Good Bad Ugly

“Good Bad Ugly doesn't try too hard to disguise which camp it falls into—it's loud, indulgent, and unabashedly tailored to celebrate its star. The film banks heavily on Ajith Kumar's charisma and larger-than-life screen presence, but beneath the gloss and fan service lies a wafer-thin story stretched across an uneven narrative.”

“It is cinema of maximalism, often breaking the third wall, peppered with throwbacks, and with only one goal - to deliver a high every few minutes. More than mass masala, it's max masala!”

“Adhik Ravichandran's cinema is a genre unto itself—it's not so much a film as a rave party. And like all parties, some are more intoxicated than others.”

“Even if the writing is shallow, and most of the performances, except an Ajith showreel for the ages, are functional, the film is gloriously engaging.”

“Good Bad Ugly is another larger-than-life story of a criminal who is glorified and wants to reform but cannot!”

“Good Bad Ugly is strictly for AK loyalists, offering fan boy service rather than a cohesive cinematic experience. The film relies heavily on Ajith Kumar's vintage looks and action sequences but falls short in delivering a compelling narrative.”

“Adhik Ravichandran's fan service is crash course on Ajith's career but never rises above being a showreel. The film is fanboy cinema with its right theatre moments and Easter eggs, if that's all.”

“The film is indeed a fan service to Ajith from the filmmaker, but where is the story?”

“The Ajith fanboy in Adhik Ravichandran ends up shooting so many references from the star's filmography at us, that he nukes the fourth wall and builds a grand tomb over it in 'Good Bad Ugly'.”

“Arguably, the biggest trick Adhik pulls off is how he stacks easter eggs and references to hide the utter lack of an intriguing plot. Nevertheless, cracks appear multiple times in the facade that he has carefully sculpted. Even when it's far from perfect and feels like a brass-knuckle punch to our senses, Good Bad Ugly is loving work of nostalgia.”