Goodrich - Review 

Rating: 4 out of 5

THERE’S a great line midway through family drama Goodrich when Michael Keaton’s put upon father and gallery owner declares “if life’s not kicking your ass, it’s not doing its job”. It’s a sentiment that certainly resonates.

And Hallie Meyers-Shyer’s second feature certainly makes sure that life does kick its central character repeatedly in the ass - thereby allowing leading man Keaton to showcase his immense talent and anchor a really endearing, often heartfelt movie.

The movie starts with a shock, as Andy Goodrich’s wife, Naomi (Laura Benanti), informs him (via phone call) that she’s checked herself into rehab (having become addicted to painkillers) and plans to leave him. The revelation fails to surprise anyone BUT Andy.

After rolling up his sleeves and accepting the circumstances for what they are, Andy assumes sole responsibility for their twins, Billie (Vivien Lyra Blair) and Mose (Jacob Kopera), for 90 days - driving them to and from school, befriending fellow struggling parents (most notably Michael Urie’s single gay dad) and attempting to save his beloved art gallery from going bankrupt.

In doing so, his own failures as a father to Grace (Mila Kunis) come into view - not least how he was never present for his eldest child’s upbringing in the same way. And even now, when she’s pregnant with her first child, he continues to disappoint her - their relationship forming the crux of the emotional drama.

What’s refreshing about Meyers-Shyer’s film, however, is that for all of its familiar genre tropes, the film doesn’t always do everything you expect.

Sure, there’s an inevitable birth scene, and yes Andy learns some invaluable lessons about the true meaning of life (and worth of family). But some of these lessons come harder than more traditional comedy-dramas such as these, with certain plot points - involving potential reconciliations or business bail outs - not necessarily panning out the way you figured.

It lends the film a little more edge, a more realistic outlook and makes those emotional beats less contrived and more carefully earned.

Keaton, as ever, is in terrific form as the central character - neatly avoiding coming across as too self-centred to appear more rounded. He cares and he wants to be there - but work means everything to him until it’s threatened and circumstances insist that he steps back and re-evaluates. The subsequent show of humility as he attempts to repair some of the damage he has inadvertently caused are nicely played with nuance and warmth.

There’s winning support, too, from Kunis as his long-suffering daughter (delivering a delicious out down towards the end of the film), as well as fleeting appearances from the likes of Andy McDowell (as an ex-wife), Benanti (not judged but rather sympathised with) and Urie, who brings a lot of the same energy he invests in Shrinking to a couple of scene-stealing moments here.

Goodrich is a frequently amiable experience: a heart-warmer driven by great performances that may even leave you shedding a tear or too. It’s perfect for kicking back and relaxing with after life’s been kicking your own ass.

Certificate: 12A

Running time: 1hr 55mins