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Daayra box office collection Day 2: Kareena Kapoor-Prithviraj film sees 89.57% jump
After recording the lowest opening of Kareena Kapoor's career, Daayra saw a 89.57 per cent jump in its India net collection on Saturday.
Daayra Box Office Collection Day 2: Prithviraj and Kareena’s Daayra has collected Rs 3.33 crore net in two days.
Daayra box office collection Day 2: Meghna Gulzar’s crime thriller Daayra, starring Prithviraj Sukumaran and Kareena Kapoor Khan in the lead roles, hit the big screen on September 18. While on Day 1, the film made only Rs 1.15 crore, it recorded a 89.57% growth in its India net collection on the second day.
According to industry tracker Sacnilk, Daayra earned around Rs 2.18 crore on Saturday, taking its two-day India net collection to Rs 3.33 crore.
Daayra recorded an overall occupancy of 20.46% on Saturday. Its occupancy was 8.15% in the morning, 19.77% in the afternoon, 27.23% in the evening and 26.69% at night.
Among major cities, Bengaluru recorded the highest overall occupancy at 45.3%, followed by Chennai at 28.5%, Bhopal at 26% and Pune at 24%. The National Capital Region recorded 23% occupancy, while Mumbai registered 20%.
Recently, veteran trade analyst Taran Adarsh tweeted about Daayra. His post read, “#Daayra benefitted from the #BOGO ticket offer on Saturday, which continues on Sunday [today] as well… The film needs a massive turnaround today, especially at multiplexes where it is performing best, to recover the shortfall before the crucial weekdays set in. #Daayra [Week 1] Fri 1.15 cr, Sat 2.18 cr. Total: ₹ 3.33 cr. Official Nett BOC | #India biz | #Boxoffice.”
While Daayra’s makers will be hoping for stronger footfalls over the weekend, the film has received a mixed response from critics. An excerpt from SCREEN’s review of the movie read, “Given the source material, and the way encounter specialists have been treated as heroes by our movies (remember Ab Tak Chappan?), I was hoping for a powerful film which would examine the troubling aspect of the upholders of law who take it into their own hands, as it goes about excavating the whys and wherefores of the crime. But this time around, the result is disappointing, the matter-of-factness in the telling coming off more as dryness: it’s one thing to examine the innards of an ‘encounter’ killing, and quite another to position yourself quite so ambiguously around its legality.”