Synopsis
On a weekend backpacking trip in the Catskills, 17-year-old Sam contends with the competing egos of her father and his oldest friend.
Directed by India Donaldson
On a weekend backpacking trip in the Catskills, 17-year-old Sam contends with the competing egos of her father and his oldest friend.
همین خوبه, عالی بود, بد نبود, Dobra córka, 좋은 사람, 露營悄悄話, Hayırlı Evlat, Хорошенькая, Boa Menina, Buena chica, 好孩子, Geras, Bona noia, Гарненька, Una bună, グッドワン
There’s a scene in a roadside store that, like everything in this flick, is subtle and gentle as a feather falling, but also meaningful. It’s the last time our protagonist, Sam, has a face-to-face interaction with another woman before heading out into the woods for several days with her sixty year-old dad, Chris, and his dude friend that she’s known all her life, Matt. As the two men bicker at the register, the older woman behind the counter shoots Sam a look coded with solidarity, giving her an eye roll at having to generally endure men. Sam smiles back, patient with her dad, but knowing.
There's a hidden world inside of Sam that her dad and Matt can never understand…
This review may contain spoilers. I can handle the truth.
I would’ve driven away without them but that’s just me
I’ve seen a couple people mislabel “Good One” as a coming of age drama, but Sam (Lily Collias) the fearsome daughter of Chris (James Le Gros), who goes on a hiking trip with his best friend Matt (Danny McCarthy) is already very mature. In fact, the pleasure of the film is seeing her awareness of her dad and Matt’s flaws. India Donaldson possesses an unhurried lens, as the trio walk over hill and dale, dismantling the fallacy that you can’t be a misogynist if you have a daughter. Seeing Collias in “Good One” offers the same revelations as seeing Thomasin McKenzie in “Leave No Trace.” This is a patient, very internal performance that feels way beyond the years of the performer. It’s Collias‘ undeterred face that lingers long after the film ends.
A slight but sensitive and fantastically assured debut that unfolds with the pointillistic detail of a great short story, India Donaldson’s “Good One” is a coming-of-age story that jettisons all of the genre’s most familiar trappings in favor of a long walk in the woods.
There were supposed to be four people on the upstate New York camping trip, but one of the teens dropped out because he didn’t want to spend one of their last pre-college weekends sleeping in a polyester tent with his dad. That leaves anxious divorcee Chris (character actor James Le Gros, feasting on a nuanced leading role), his avuncular best friend Matt (Danny McCarthy, playing a character actor who would kill for a part this…
less a "coming of age" film than a "coming to terms" film, feeling similarly inspired by Old Joy (its rather obvious point of comparison) as well as cinematic tales of agency like Je, Tu, Il, Elle or even the recent Never Rarely Sometimes Always, showcasing characters (and, more specifically, young female leads) existing in shared spaces in the wake of, or leading up to, major changes; exquisitely serene in a way that few films are (until it's not)
Made me think of my dad, for better and worse.
Nature as the true home. A place to shed the blinders placed over our eyes by day to day life. The masks are dropped and without the distractions, the people we love come into jarringly sharp clarity. The things we learn about them come back with us like rocks at the bottom of our bags, something we either drop or carry with us for miles.
Good One is a wonder of internal storytelling, with a star worthy performance from newcomer Lily Collias. So much of this is built upon observation, both for Sam as a character, and for us as audience members. There’s layers here that are both so personal…
I was laughing and pondering and having a merry ole fucking time, like “oh, look at that slug!” I was thinking “oh, I should hike more!” Wow, this is some Zen and the Art of Motorcycle Maintenance shit, love it, then WHAM. PEOPLE SUCK. WE’RE COMPLICIT. Every bit of dialogue so far gets recontextualized, reveals its true, rotten nature.
Such an impressive use of static shots and the space between words.
the feeling of a mosquito landing on you, noticing it, and trying to sweep it away before it bites; to be in tune with it all, to know when danger is approaching, and to keep feeling it on your skin even after you’ve brushed it off.
the fool is a sign of good luck & new beginnings, because he might not notice at all. to notice is to see where the pain lies.
there’s a fresh bite on my arm from when i noticed too late, and it’s taking everything in me not to scratch it. it sits there as a reminder that sometimes there is no warning, just the prick.
Perfect movie for what it is. Sets you up with very little expectations except to enjoy this weekend hike and slowly learn the characters, and stealthily becomes something more.
The screenplay is excellent (and quite funny), with a real knack for the flow of ordinary conversation.
This one will stick with me for a long time