‘Goodrich’ Review: Michael Keaton-Starring Dramedy Teases a Better Movie That Doesn’t Quite Emerge

As a seasoned viewer of heartwarming dramedies that often leave me with a warm, fuzzy feeling, I found “Goodrich” to be a rollercoaster ride of emotions. The film’s opening scene, featuring Michael Keaton at his finest, was a captivating hook that had me eagerly anticipating the story that was about to unfold.

In the dead of night, an unanticipated phone call rarely brings joyous tidings. This truth is painfully realized by Andy Goodrich, the protagonist in Hallie Meyers-Shyer’s mediocre LA drama “Goodrich” (as portrayed by Michael Keaton). A late-night call from his wife shatters Andy’s slumber, delivering the devastating news that she has admitted herself into a Malibu rehab for 90 days to confront her addiction issues. Left alone to care for their 9-year-old twins, Andy also learns that his wife plans to leave him upon her release.

With a melancholic stare, expressively shaped eyebrows, and his distinctive deep voice, the subtle yet captivating Keaton sets the stage for this thoughtful and well-crafted introduction in “Goodrich.” This introductory scene showcases that even at seventy, the actor is eager to tackle material centered on everyday issues as well as revisit the playful charm he displayed in “Beetlejuice.” Remarkably, this opening ranks among the finest writing by Meyers-Shyer (daughter of acclaimed filmmakers Nancy Meyers and Charles Shyer) throughout the movie. It skillfully employs a concise storytelling approach that piques the audience’s curiosity about the intriguing plot ahead.

As we follow the stages where Andy struggles to grasp the gravity of the circumstances he’s in, it becomes evident that he hasn’t been an ideal spouse or parent, particularly towards his twins Billie (Vivien Lyra Blair) and Mose (Jacob Kopera). The same can be said for his relationship with Grace (Mila Kunis), his daughter from a previous marriage, who is pregnant now. With work in the art world as a gallery owner consistently taking precedence over family life, Andy often confuses his children’s names and remains oblivious to his wife’s drug addiction, despite others in his circle seeming to have picked up on her frequent pill use much earlier.

The writing style in “Goodrich” varies significantly after its captivating opening, as sequences play out like individual episodes – some expertly crafted, others lacking depth and feeling ordinary. The screenplay by Meyers-Shyer struggles to maintain consistency, often veering between being an affectionate tribute to family-centric sitcoms (think of an R-rated version of “We Bought a Zoo”) and emphasizing the significance of family bonds and collective camaraderie as the protagonist Andy discovers his true identity amidst various roles he is assigned. In essence, it’s a film that pays homage to heartwarming domestic stories, but its meandering narrative undermines its well-intentioned message, leaving viewers yearning for a more streamlined production with better pacing control.

Instead, the movie often seems slow-paced and could benefit from tighter editing with faster-moving montages, similar to those that enhanced several films by Shyer-Meyers, such as “Baby Boom.” Excessive content detracts from the film’s comedic and emotional impact, although some of the characters are vibrant, except when they appear overly contrived.

In this scenario, young Billie, along with her character Blair, finds herself in a challenging position due to her advanced vocabulary and behavior that appears older than her years. For instance, when Andy criticizes her use of slang, she retorts sarcastically, “Dad, if you don’t want me to talk like I live in LA, then don’t raise me in LA.” Fortunately, the wiser Grace balances out this awkwardness as Andy becomes increasingly reliant on her for assistance with chores and emotional support when his art gallery experiences financial difficulties. Meanwhile, Terry, a recently single actor and father who is heartbroken following his husband’s departure, enters Andy’s social circle, adding a more lighthearted tone to the film.

In the movie “Goodrich”, a significant storyline centers around Andy’s endeavor to acquire an estate belonging to a recently deceased Black artist, currently controlled by Lola, a feminist and New Age daughter (played by Carmen Ejogo). This battle is fought in order for Andy to save his beloved gallery from shutting down. Simultaneously, Andy strives to reconcile with Grace, who has never known the kind of present father that Billie and Mose have now experienced. Meyers-Shyer effectively portrays Grace’s relatable disappointments, yet she continues to stand by her father as he takes his last chance at reviving his career. The writer-director also showcases some skill in depicting Grace’s harmonious marriage with Pete (Danny Deferrari), creating one of the sweetest marital harmony scenes since “Up” from Pixar.

In Meyers-Shyer’s film, regrettably, the meticulousness on paper doesn’t always translate to other aspects. The characters of Andy’s gallery are introduced in scattered scenes that lack cohesion and emotional depth. At times, Terry’s comic relief feels perilously close to an outdated stereotype of a gay best friend, while the Lola storyline seems more like a prolonged device to aid Andy’s self-discovery rather than a fully fleshed-out subplot. It’s invigorating to see a strong Black woman assertively expressing and claiming her own worth, but Lola’s departure from the story feels harsh and sudden.

Overall, “Goodrich” offers a mix of highs and lows, much like Andy’s life, keeping you engaged in hopes of witnessing the promising movie it often hints at, yet never fully delivers.

2024-10-18 04:16

‘Goodrich’ Review: Michael Keaton-Starring Dramedy Teases a Better Movie That Doesn’t Quite Emerge

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