitably falter," he added with a laugh.

He added, On a serious note, as a creative person, you can do anything.

You just need to find the right voice at the right time.Right now, I just want to do some great work and get more work.A lot of people tell me, We don't get to see you enough (in films and shows)’.Lekin main parda laga ke ghar pe nahin baitha hoon.I know the audience wants to see me.I really hope filmmakers and casting directors finally wake up and give me more work.I don’t know why they are so upset with me and why they don’t give me work.I want to work.In my capacity as an actor, I stand prepared to proceed, yet I harbor the expectation that Pratap will alter my circumstances.

He signed off by stating, Main haarne waala insaan nahin hoon.

Main haarne aaya hi nahin hoon!You know me, I am a fighter.I am a gladiator.Ladte rahoonga (laughs).”

Most violent Godzilla film ever, Godzilla Minus Zero NOT rated ‘A’ in India despite R rating overseas; CBFC grants U/A 16+ certificate

 Bollywood Hungama has consistently maintained a leading position in chronicling the trajectory of the Indian theatrical rollout for *Godzilla Minus Zero*.As early as September, we secured an exclusive dialogue with Kamal Gianchandani, serving concurrently as Chief Business Planning and Strategy at PVR INOX Limited and CEO of PVR INOX Pictures Limited, who officially validated the impending arrival of this anticipated Japanese production.Subsequently, on November 11, we engaged with Nayana Bijli, Lead for Distribution, Licensing, and Content Acquisition at PVR INOX Pictures Limited, who definitively confirmed that the release of *Godzilla Minus Zero* in India is scheduled to commence on November 20.

With the censorship procedures for *Godzilla Minus Zero* now finalized, the Central Board of Film Certification (CBFC) has officially granted the Japanese monster epic a U/A 16+ rating as of November 13, according to the board's website.

Notably, *Godzilla Minus Zero* secured an R rating and corresponding adult designations across nearly all significant global markets, including the United States, the United Kingdom, and Australia, signaling an unprecedented departure from the franchise's traditional theatrical profile.

This classification has ignited considerable enthusiasm among dedicated fans, horror aficionados, and cinephiles alike.The rating is widely interpreted by audiences as definitive evidence that the filmmakers have committed fully to an unflinching portrayal of violence.Given that the film did not receive an 'A' certificate in India, the question now remains whether the Central Board of Film Certification will approve the release without alterations or impose censorship on its more disturbing sequences.

Indeed, it is a recurring phenomenon where films deemed suitable for audiences under the age of eighteen receive a more stringent classification within the Indian cinematic landscape.

A recent instance of this occurred with *The Devil Wears Prada 2*, which, while permitted for all age groups in the majority of countries, was granted an 'A' certificate by the Central Board of Film Certification (CBFC) in India, a decision that provoked widespread surprise among viewers.Critics widely contended that the film merited a clean 'U' (Universal) rating instead, reflecting its actual content and lack of material inappropriate for younger audiences.

The official censor certificate confirms that the runtime of *Godzilla Minus Zero* totals 137 minutes and 25 seconds, equivalent to two hours, seventeen minutes, and thirty-five seconds.

The film is set to receive an IMAX release across India.

Moushumi Chatterjee’s husband Jayanta Mukherjee passes away

Jayanta Mukherjee, a distinguished veteran film producer, passed away in Mumbai on November 12 at the age of late 70s; a son of the legendary singer-composer Hemant Kumar and husband to acclaimed actress Moushumi Chatterjee, he had reportedly been in declining health for some period prior to his death.The news of his demise was officially confirmed by BN Tiwari, who serves as the President of the Federation of Western India Cine Employees (FWICE).

The passing of Jayanta Mukherjee, the spouse of Moushumi Chatterjee, has been reported.

In an interview with PTI, Tiwari stated that he passed away last evening due to age-related issues at his residence in Khar.

Reports indicate that Jayanta passed away at his residence following a decline in his health, which had been compromised by pre-existing age-related conditions.

To date, his family has not issued a comprehensive public statement concerning his death.

Jayanta Mukherjee's association with films and television

Operating discreetly within the entertainment sector as a film producer, Jayanta Mukherjee established a production portfolio that encompassed notable titles such as *Biwi Aur Makan* (1966), *Mazaaq* (1975), and *Do Ladke Dono Kadke* (1979).

The latter two productions, alongside *Mazaaq*, prominently featured Moushumi Chatterjee in significant roles.Beyond his cinematic endeavors, Mukherjee was also linked to the television series *Talaash*, which broadcast in 1992.

Born into a distinguished lineage of musicians, Jayanta was the son of Hemant Kumar, a towering figure in Indian cinema celebrated for his exceptional contributions as both a singer and music composer.

Furthermore, he maintained a professional affiliation with the music department of Biwi Aur Makan.

Jayanta Mukherjee and Moushumi Chatterjee's family

Jayanta and Moushumi Chatterjee wed in 1972, embarking on a union that endured for over five decades.

The couple was the parent of two daughters, Payal and Megha.Their eldest child, Payal Mukherjee, succumbed to health complications in December 2019 at the age of 45.

Jayanta leaves behind his wife, Moushumi, and his younger daughter, Megha.

Will Ashneer Grover join Karan Johar and Malaika Arora on Pitch To Get Rich Season 2? Here’s what we know!

Rumors suggest that Ashneer Grover, the former co-founder and managing director of BharatPe, may soon rejoin the pitch table as a judge on Season 2 of Pitch To Get Rich.Should this appointment be confirmed, his presence alongside Karan Johar and Malaika Arora would significantly amplify the caliber of the panel, infusing the series with greater business acumen.Consequently, this expanded lineup would subject fashion founders' expansion strategies and valuations to a more rigorous examination.

Grover emerged as one of the most prominent figures in Season 1 of Shark Tank India, renowned for his incisive one-liners and forthright critiques, which frequently sparked viral reactions; while some audience members valued his unvarnished honesty, others perceived his approach as excessively severe toward the founders.

Following this appearance, he ventured back into the realm of reality television through the series Rise and Fall.Subsequently, his participation in Pitch To Get Rich returned him to a format specifically designed for entrepreneurs to present their cases for investment.

Season 1 of *Pitch to Get Rich* assembled fourteen visionary founders within the fashion and lifestyle sectors to contend with tangible business hurdles and secure investment through strategic pitches.

Renowned figures in fashion, commerce, and entertainment joined Karan Johar and Malaika Arora on stage, providing a platform where these entrepreneurs rigorously defended their strategic frameworks, negotiated valuation terms, and articulated compelling cases for institutional support of their respective brands.

Season 2 is widely speculated to include high-profile guests from the realms of Bollywood, commerce, and the creative industry, with notable names such as Malaika Arora, Karan Johar, Akshay Kumar, and Sanjay Nigam already associated with the upcoming cast.

Notably, Grover was recently pictured alongside Arora and Johar during footage from the season's wrap party; however, his official capacity on the program remains unconfirmed at this time.

Parivarik ManuRanjan Movie Review: PARIVARIK MANURANJAN is a sweet, heartwarming entertainer

Parivarik ManuRanjan Review {3.0/5} & Review Rating

Star Cast: Pankaj Tripathi, Aditi Rao Hydari

Movie Review: PARIVARIK MANURANJAN is a sweet entertainer that stands out in today’s times 

Director: Varun V Sharma

Parivarik ManuRanjan Movie Review Synopsis:

PARIVARIK MANURANJAN chronicles the profound bond that evolves between a man and his housekeeper.

Ranjan Dubey, portrayed by Pankaj Tripathi, is a forty-year-old, unmarried civil servant employed by the electricity department, who resides in splendid isolation within the palatial Dubey Niwas.Eager to alleviate the burden of solitary domestic labor, his neighbor, colleague, and closest confidant, Rajaram (Brijendra Kala), persuades him to engage a maid.To locate a suitable candidate, Rajaram broadcasts a recruitment video on Facebook, inviting individuals interested in 24-hour housekeeping services to apply, while explicitly offering complimentary lodging and board.The following day, Helen (Aditi Rao Hydari) arrives at the Dubey Niwas to submit her application for the position.Upon realizing the absence of any female staff, she initially hesitates; however, Ranjan's benevolent demeanor ultimately persuades her to accept the position.Consequently, Ranjan's domestic existence improves markedly, now supplemented by freshly ironed garments and exquisite home-cooked meals, while simultaneously awakening an attraction toward Helen.Unbeknownst to him, Helen conceals a profound secret: her true identity is not Helen, but Manu Joshi.The subsequent narrative developments constitute the remainder of the film.

Parivarik ManuRanjan Movie Story Review:

Amidst an era dominated by hyper-macho cinema, the narrative crafted by Brijendra Kala, Ali Abbas Zafar, and Varun V Sharma emerges as both poignant and urgently required.

Their screenplay is notably breezy and heartwarming, yet it is not without its shortcomings, as the writing falters in certain instances.Brijendra Kala's dialogue contributes significantly to the film's levity, while the climactic monologue stands out as a dramatically potent and masterfully articulated set piece.

Varun V Sharma's directorial vision is notably straightforward, evoking the timeless sensibilities found in the cinematic oeuvres of Hrishikesh Mukherjee and Basu Chatterjee.

A further parallel may be drawn with the recently released Malayalam feature *Bethlehem Kudumba Unit* (2026), for both narratives explore the dynamic of an older man drawn to a younger woman.Yet, this resemblance dissolves thereafter, as the milieu, setting, and characterizations diverge entirely.The affectionate bond forged between Ranjan and Manu is profoundly heartwarming; indeed, the film maintains a consistent levity, eliciting smiles from beginning to end.As is frequently observed in small-town contexts, the presence of a young, beautiful woman residing within the home of a single man inevitably provokes scrutiny, a social nuance that the film renders with considerable finesse.An unforeseen pivot at the narrative's midpoint heightens the intrigue, while the conclusion delivers a climactic resolution that is both compelling and entirely warranted.

Conversely, it is perplexing that Ranjan fails to demand identity verification when a mysterious woman presents herself for employment, despite this being a fundamental safeguard in contemporary society.

Although Manu's family is referenced repeatedly throughout the narrative, they remain conspicuously absent from the screen; an exploration of her kin would have added significant depth to the story.Certain plot developments prove baffling, particularly the coercion exerted by Ranjan's sisters to force Manu into labor during the mundan ceremony.Furthermore, the circumstances precipitating Ranjan's decision to hire a full-time maid appear abrupt and lack credibility.Finally, the specific manner in which Mukesh Tiwari's character is duped is difficult to reconcile with logical expectation.

Parivarik ManuRanjan Movie Review Performances:

Pankaj Tripathi is ideally suited for the role of Ranjan Dubey, a character defined by a gentle and unthreatening demeanor.

Tripathi's distinctive persona and comportment render Helen's decision to remain in Ranjan's isolated residence entirely convincing.Furthermore, the actor infuses the film with humor through his unique idiosyncrasies and delivers a compelling performance during the film's confrontation sequences.

Aditi Rao Hydari commands the screen with a captivating presence, fully inhabiting her character's essence.

Her arresting aura and inherently pleasing demeanor significantly elevate what is already a nuanced performance.The on-screen chemistry between her and her co-star is nothing short of exceptional.Brijendra Kala and Sunita Rajwar, portraying Tamanna, remain as reliable and compelling as ever.Mukesh Tiwari, in the role of Bhoop Singh, commands attention through his authoritative screen presence.Vijayant Kohli, as Harishankar, and Neelu Dogra, embodying Babita, provide robust and credible support.Kumar Saurabh, cast as Chaurasiya, a panwallah, consistently elicits laughter with his comic timing.Further strengthening the ensemble are Ghanshyam Garg, who plays Ghanshyam, an office colleague; Jyoti Pandey, portraying Jyoti Kumari, a police officer; Sunil Kumar Verma, as Sunil Gupta, the boss; and Niharika Porwal, depicting Swati, another office colleague, all of whom deliver commendable performances.

Parivarik ManuRanjan movie music and other technical aspects:

While the film's musical suite is generally competent, "Jingle Bell" and "Sir Sir Sir" distinguish themselves as exceptional highlights.

"Chaaap Tilak" proves equally effective, deriving its impact primarily from its visual execution.Furthermore, Joel Crasto's background score seamlessly aligns with the cinematic atmosphere.

Anup Singh's cinematography meets the requisite standards of competence, while Vikram Singh and Ravin Karde deliver an authentically grounded production design.

Vineet Chauhan's costuming for Pankaj Tripathi achieves a remarkable degree of realism, whereas Chandrakant Sonawane's attire for Aditi Rao Hydari masterfully balances quotidian authenticity with a subtle, calculated glamour; the remaining characters' ensembles, crafted by Malvika Bajaj, are satisfactory.Complementing these visual elements, Steven Bernard's editing possesses a breezy, effortless rhythm.

Parivarik ManuRanjan Movie Review Conclusion:

Overall, PARIVARIK MANURANJAN distinguishes itself as a delightful and heartwarming cinematic experience amidst a contemporary landscape dominated by extravagantly scaled, action-centric productions.

This film succeeds through its uncomplicated narrative arc, its capacity to evoke genuine sentimentality, and the magnetic, affable rapport shared between Pankaj Tripathi and Aditi Rao Hydari.