Goodrich

"Goodrich" is a movie with its heart in the right place, yet it struggles to fully deliver on its emotional promise. Michael Keaton shines in his role, showcasing his ability to balance vulnerability and humor, while Mila Kunis provides a solid performance that adds some depth to the family drama. Their chemistry offers glimpses of what the movie could have been if its storytelling had been tighter.

The film stumbles with its uneven pacing and a script that feels too predictable at times. While some scenes carry genuine emotional weight, others fall flat, bogged down by clichés or an over-reliance on sentimentality. The mix of humor and drama occasionally feels forced, as if the movie is unsure of the tone it wants to maintain.

Visually, "Goodrich" makes good use of its Los Angeles setting, with a warm, polished aesthetic that fits the movie's themes of family and personal growth. The score is pleasant and inoffensive but lacks the kind of memorability that might elevate key moments.

Overall, "Goodrich" is a decent watch for its performances and occasional heartfelt moments, but it doesn't leave a lasting impact. It's a safe, middle-of-the-road film that's enjoyable enough for a quiet evening but unlikely to stick with you long after the credits roll.

Greetings again from the darkness. The heart definitely skips a beat when the phone rings late in the night, awakening us from a deep slumber. Andy Goodrich groggily answers the call to hear his wife inform him that she's checked herself into rehab and then ending the call with, "I'm leaving you". It doesn't take long for us to realize the real problem. Andy seems to be the only one unaware that his wife too frequently swallowed prescription drugs and chased them down with a bit of booze. Over the next few days, Andy is almost too late in recalling that his 9-year-old son has a peanut allergy, and discovers that his 9-year-old daughter (yep, twins) hates to be late for school and likes a glass of water on her bedstand at night.

Writer-director Hallie Meyers-Shyer (HOME AGAIN, 2017, daughter of filmmakers Nancy Meyers and Charles Shyer of PRIVATE BENJAMIN and FATHER OF THE BRIDE fame) shows us that Andy (Oscar winner Michael Keaton) has always been somewhat absent from his family, choosing instead to pour his heart and soul into the art gallery he owns. It's a business that once flourished, but now struggles month to month. The old saying goes, 'when it rains, it pours', and Andy is experiencing an emotional and emergency flash flood. The twins, precocious Billie (Vivian Lyra Blair) and quiet Mose (Jacob Kopera), need their dad to crash-course the whole parenting thing, while he also tries to salvage his business. Andy decides to lean on his adult daughter Grace (Mila Kunis, BLACK SWAN, 2010), who also has always felt distant from and let down by her father.

Now, you might be questioning 73-year-old Michael Keaton as the dad of fourth grade twins, but he easily passes for sixty-something here, and his unique blend of dramatic and comedy talent makes him one of the few who could pull this off. His frenetic energy plays right into the role and we accept him as a guy who hasn't been good at 'family' but has the heart to make the effort when he must. The scenes between Andy and Grace are the best, as both Keaton and Kunis work to elevate the material. Supporting work comes from Michael Urie ("Shrinking") as a gay single parent who is a bit over-emotional, Danny Deferrari (SHIVA BABY, 2020) as Grace's opposite-from-Andy husband, Kevin Pollak as Andy's business manager, Carmen Ejogo ("Your Honor") as a feminist singer and a last gasp hope for the gallery, Laura Benanti as Andy's rehabbing wife, Poorna Jagannathan as Grace's doctor, and Andie MacDowell as Andy's ex-wife.

The lesson here is keeping the important things in life as a priority, which is a relatively simple and heavy message, and fortunately the cast (especially Keaton) can handle it. There are enough laughs included - the best involves Halloween costumes of Warhol, Frida, and Dali - to balance the bleak elements and the cliches; however, personally I could have used a bit more of absent dad reconnecting with pregnant daughter. Still, watching Keaton's Andy come to grips with his lifelong self-centeredness makes this one worth watching.

In theaters beginning October 18, 2024.

Goodrich starts off somewhat disjointed but gradually finds its stride, especially towards the end. The film offers several heartwarming moments, but the first act suffers from excessive exposition that feels forced and unnatural. Rather than relying on dialogue-heavy scenes, the story would have benefited from showing more of the evolving relationship between Goodrich and his eldest daughter, Grace. Unfortunately, too much time is spent on the somewhat irrelevant dynamic between Goodrich and Michael Urie's character (Terry), which detracts from the main plot. Additionally, the film struggles with balancing serious moments, often interrupting them with forced witty dialogue that undermines the emotional impact. Despite its flaws, "Goodrich" manages to deliver a somewhat satisfying finish, though it could have reached deeper emotional heights with better pacing and character focus. For a sophomore directorial effort, it was satisfactory.

Andy Goodrich's (Michael Keaton) life is upended when his wife and mother of their nine-year-old twins enters a 90-day rehab program, leaving him on his own with their young kids. Thrust into the world of modern parenthood, Goodrich leans on his daughter from his first marriage, Grace (Mila Kunis), as he ultimately evolves into the father Grace always wanted.

The story is not just about Keaton growing into being a father, it's about him growing every time life throws him sideways. I guess the whole story, with negative event after negative event coming at him from all sides, tearing at who he is, is about him fighting back quietly and stoically and overcoming everything life can bring that's dark. He improves himself into a version that multiple people can love, and he finds what is really important in life instead of spending all of his energy on work. Keaton's performance is brilliant and justifies the writer and director's (Hallie Meyers-Shyer) decision to write the film for him. He is ably backed by Mila Kunis who proved she can do serious acting as well as the comedy she is well known for. Vivien Lyra-Blair as his daughter Ellie deserves a major shout out for her great performance. She's been around for several years now and she just keeps getting better and better.

All in all a great film which says to me "Don't ever give up. Always strive to overcome and move forward." Most of us over a certain age already know this but it's great to have a reminder, and a one done so cleverly and emotionally. A thoroughly enjoyable film with great performances by everyone and I gave it a 7.

I didn't find this movie has much to say: for me it was mainly about a bunch of unhelpful noisy people making a good-hearted man's difficulties worse. I felt sympathy for Dad, but failed to find much point in seeing his efforts flounder. It was like sitting through a gathering of bickering relatives that mostly make you want to leave the gathering and go sit somewhere else.

Can't complain about the acting. It was persuasive. I just complain about my being there. I decided to finish watching while I washed the dishes. Kinda suited to mood of the movie.

My advice is; go find something else to watch.