The indie dramedy "The Good Half," directed by Robert Schwartzman, delves into the world of Renn Wheeland, played by Nick Jonas. The character is portrayed as a typical disenchanted young man grappling with the recent loss of his mother and his inability to process his emotional rollercoaster, embodying a common trope found in many similar films.
"The Good Half" feels strangely familiar, resembling "Garden State" and "Elizabethtown"; it attempts to step into the realms of melodrama and mumblecore, yet fails to achieve either convincingly. Jonas' character, with its deep-rooted cynicism and detachment, seems intended to represent the director and screenwriter's own narrative journey. The protagonist is a struggling Los Angeles screenwriter, who flies back to his hometown to take care of his mother’s funeral despite his emotional barricades.
Renn’s relationship with his family is complex, with flashbacks showing a carefree yet irresponsible mother at the heart of Renn's formative memories. Back home, his family members express their frustration with him as he copes with grief by masking it with sarcasm.
A new character, Zoey, played by Alexandra Shipp, comes as a breath of fresh air during Renn's flight back home. The pair makes a connection discussing '90s action movies. Zoey, representing the much-discussed Manic Pixie Dream Girl archetype, serves as Renn's emotional and romantic support.
Nonetheless, the film faces criticism for its slow pacing and unbalanced combination of comedy and drama. The message about the difficulty of grieving is repeatedly, yet poorly, delivered. Flashbacks don't contribute much to the plot, and attempts to apply a unique stylistic approach fall flat.
"The Good Half" attempts to unravel profound truths about grief and love. However, the film's inability to present any novel ideas or establish a connection with the characters prevents it from leaving a lasting impression. Instead, it chooses to maintain a vast distance from its subjects, leaving audiences devoid of closure or any new insights into the universal experience of grief.
