The narrative of Robert Schwartzman’s The Good Half centers on a man grappling with unresolved childhood traumas as he returns to his hometown for his parent’s funeral. This premise mirrors a familiar theme in American dramedies, akin to Elizabethtown, Garden State, and This Is Where I Leave You.
These films often delve into the universal experience of dealing with family loss, resonating with viewers on a personal level. Yet, The Good Half falls short of offering a novel perspective on this well-worn theme, instead feeling like a composite of elements from more impactful films.
The story begins with a young Renn Wheeland (Mason Cufari) and his quirky mother Lily (Elisabeth Shue), who attempts to soothe him after an incident at a shopping mall, setting the stage for his lifelong fears of abandonment.
In his adult years, Renn (Nick Jonas) is jolted by the news of his mother’s passing, prompting his return to Cleveland. His journey is marked by voicemails that outline his disillusioned existence in Los Angeles, his strained relationship with his sister Leigh (Brittany Snow), and the emotional distance from his father (Matt Walsh).
During his travels, he encounters Zoey (Alexandra Shipp), a therapist with a quirky demeanor, but her role feels overly familiar and lacks depth. The film’s depiction of family interactions and funeral rituals follows a conventional script, with flashbacks meant to add depth to Lily’s character failing to provide substantial insight, despite Shue’s earnest performance.
Schwartzman, known for his work in music and family connections, directs with a straightforward approach that lacks a distinctive flair. Jonas’s portrayal struggles to capture the subtle vulnerability required, overshadowed by the more engaging performances of Shipp and Snow. While The Good Half offers occasional moments of humor and emotional resonance, it feels like a missed opportunity, falling short of its potential impact.