Daniel Levy’s transition from the small screen success of “Schitt’s Creek” to the grand canvas of feature filmmaking is a journey fraught with expectations. His directorial debut, “Good Grief,” mirrors this transition, delving into the theme of moving on from significant life chapters. The film offers a window into Levy’s potential as a filmmaker, despite some narrative and directorial hiccups.
Levy himself stars as Marc, a character grappling with profound loss after the tragic demise of his husband Oliver, played by Luke Evans. This premise sets the stage for an exploration of grief and self-discovery. Levy’s on-screen presence is as natural and engaging as ever, but it’s in the quieter, more reflective moments of the film that his directorial finesse shines through, promising greater things in his filmmaking future.
The narrative of “Good Grief” follows Marc’s emotional turmoil, compounded by revelations of Oliver’s infidelity. This collision of grief and betrayal forms the crux of the film, presenting Marc’s journey not just as one of mourning, but also of re-evaluating his past and present. Accompanied by his friends, Sophie (Ruth Negga) and Thomas (Himesh Patel), Marc’s trip to Paris in pursuit of closure forms the emotional backbone of the film.
While Levy’s ambition to portray a makeshift family is evident, the film struggles to flesh out its supporting characters fully. Negga and Patel deliver warm performances, but their characters often feel like mere reflections of Marc’s emotional landscape rather than fully realized individuals. This imbalance is particularly evident as the film veers into a new romantic subplot for Marc in Paris, a narrative choice that feels more contrived than cathartic.
Levy’s script sometimes wanders, losing itself in clichés and underdeveloped plot threads. This, coupled with the film’s tendency to dwell excessively on Marc’s melancholy, occasionally detracts from its emotional impact. Despite this, the film’s ambition to blend humor with the painful aspects of life is commendable.
“Good Grief” is at its most compelling when it plays to the strengths of its cast. Levy, Negga, and Patel bring depth to their roles, navigating the complexities of their characters with a mix of vulnerability and resilience. The film’s exploration of late-stage emotions in a relationship, a rarity in contemporary gay cinema, adds a layer of authenticity and gravitas to the narrative.
“Good Grief” is a flawed but sincere effort from Daniel Levy. It’s a film that showcases his potential as a storyteller, capable of handling themes of loss and self-discovery with sensitivity. As Levy continues to evolve as a filmmaker, “Good Grief” will be remembered as a significant, albeit imperfect, step in his artistic journey.
