“I’m gonna be okay. I’m always okay.”
This is the mantra of Andy Goodrich (Michael Keaton), the titular character of Hallie Meyers-Shyer’s latest comedy. In Goodrich, Andy (Keaton) is a husband and father whose whole world is upended when his wife unexpected checks in to a 90-day rehab program. As an art gallery owner who lives a very busy life, Andy finds himself shuffling his entire schedule as he must learn to balance the full responsibility of his two children, his workload and restoring his relationship with is (somewhat) estranged daughter from his first marriage, Grace (Mula Kunis). He’s stressed. He’s tired but he’s still determined that he’s ‘gonna be okay’.
Certainly, there’s a lot to like about Goodrich, a heart-warming and funny film about owning your past and trying to build a new future. Featuring strong characters and a delightfully manic Keaton, the film pops with fun and joy. However, its simple premise and surprisingly light-hearted tone makes it feel a little too much like something we’ve seen before to become truly memorable.
Nevertheless, one can’t deny the film’s charm as Keaton bounces around with rejuvenated glee, even in moments when the script feels contrived or overly-familiar. Although he’s never stepped away from the big screen, it still feels as though Keaton has been enjoying a bit of a comeback in recent years. Since his return to superhero fare in Spider-Man: Homecoming, the actor has stepped back into some larger projects to remind people how diverse he can be as an actor. In Goodrich, he has the opportunity to showcase his comedic side while still bringing the necessary brokenness to the character as he grapples with his issues.
In fact, in some ways, Goodrich almost feels like a legacy sequel to Keaton’s own Mr. Mom. While the characters are entirely unrelated, one can imagine that this might be where Mom‘s Jack was at this point in his life. Like Jack, Andy has a good sense of what it means to be a dad but struggles to hold things together after his wife leaves him. He’s struggling to balance work and life, though his parenting skills have improved. He’s affable and liked by those he at the office. And, in the midst of it all, he clings to the belief that he’s ‘gonna be okay’. Despite being thrown into the deep end of the pool, there’s a general optimism about Andy that keeps him going. But, this grand change to his life forces Andy to re-examine his life.
Except, unlike Jack, Andy has history to deal with as well.
After years of distance from his daughter, Grace has reached the end of her rope with her father. While she still answers the phone when he calls, she carries the hurt of a neglectful childhood from her ‘always working’ dad. Andy tries to make amends but Grace still sees him through the eyes of a young girl who felt abandoned. (And, it doesn’t help that Andy is doing a much better job with her much younger half-siblings as well.)
Admittedly, there’s a tinge of irony to Grace’s name but the film never judges her either. The Andy of old is (mostly) not the Andy that we see throughout the film. But Goodrich also creates a space where Grace (and the audience) is asked if we’re allowed to see people for who they’ve become rather than solely for who they were. There’s an opportunity for growth and change in Goodrich that is refreshing yet also an honesty that shows how difficult that can be.
As a result, there’s enough good within Goodrich to call this an enjoyable ride. While it might not be the most memorable performance of Keaton’s career, his humour and warmth make him instantly likeable. What’s more, paired with Kunis, the two have a delightful onscreen chemistry that feels authentic. Even so, despite all that it has going for it, Goodrich is closer to ‘okay’ than it is particularly ‘great’.
Goodrich is available in theatres on Friday, October 18th, 2024.
