Khuda Haafiz: Chapter II box office day 1: Vidyut Jammwal's revenge film has a disappointing opening, mints Rs 1.5 crore

The Vidyut Jammwal starrer Khuda Haafiz: Chapter II- Agni Pariksha was released into the theatres yesterday (July 8) and is a sequel to his 2020 film Khuda Haafiz. The movie has been helmed by Faruk Kabir. Despite some amount of buzz, the movie has opened to poor collections, earning a mere Rs 1.5 crore.

Talking about the same, according to a news report in Pinkvilla, Khuda Haafiz: Chapter II- Agni Pariksha earned only Rs 1.5 crore. The movie has opened up to mixed reviews but it will be interesting to witness if the loyal fanbase of Vidyut Jammwal will play a crucial role in improving the collection of the movie. However, if the earnings of the movie remain this low, it might join the league of the recent box office duds like Rashtra Kavach Om , Heropanti 2, Nikamma , and Dhaakad.

The film also stars Shivaleeka Oberoi , Sheeba Chaddha , and Dibyendu Bhattacharya in the lead roles. It takes off from the plotline of the first movie. The story revolves around Vidyut Jammwal’s character Sameer Choudhary facing new antagonists after a personal tragedy hits him hard for the second time.

Desimartini’s review for Khuda Haafiz: Chapter II- Agni Pariksha read, “However, Khuda Haafiz: Chapter II- Agni Pariksha could've been curated as an adrenaline-pumping revenge drama if only the predictable and unnecessary subplots could've been kept at bay. There is a character of a journalist played by Rajesh Tailang whose work is just to add preachy monologues on women's safety which does not act as a suitable catalyst to take the storyline forward at all. There are some menacing antagonists introduced in the form of Thakur ( Sheeba Chaddha ) and Rashid Qasai (Dibyendu Bhattacharya) but they are not developed at all as the movie progresses. There are countless stereotypical aspects around the subplots like corrupted police officers, criminals turning out to be a relative of a powerful figure, assassins easily breaking into the prison to try to kill the male protagonist, or the climax suddenly shifting to an international locale.”