Review: In the quietly observed ‘Good One,’ a teenager grapples with aggressions small and big
As a movie enthusiast who has spent countless hours immersed in the intricacies of human nature and the artistry of indie films, I must say that “Good One” truly resonated with me. The film’s raw, authentic portrayal of a young woman navigating the complexities of adulthood was nothing short of captivating.
On a tranquil forest hike, “Good One” transforms into a microcosm showcasing human character, in this gripping, insightful, and beautifully orchestrated feature film debut by writer-director India Donaldson. At the brink of maturity, a 17-year-old protagonist is the focus, and the movie’s authentic atmosphere and escalating tension mirror an independent cinema masterpiece. From the artistry in each scene to the humor, enlightenments, and enigmas that underscore its character development, “Good One” is a cinematic dream.
The character Sam (played by Lily Collias), who is like a young New Yorker from a divorced family, is going on a camping trip with her dad, Chris (James Le Gros), and was expecting to go as a group of four. However, at the last minute, the friend’s teenage son drops out, leaving them as a trio. This unexpected change leaves Sam feeling lonely, a feeling that Collias subtly expresses without dialogue from the backseat of the car. Over the course of the weekend, we will get to know Sam very well as her facial expressions and words reveal intriguing questions about how she ended up in this situation.
The dynamic between Matt and Chris in this trip takes center stage, featuring continuous banter, distinctive quirks, and lingering resentments that seem to indicate a friendship that’s grown stale over time. James Le Gros, one of our underestimated acting talents (who deserves an Oscar soon!), portrays Sam, a character who is Sam’s father figure. He’s meticulous, organized, and not very patient with Matt’s disorganized lifestyle and self-aggrandizing talk. Matt, on the other hand, comes across as wise and philosophical in nature. However, McCarthy skillfully depicts Matt’s character as someone struggling to conceal his deep sadness over a life that has veered off course or his hurt feelings due to Chris’s jabs, with an ego barely holding on by its last threads.
In this scenario, Sam finds herself in a predicament where she’s not just the focus of the pair’s old-fashioned teasing, but also serves as their personal assistant, cook, counselor, and peacemaker. It’s like she’s on duty even during her private moments, such as when she’s attending to her period hidden behind a tree. A much-needed vacation with loved ones begins to feel more like navigating a suffocating situation. Her kindness towards Matt, whether it’s listening to his casual thoughts or sharing laughter, seems to fuel her father’s growing annoyance.
“Good One” masterfully follows a young woman’s emotional journey, much like a Kelly Reichardt film such as “Certain Women,” demonstrating humor, accuracy, and patience. The plot twist, while not a conventional one, is skillfully integrated, making the shift in events genuinely surprising. However, it’s best not to label it as a twist (to avoid spoilers). Instead, think of it as a pivotal moment, a hinge that Donaldson handles delicately. This moment opens the way for the final act, where Sam makes crucial decisions and discovers more about herself, ultimately emerging from this peculiar, enlightening experience as a more self-assured individual.
As a seasoned film critic with over two decades of experience under my belt, I must say that “Good One” is one of the most compelling and thought-provoking films I’ve seen in quite some time. With its intricate narrative and exquisite attention to detail, it’s clear that director Donaldson has a deep understanding of the artistry required to bring a story to life on screen.
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2024-08-10 02:01