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Good Bad Ugly Movie Synopsis: When his son is falsely jailed for a crime he didn't commit, a feared gangster who has reformed his ways, decides to take up his violent ways once again to save the boy and have his revenge.
Good Bad Ugly Movie Review: With Good Bad Ugly, director Adhik Ravichandran cooks up an unabashed fan vehicle for Ajith Kumar that's overloud, chaotic and still largely entertaining. The good news is that for Ajith fans, the film is nothing short of a celebration of their idol, with almost every scene a providing a callback to the superstar's older hits. Adhik's method is not exactly novel. We had Karthik Subbaraj doing something similar with Petta, though the way in which that film packaged in the references now seems more understated compared to this one's in-your-face approach. But the end result is the same: the fans just love it.
But the bad news is that those who may not be fans of the actor or are looking for something substantial or are not clued into Tamil cinema's pop cultural moments might wonder what the fuss is all about.
The ugly part is that more filmmakers working with top stars are now likely to prioritize fan service over developing an engaging script that might appeal to all segments of the audience in light of the overwhelming response from fans. However, at the end of the day, this is purely an Ajith production, and the actor appears to have thoroughly enjoyed revisiting the memorable scenes from his previous blockbusters. In his last few films (especially his previous film, Vidaamuyarchi), he seemed to have made a conscious decision to pull back on hero glorification. Although this strategy did garner him a few admirers from the general public, the majority of fans were unimpressed. And this one seems to be Ajith doing a course correction to keep fans happy.
And in Adhik, he seems to have found the right director to pull it off. Adhik's films so far have been largely polarising - you either like his style of filmmaking or hate it, with no in-between. However, his voice is definitely one of a kind, especially in our mass masala films: it is loud (but in a very different way than Hari's) and visually distinct (but very different from Karthik Subbaraj's). It is maximalist cinema that frequently breaks the third wall, is filled with throwbacks, and has only one objective: to provide a high every few minutes. Max masala is better than mass masala!
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