Jailer Box Office Collection and Move Review


With a whirlwind of cinematic enthusiasm, Rajinikanth’s latest film “Jailer” has swiftly grabbed the spotlight among audiences across India, yielding substantial box office earnings within its initial three days of release. The film’s multi-lingual charm has struck a chord with a wide array of audiences, as evidenced by its impressive collection numbers in various languages.

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Jailer Movie Box Office Collection 

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Jailer box office collection

Talking about Jailer Box Office Collection, Day 1 witnessed a grand opening for Rajinikanth’s new movie, as the curtain unveiled with a thrilling Day 1 collection of ₹48.35 crore, setting an auspicious tone for its cinematic voyage. This initial excitement was further fueled by its multilingual appeal, with the Tamil version contributing ₹37.6 crore, the Telugu version adding ₹10.2 crore, and a modest ₹0.2 crore from the Kannada version. The Hindi version also managed to secure ₹0.35 crore in the Hindi belt, according to Sacnilk.

Day 2 maintained steady momentum for Rajini’s “Jailer,” as it continued to enchant audiences and garnered an impressive collection of ₹26.56 crore. The Tamil and Telugu versions maintained their strong allure, accumulating ₹21.52 crore and ₹4.71 crore, respectively, as reported by Sacnilk. The Kannada and Hindi versions made their presence felt with contributions of ₹0.2 crore and ₹0.13 crore, respectively, establishing a steady foothold across different linguistic regions. Despite a slight decline of 45.07% from its opening day, the film’s impact remained resolute.

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Moving on to Day 3, a promising Saturday unfolded for “Jailer” as it upheld its charm, amassing an estimated collection of ₹30 crore. While the potential for higher figures is yet to be confirmed, the movie seems poised for a triumphant journey ahead. The cumulative three-day collection has surged to an impressive ₹104.91 crore, as reported by Sacnilk.

What truly distinguishes “Jailer” is its remarkable ability to transcend linguistic barriers and captivate audiences across varying language preferences. The Tamil version continues to lead with a substantial contribution of ₹37.6 crore, closely trailed by the impressive ₹10.2 crore from the Telugu version. The Kannada and Hindi versions have also left their mark, making contributions of ₹0.2 crore and ₹0.35 crore, respectively.

Jailer Movie Review

Jailer Movie Review

The action-packed film “Jailer,” featuring Rajinikanth, made its worldwide theatrical debut on a Thursday. Reviews from critics, trade analysts, and the general public on Twitter largely leaned towards the positive side. Directed by Nelson, the movie boasts an ensemble cast including Jackie Shroff, Shiva Rajkumar, Ramya Krishnan, Vinayakan, Tamannaah Bhatia, Vasanth Ravi, Yogi Babu, and Mohanlal. Notably, the song “Hukum” also garnered attention in numerous tweets, sparking a trend on Twitter.

Rajinikanth’s journey as an actor, as aptly captured in a quote from our review of his debut film “Apoorva Raagangal” (1975), “Newcomer Rajinikanth is dignified and impressive,” has maintained its essence even after nearly five decades. The actor’s charm and charisma, cherished by fans, continue to resonate, as demonstrated through his iconic dialogue “Vayasanalum un style-um, azhagum…” from “Padayappa.” This seasoned charisma, combined with Nelson’s unique filmmaking touches, converges to create an engaging cinematic experience in their latest collaboration, “Jailer.”

In the film, Rajinikanth portrays Muthuvel Pandian, a retired jailer who dedicates his time to helping his grandson’s YouTube channel by filming videos. However, when his son Arjun (Vasanth Ravi), an upright police officer, delves into an idol smuggling operation, Muthu’s tranquility is disrupted. Holding his unwavering principles accountable for his son’s predicament, Muthu reenters a world he had chosen to step away from voluntarily.

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With a penchant for intriguing ideas enhancing relatively straightforward plots, Nelson’s previous films have consistently displayed his directorial finesse. “Jailer” follows this trend. It might remind seasoned audiences of “Thangappathakkam” (1974) and younger viewers of Kamal Haasan’s recent hit “Vikram.” Both films, featuring legendary actors in roles aligned with their age, narrate stories of men who once held official positions but are now set on a path of vengeance for their sons’ suffering. However, the similarities cease there, as “Vikram” expands within a cinematic universe, while “Jailer” compresses a cinematic universe into a single feature. Nelson artfully weaves an array of characters into the narrative, fitting them together like pieces of a grand puzzle despite their limited screen time.

One of the pillars supporting “Jailer” is its fast-paced screenplay, throwing the audience into the action from the start. Muthu’s mission kicks off within moments, propelling the film into high gear until the intermission. However, the second half of the film encounters some inconsistencies. Although the appearances of Mohanlal and Shiva Rajkumar in cameo roles are noteworthy, the introduction of other characters in the latter half doesn’t achieve the same impact.

Despite Nelson’s past efforts, strong female characters continue to elude his narratives, a trend also present in “Jailer.” The anticipated reunion of Rajini and Ramya Krishnan, reprising their “Padayappa” roles, may not meet the sensational expectations. Vinayakan delivers an excellent performance as the menacing antagonist, yet his character Varma falls short of becoming a formidable adversary to Muthu. Moreover, while Muthu advocates for righteousness, his own flashback glorifies custodial violence.

Rajinikanth’s commanding on-screen presence and Nelson’s distinctive blend of humor and fan service constitute the film’s digestible essence. Notably, this dynamic extends beyond mere fandom, seamlessly incorporating inspirations that Nelson subtly embeds from his admiration for the Breaking Bad series. This influence is evident across his previous films and surfaces once more in “Jailer.” Echoes of Breaking Bad emerge, with Muthu’s character drawing parallels to the beloved figure of Mike Ehrmantraut from the series.

Even Varma’s hidden lair bears resemblance to the subterranean laboratory concealed beneath the industrial laundry, and the trope of using acid for body disposal serves as a direct homage. Embedded throughout the film are Easter eggs that pay tribute to Rajini’s filmography. From references to “Baasha” to a scene that caters to Rajini’s ‘snake sentiment,’ a nod to his iconic “Na oru thadava sonna” dialogue, and the amalgamation of his character names Muthuvel Pandian, intertwining “Muthu” and “Alex Pandian,” these elements not only gratify but also invoke nostalgic cinema moments cherished by generations.

Complementing these facets are well-executed action sequences, amplified by Anirudh’s impactful score and artfully captured by Vijay Kartik Kannan’s lens. The film boasts a variety of mass sequences, a characteristic previously absent in Nelson’s last film “Beast.” Rajini’s recent movies, “Annaatthe” and “Darbar,” fell short of expectations, opting for a safer route throughout their narratives.

While “Jailer” may not achieve perfection, Rajinikanth’s towering presence and Nelson’s robust storytelling combine to deliver a commendable resurgence for both the actor and filmmaker.

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