Kamala Hassan, Vijay Sethupathi and Fahadh Faasil starrer Vikram has become a rage amongst the audience. The biggest proof to this is the fact that the film has already breached the 150 crore mark at the worldwide box office within the first weekend. In fact, it also emerged as the highest grossing film post pandemic in Kerala.
According to trade analyst Ramesh Bala, Vikram has been doing well in India, and across the globe. The film, in three days, has already crossed the Rs. 150 crore mark. It has also been doing well in other South states. The trade analyst mentions that “#Vikram is now Pandemic era’s Highest grossing Tamil movie in #Kerala.” In another tweet, he mentioned, “After #Valimai and #Beast, #Vikram becomes the 3rd Tamil movie to cross ₹ 10 Crs gross mark at the #Karnataka Box office in 2022..”
#Vikram has crossed ₹ 150 Crs at the WW Box office in 3 days.. 🔥
— Ramesh Bala (@rameshlaus) June 6, 2022
Moreover, he mentions, “#Vikram Tamil might become All-time No.1 Tamil movie in #UAE 🇦🇪 and #GCC.” He also added, “#Vikram / #VikramHitlist will become 2022 ‘s Highest Grossing Kollywood movie, both in India 🇮🇳 and Overseas.” The film has also been doing well in New Zealand and Australia. However, the collections of the film remain low in Singapore.
Among the movies released till now.. https://t.co/el4QwkkjtJ
— Ramesh Bala (@rameshlaus) June 6, 2022
Vikram had released alongside Akshay Kumar and Manushi Chhillar starrer Samrat Prithviraj and Adivi Sesh’s Major in India. The Lokesh Kanagaraj film opened amidst much fanfare. News18’s review of the film read, “The start has a promise, but Vikram is allowed to be wasted later. The movie plays out at many levels – there is the case of a consignment of missing drugs (Suriya has a cameo as the crime boss), and there is the intriguing event of masked men going about killing cops with Karnan’s (Haasan) father falling victim, and there is the revenge saga. Trying to crack the crime is Amar – Faasil in a brilliant piece of portrayal as the head of a police team chasing Sethupathi’s Santhanam (a fearsome drug lord). And towards the end, we are offered a twist that is both fascinating and foxing! Loopholes and logical discrepancies are aplenty, but the shots and cuts are lovely, even rhythmic. Girish Gangadharan’s camerawork is top class. Wish the writing had been good and realistic. Suspension of disbelief is past, history. It does not work anymore.”
