Good One Review: A Quiet, Compelling Coming-Of-Age Story That Boasts A Strong Central Performance

Written and directed by India Donaldson, Good One is a slow-burn movie that employs details to build tension as it thoroughly explores the relationship between a father and his daughter, as well as the power dynamic that settles in between male adults and a teenage girl. The film is compelling and quietly thought-provoking as it peels back the layers of the relationships at the forefront, while also showcasing the discomfort that follows but isn’t always picked up on.

Good One is a drama film written and directed by India Donaldson and released in 2024. Teenaged Sam is forced to endure a battle of pride and egos when her father and his best friend begin to clash during a weekend camping trip.

Pros

• Good One deftly explores its main character
• The film subtly ruminates on the gender & power dynamics

Cons

• The film is a slow burn
• The pacing could have been better

The Film Is A Deeply Introspective Coming-Of-Age Story

Sam (Lily Collias) joins her father, Chris (James Le Gros), and his best friend Matt (Danny McCarthy) on a hiking trip in the Catskills. Sam seems like a passive character at first, but she’s more introspective than anything, especially as she’s forced to listen to Chris and Matt complain about everything. Through their conversations, we quickly realize how much they think about themselves and don’t pay attention to Sam at all — or, at least, not in the way they actually should.

Sam chimes in with occasional advice or to tell them to see things from a different perspective, as theirs usually involves their victimization while they absolve themselves of wrongdoing. Matt is especially frustrated with his son, who was meant to go on the trip with him, and his divorce, but we see the occasional chinks in his armor when he lets his emotional guard down. And yet, Good One also showcases how one can take advantage of another because of gender and age, which dictate the dynamics at play.

The film moves at a sluggish pace sometimes, and there could have been more packed into the film considering there are scenes that feel void. There could’ve been more time spent on Sam’s home life before the trio heads on their trip, if only to better establish everything. But on the trip, Donaldson smartly lingers on Sam’s every move and facial reactions.

We watch her as she tunes out her dad and Matt’s ruminations, which also explain much of their relationship (Matt is in a similar situation Chris was in several years prior). She’s with her father, but she’s also alone; no one truly engages with her in conversation that isn’t somewhat laced with condescension, and it’s only when she offers some wisdom about Matt’s situation that she isn’t shrugged off, usually by her dad.

In many ways, Sam isn’t really seen and her needs and feelings are usually ignored. As an example, neither Chris nor Matt notice Sam’s discomfort when a group of young men join their camp for dinner. That translates to their conversations as well. And when Sam expressed she felt weird about something Matt said to her, her dad was dismissive, wanting to have a good day free from having to confront his friend. It’s in these moments that Good One shines the brightest, and Donaldson provides biting commentary about power and gender dynamics even within one’s own family.

Good One Boasts A Nuanced Performance From Lily Collias

Sam rebels in her own way, but she is considered the “good one” precisely because she doesn’t act out. When she finally does, in one of the best scenes in the film, it’s a triumphant moment. One of the most fascinating aspects of the film is that its conflict doesn’t come until closer to the end, which leaves us wondering what might happen next for Sam and how her relationship with her father might fare in the aftermath of events.

Good One’s ending underscores Donaldson’s contemplative story, one that isn’t so much concerned with a conclusive finale so much as it wants us to ponder what it is we’ve just seen. This makes for a thoughtful watch, one that is elevated by Collias’ layered performance. Without saying a word, she makes it easy to understand what Sam is feeling (and sometimes even thinking) at every moment; she’s observant and smart, often to the discomfort of her dad and his friend. It’s a multidimensional dynamic that unfolds quietly but powerfully so long as we remain rooted to what unfolds.