A journey through grief: ‘The Good Half’ revisited
A familiar tale with a fresh perspective
A reserved man with unresolved childhood issues returns to his hometown for a parent’s funeral. This premise, central to Robert Schwartzman’s feature “The Good Half”, echoes the themes of many melancholic American dramedies like Elizabethtown, Garden State, and This Is Where I Leave You. While familial grief is a universally relatable experience, one hopes each new film brings a unique voice to this shared human ache. Unfortunately, “The Good Half” often feels like a medley of its predecessors rather than a fresh take.
The fear of grief
C.S. Lewis once wrote, “No one ever told me that grief felt so much like fear.” This sentiment, though not explicitly quoted, underpins the narrative of “The Good Half”. The film opens with young Renn Wheeland (Mason Cufari) and his quirky mother Lily (Elisabeth Shue) in a poignant scene where she reassures him after forgetting him at a shopping mall. This moment sets the stage for the lifelong fear of loss that haunts Renn.
Fast forward a couple of decades, and we find an older Renn (Nick Jonas) receiving the dreaded call from his sister: “She’s gone.” As Renn navigates the airport to return home to Cleveland, a series of voicemails paint a picture of his life. He’s an L.A.-based writer with a job he dislikes but is inexplicably getting promoted at. His sister Leigh (Brittany Snow) needs his help, and his father Darren (Matt Walsh) has his own issues. On the plane, Renn meets Zoey (Alexandra Shipp), a therapist with a sharp sense of humor, reminiscent of Kirsten Dunst’s character in Elizabethtown. Zoey’s sunny disposition and knack for quoting ’80s and ’90s action one-liners bring a welcome lightness to the film, though her character often feels clichéd.
Family dynamics and flashbacks
The family drama in “The Good Half” feels all too familiar. Leigh, portrayed with real bite by Snow, is overbearing and overburdened. Lily’s second husband Rick (David Arquette) is irksome, and the film is peppered with self-conscious moments at funeral parlors and heart-to-hearts at local bars. Schwartzman and screenwriter Brett Ryland interweave present-day scenes with flashbacks to deepen our understanding of Lily. Despite Shue’s best efforts, the film struggles to convey what makes Lily distinctive. The flashbacks reveal her terminal illness and quirky kleptomania, but these moments often feel clumsy and fail to unearth deeper character revelations.
Directorial style and performances
Schwartzman, a Coppola descendant and multi-hyphenate film and music personality, directs “The Good Half” in a straightforward manner, lacking a discernible style. Jonas, meanwhile, doesn’t seem to have the range to pull off the understated vulnerability his character demands. He often feels overshadowed by Shipp and Snow.
Moments of grace
Despite its shortcomings, “The Good Half” occasionally reclaims attention with its humor and grace notes around side characters. A particularly touching scene between Renn and a clothing store employee (Ryan Bergara) who fondly remembers Lily is one such moment. These glimpses of what the film could have been make its overall mediocrity all the more lamentable.
Final thoughts
“The Good Half” is a well-meaning but timid exploration of grief and family dynamics. While it has moments of humor and grace, it ultimately feels like a lesser version of the films it emulates. For those interested in exploring the themes of grief and familial relationships, it may still be worth a watch, but don’t expect it to break new ground.
For more information and to watch the trailer, visit The Good Half.
Related recommendations
If you enjoyed the themes explored in “The Good Half”, you might also like:
Each of these films offers a unique take on the complexities of grief and family, providing a richer exploration of these universal experiences.