Metro In Dino box office collection day 1 early report: Sara Ali Khan and Aditya Roy Kapur’s Metro In Dino released on July 4 to mixed reviews. The romantic musical, directed by Anurag Basu, also features Fatima Sana Shaikh, Ali Fazal, Neena Gupta, Konkona Sen Sharma, Pankaj Tripathi, and Anupam Kher. Despite its ensemble cast, the film has received a lukewarm response at the box office. According to early estimates from industry tracker Sacnilk, it opened with Rs 2.63 crore nett in India on day one.
On Friday, the film recorded an overall Hindi occupancy of 13.62% in theatres, with morning shows at 8.64%, afternoon shows at 14.24%, and evening shows at 17.99%, according to Sacnilk. Bengaluru reported the highest occupancy on day one, at 28.33%.
Advance bookings for Metro In Dino brought in only Rs 50–60 lakh, a relatively low figure. Given the mixed response from both critics and audiences, it remains uncertain whether the film will gain momentum over its opening weekend. However, it’s worth noting that the movie is already ahead of its predecessor, Life in a… Metro (2007), which earned Rs 87 lakh on its opening day and went on to collect Rs 24.31 crore worldwide over its lifetime.
Anurag Basu’s Metro In Dino is facing tough competition from Kajol’s Maa, Aamir Khan starrer Sitaare Zameen Par, Brad Pitt’s F1 and new release Jurassic World: Rebirth. The latest installment of the Jurassic franchise, starring Scarlett Johansson, Mahershala Ali and Jonathan Bailey, has already earned Rs 4.43 crore in India.
An excerpt from SCREEN’s review of Metro In Dino read, “What I really enjoyed in the film were the nimble writerly leaps and the people speaking to each other as people do, in sentences which feel as if they are coming from the character’s lives, rather than rehearsed dialogues on the page. Yes, there is the occasional floweriness, but that’s just Basu leaning into his bent for amping up the mundane. As the architect of edifices full of messy emotions and registering graphs of hurt and happiness, Basu retains his old touch, and I found myself smiling in the dark, especially in the first half. Things do slacken post-interval; a couple of crucial situations repeat themselves, and the film strains to fill its nearly three hour length.”
