Good Grief is well-intentioned but strained. Instead of building investment through suggestion, it directly states its plot, messages, and emotions. The dialogue is either exposition or philosophizing. There are tacked-on side threads, underdeveloped supporting characters, and an appropriately flawed lead who's unintentionally dislikable. The acting is a mixed bag of chemistry, limited range, outbursts, restraint, layers, smugness, and slight monotony. There's tragedy, representation, internal conflicts, humor, motivations, and arcs. It has themes of mourning, loyalty, self-worth, avoidance, and friendship. Overall, Good Grief displays the importance of show-don't-tell.
Technically, Good Grief is one-note. Its direction offers a bittersweet tone and a clean aesthetic, but overdoes both (feeling oddly sappy yet distant). The unmotivated imagery provides mild focus, lighting, composition, and handhelds. Its editing uses intercuts, emotional pacing, meandering structure, and generic montages. The nonfactor sound supplies brief split cuts, silence, and symbolic diegetics. Its overly chic production design undermines relatability. There are no effects. The cast has diversity and talent, but minor fame and an outmatched protagonist. Its music adds eclectic needle drops but broad scoring. Ultimately, Good Grief is better in theory than actuality.
Writing: 6/10
Direction: 6/10
Cinematography: 5/10
Acting: 7/10
Editing: 5/10
Sound: 5/10
Score/Soundtrack: 6/10
Production Design: 6/10
Casting: 6/10
Effects: 5/10
Overall Score: 5.7/10
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