‘Good Bad Ugly' box office collections day 12: Ajith Kumar's film rakes in Rs 139.70 cr

(Picture Courtesy: Facebook)
Ajith Kumar
has staged a magnificent return to the silver screen with his latest action entertainer 'Good Bad Ugly', which has collected a whopping Rs 139.70 crore at the Indian box office in just 12 days. After the lukewarm response to 'Vidaamuyarchi', this film marks a much-needed comeback for the Tamil superstar, reigniting.
Good Bad Ugly Movie Review
Steady run into the second week
According to data from the Sacnilk website, 'Good Bad Ugly' earned approximately Rs 2 crore on its twelfth day (April 21, 2025) across all languages. The film had a stellar opening day, collecting Rs 29.25 crore, and maintained strong momentum over its first weekend. With Rs 119.15 crore collected in the first week, it continued a steady run into its second week despite the expected drop in weekday numbers.
Occupancy rates
The regional performance, particularly in Tamil Nadu, has been commendable. The film's Day 12 Tamil occupancy averaged at 18.45%, with night shows showing the highest audience engagement. In Chennai, occupancy reached 25% during evening and night shows across 499 screenings. Other key regions like Madurai and Coimbatore also posted healthy figures, reaffirming Ajith's stronghold in the Tamil market.
Good Bad Ugly | Song - Ak - The Tiger (Lyrical)
'Good Bad Ugly' saw a dip during the weekdays, which is common, but covered it with decent weekend numbers in the second week — Rs 5.75 crore on Day 9, Rs 6 crore on Day 10, and Rs 6.8 crore on Day 11.
ETimes verdict
We gave the film a decent rating of 3 stars and our review reads, '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. But his is definitely a unique voice, especially in the realm of our mass masala films - overloud (but in a very different way compared to someone like Hari) and visually distinct (but poles apart from a Karthik Subbaraj). 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!'

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