Good Bad Ugly Review: A Stylish Comeback for Ajith, but Not Without Flaws

Good Bad Ugly Review: A Stylish Comeback for Ajith, but Not Without Flaws

Good Bad Ugly, directed by Adhik Ravichandran and produced by Mythri Movie Makers, marks a significant moment in Tamil cinema as it not only brings back Ajith Kumar in a full-blown action avatar but also happens to be Mythri’s maiden Tamil venture. With a massive ensemble cast and stylish visuals, the film promises a grand gangster drama tailored for the masses. But does it live up to the expectations? Let’s take a closer look.

Plot

The film follows the life of AK (Ajith Kumar), a once-feared gangster who gives up his violent past for his wife Ramya (Trisha). Choosing redemption over crime, AK surrenders and serves his time in prison. However, peace doesn’t last long. His son is kidnapped, forcing AK to return to his old ways. As he sets out to rescue his son, hidden enemies and dark truths emerge, leading to a trail of action-packed events. The plot, though familiar in tone and structure, is driven by AK’s emotional dilemma and explosive return to the underworld.

Direction & Screenplay

Adhik Ravichandran, a confessed fan of Ajith, clearly makes this film with fan service as the top priority. The screenplay is designed to showcase Ajith in multiple shades—stylish, fierce, emotional, and unstoppable. While this results in some crowd-pleasing moments, the film suffers from a dated narrative structure and a lack of emotional depth. The screenplay is episodic and leans heavily on slow-motion shots and over-the-top elevations rather than solid storytelling. However, Adhik succeeds in one key area—presenting Ajith in a manner that his fans would cherish.

Performances

Ajith Kumar is undoubtedly the heart and soul of Good Bad Ugly. His screen presence, charisma, and multiple looks are a treat for his fans. He carries the film on his shoulders, especially during action sequences and the flashback portions. While the writing doesn’t fully utilize his acting range, Ajith’s sheer style and swagger light up the screen.

Trisha Krishnan, as Ramya, has limited screen time but lends grace to her role. Despite the underwritten part, she brings in quiet strength to the emotional portions.

Sunil surprises with a meatier role and decent screen time. He provides comic relief and adds emotional weight to his scenes with Ajith.

Arjun Das, the main antagonist, brings intensity, but his character lacks the depth and menace needed to truly challenge Ajith’s dominance. He does a fair job but feels underutilized.

Prasanna, Jackie Shroff, Tinnu Anand, and Shine Tom Chacko play their parts efficiently, though they are mostly confined to stereotypical roles often seen in gangster dramas.

Yogi Babu, Priya Prakash Varrier, Redin Kingsley, and others provide brief entertainment, with their roles contributing more to the style and crowd-pleasing factor than the plot.

Technical Brilliance

The cinematography by Abinandhan Ramanujam is slick and stylish. The film is visually appealing, especially in the action sequences and slow-motion shots. The production design complements the gangster world well.

G.V. Prakash Kumar’s background score, though loud at times, adds to the mass appeal. However, the songs fall flat and do not leave a lasting impression. The editing by Vijay Velukutty is fast-paced but could have been tighter in the first half, which occasionally drags with repetitive elevations.

The action choreography deserves a mention—it’s where the film truly shines. The stylized fight scenes, especially the interval sequence and the finale, give fans plenty to cheer for.

Final Verdict

Good Bad Ugly is a film made with fans in mind. It ticks all the boxes of a mass entertainer with style, slow-motion walks, punch dialogues, and action-heavy sequences. But beyond the glamour and grandeur, the story feels routine, and the emotional core doesn’t resonate as it should. For Ajith fans, this film is a treat—a stylish celebration of their star. For general audiences, it’s a watchable but average gangster flick that lacks narrative depth.