Review of the Movie Good Grief
Marc Levy and Oliver Luke Evans are the hosts of a Christmas party in Good Grief. Oliver is a renowned writer whose novels have been adapted into big-budget movies like “The Hunger Games” and “Twilight.” He really needs to leave the party early that night to attend a book presentation at the Louvre; that’s how popular he is.
Witnessing the lights of the responding cops to the vehicle accident that claims Oliver’s life sends Marc into a downward spiral of despair, while the partygoers take in the scene. Earlier in the film, Marc mentions that he was here earlier, noting that he began an association with Oliver as a means to escape the agony of the passing of his mother. In an early attempt to categorize himself, Marc claims to be both a foster child and widower at the same time. The most effective parts of “Good Grief” work to dissect such simplistic definitions, showing that people are more nuanced than they give themselves credit for.
Twelve months after Oliver passes away, the plot thickens in “Good Grief” when Marc musters up the courage to read a Christmas letter he received from Oliver a year ago. To Marc’s shock, he finds that Oliver was admitting to an infidelity and wanted to discuss their future together. When loss meets treachery, what results in grief? Oliver had a place to live near the French capital, where he was going to see his sweetheart the night he passed away Marc finds after a few additional story twists.
Despite Marc’s reluctance to reveal the specific reason behind their journey, he confides in his two closest companions, Sophie Ruth Negga and Thomas Himesh Patel, who have both faced personal challenges but genuinely desire their friend to find peace. The three of them embark on a journey to France in an attempt to close some sentimental loops.
Warming portrayals by the always-great Negga and Patel convey Levy’s stated goal of making a picture about a temporary family; nonetheless, the screenplay suffers from a lack of character development, which is a shame since the actors are fantastic. Though they have personal development arcs, they are essentially reflections of Marc’s. Similarly, the fresh connection that Marc enters into in Paris is a major drag on the narrative.
Although the motivation to introduce Marc to new love is reasonable, it comes out as forced; instead of letting him discover what he wants in an unpredictable manner, a bolder adaptation of “Good Grief” might allow him establish previous relationships via his new ones. As disoriented as Marc is, Levy’s screenplay clings to story points and clichés to propel it along.
Even if they are only mirror images of Marc’s journey, the characters Sophie and Thomas don’t seem genuine since “Good Grief” tends to go a little too deeply into its protagonist’s sadness. It’s the kind of movie where a character listens to Neil Young’s “Only Love Can Break Your Heart,” a choice that is both deeply reflective and little overdone.
“Good Grief” veers dangerously close to sheer melodrama, but it ends up mired in a middle ground where it’s neither realistic nor emotionally sufficient to be something other than what it is.
Still, for some viewers, it may be enough to empathize with these shattered individuals. Once again, I can’t wait to see Ruth Negga in anything, and I’m curious to see what the next phase of Levy is like. When “Good Grief” capitalizes on the talents of its actors, it really shines. It works perfectly most of the time.