‘Veera Dheera Sooran’ box office collections day 5: Vikram’s action drama crosses Rs 23.50 crore mark

Vikram has made a powerful comeback with ‘Veera Dheera Sooran’, which continues to perform well at the box office. The action-packed film has garnered Rs 23.50 crore in just five days, maintaining a steady hold despite the weekday drop.

According to early estimates by the Sacnilk website, ‘Veera Dheera Sooran’ earned approximately Rs 4.35 crore on its first Monday. The Tamil version remains the biggest contributor, while the Telugu version has also found its audience.
Veera Dheera Sooran
On Day 5, Veera Dheera Sooran maintained an overall 35.52% Tamil occupancy, with night shows seeing peak attendance at 42.50%. The Telugu version had an overall 23.45% occupancy, showing a better turnout in the afternoon slot at 33.61%.
Directed by [Director’s Name], the film features an ensemble cast, including S. J. Suryah, Dushara Vijayan, Siddique, and Suraj Venjaramoodu. Vikram’s electrifying performance and high-energy action sequences have been major crowd-pullers, contributing to its box office success.
'Veera Dheera Sooran' stars Vikram as Kaali, a reformed gangster drawn back into a world of crime during a temple festival in Madurai. The story is over a single night as Kaali faces off against rival gangsters Ravi and Kannan while assisting SP Arunagiri played by S.J. Suryah is settling an old score.

ETimes gave the film a rating of 3 stars out of 5 and our review reads, “The film would have remained unique and engaging (and also justifying the Part 2 in the title) if Arun Kumar had trusted his audience and chosen to show us only the events that unfold during this one night. Perhaps he felt breaking the convention of providing a flashback would be too risky a move, but the director decides to give us the back story (at least the portions that matter), including the ‘Sudhakar sambavam’. This is where the film begins to lose its individuality as the back story that we eventually get doesn’t match with what we have all built up in our heads all through the first half; rather, it just feels so routine! The film does recover from this minor setback when it gets back to the present with an ambitious one-shot set piece (shot with dynamism by Theni Eswar, whose night-time cinematography is one of the film’s strong points) that begins with a group of characters discussing who among them could be the black sheep and moves on to a shootout between cops and gangsters, and then to a heroic moment.”