Andy Goodrich’s life is upended when his wife enters a rehab program, leaving him on his own with their young kids. Goodrich leans on his daughter from his first marriage, Grace, as he ultimately evolves into the father Grace never had.
Chuck says:
Some look at Andy Goodrich and see a man who’s distracted. Others view him as irresponsible. Still others look at him and see an arrogant man. If you were to ask Goodrich, he’d just say he’s very, very focused, focused on running a successful gallery so that he can provide a good life for his family. Needless to say, these desperate perspectives clash at times and when they do, misunderstandings occur and, in some cases, feelings are hurt, especially where family members are concerned. Yet, Goodrich never means any harm, he’s just suffering from extreme tunnel vision.
Having conquered Hollywood and squirrelling away more money than he knows what to do with, Michael Keaton isn’t concerned so much about fame or box office results anymore. And while he does the occasional big-budget feature, he’s also putting his weight behind some independent films that allow him the opportunity to tackle some intriguing roles in movies no major studio would touch. Earlier this year, he starred in and directed “Knox Goes Away,” an intriguing character study about a man trying to reconcile old harms before a rapidly moving type of dementia wipes away his memory.
With “Goodrich,” the actor is delving into similar thematic territory though its tone is much less dire, his character finding hope, when reason tells him there is none. A California gallery owner, Goodrich’s wake-up call comes when he gets a phone call from his wife (Laura Benanti), telling him she’s checked into a 90-day rehab center, and he’ll have to hold down the fort without her. This knocks him for a loop as she’s never confided her troubles to him, and he’s been blissfully unaware of substance abuse.
As a result, Goodrich’s eyes are opened to the significant people in his life, all of whom he assumed were doing fine. His nine-year-old twins (Michael Chieffo and Vivien Lyra Blair) clue him in on their mothers’ troubles, as well as the fact they’re school is a very strict environment that will require his attention.
Meanwhile, Grace (Mila Kunis), his daughter from his first marriage is pregnant and seemingly come to terms with her father’s indifference towards her over the years. So, she can’t help but feel a bit of resentment when he calls, asking her to babysit the twins. That he keeps calling her by her other daughter’s name doesn’t help. Adding to his woes, his gallery is failing and may have to close after over 30 years.
What makes “Goodrich” stand out are its wonderfully realized, intimate moments. Long-delayed conversations take place that cut to the heart of the characters’ hurt and concerns, most of them done with a quiet conviction that makes them ring true. The script by director Hallie Meyers-Shyer contains smart observations regarding human behavior, the audience’s connection with her characters, easy and immediate.
The nuanced performances from the cast further our emotional investment, none of them too grand or overdramatic, each grounded and so real that, at times, a sense of eavesdropping occurs that draws us in even further. Kunis has never been better, her long-simmering rage barely contained by her “I’m just fine,” façade, while screen vets Kevin Pollak and Andie McDowell punch up their brief scenes as Goodrich’s business partner and first wife, respectively. Meanwhile, relative newcomers Danny Deferrari and Michael Urie, steal each scene they’re in, the former as Grace’s husband, the latter a struggling single dad Goodrich befriends.
Of course, Keaton is in the spotlight throughout, pulling off the tricky assignment of making a seemingly selfish cad, relatable and appealing. The actor never lets us forget that despite Goodrich’s failings, his intentions are always sound, and that he truly does care and worry about his family and employees. He projects vulnerability, as well as a genuine sense of optimism, resulting in one of his most flawed characters, but one of his most sympathetic as well.
In today’s movie marketplace, “Goodrich” will likely not reach the audience it deserves. 35 years ago, it would have been allowed to stay in theaters, generating good word-of-mouth that would have prompted viewers to find it. Here’s hoping word spreads once it hits whatever streaming service it’s destined for. The film deserves a better fate than what’s in store, but more importantly, you dear viewer need to give the film a look. Believe me, you’ll be better off for it.
3 1/2 Stars
