It has been nearly a decade since we last saw a feature film from Gore Verbinski, a director whose career has spanned from the terrifying depths of The Ring to the swashbuckling heights of the Pirates of the Caribbean franchise. His return with Good Luck, Have Fun, Don't Die is not just a release; it is a cinematic event for those of us who value a unique, uncompromising directorial eye. Produced by 3 Arts Entertainment, Blind Wink Productions, and Constantin Film, this 133 minute epic is a genre-defying cocktail of action, adventure, and biting social commentary.
The premise is as high-concept as they come. A man claiming to be from the future (Sam Rockwell) suddenly materializes in a run-down Los Angeles diner. His mission is as urgent as it is absurd: he must recruit a specific group of disgruntled patrons, including Ingrid (Haley Lu Richardson), Mark (Michael Peña), and Janet (Zazie Beetz), to join him on a one-night mission. Their goal? To prevent a rogue artificial intelligence from triggering a terminal global threat. Following its world premiere at Fantastic Fest on September 28, 2025, the film is set to hit theaters on February 13, 2026, via Briarcliff Entertainment, and it arrives with the kind of polarized buzz that only truly interesting movies can generate.
Story and Screenplay: A Dense Forest of Ideas and Satire
The narrative quality of Matthew Robinson’s screenplay is defined by its willingness to take massive risks. This is not a film that is content to simply follow the "time traveler in a diner" trope to its logical conclusion. Instead, it uses that setup as a launchpad for a sprawling investigation of our planet's current predicament and the bleak future that may lie ahead. The structure is unconventional, occasionally feeling as though it is moving backward or sideways when the audience expects a traditional forward march. This can be confounding, but it reflects the chaotic nature of time travel itself.
Pacing and rhythm are perhaps the film’s most challenging aspects. At 133 minutes, there are segments where the narrative feels a bit bloated, particularly when it leans into its more experimental satirical sub-plots. For instance, the film takes a surprising detour into a segment involving clones that serves as a commentary on the fallout of school shootings. While this is handled with a clever, if distressing, satirical edge, it can feel disconnected from the main AI threat. The script also takes aim at modern advertising, though some of these observations feel a bit redundant in a post-Black Mirror world. Despite these lulls, the originality of the themes is undeniable. Robinson and Verbinski are clearly interested in how human apathy and commercialism are as much a threat to our survival as any rogue computer program.
Acting and Characters: Sam Rockwell Is the Ultimate Secret Weapon
If this movie has a heartbeat, it belongs to Sam Rockwell. As the unnamed "Man From the Future," Rockwell is electric, infusing the character with a mix of frantic desperation and irresistible charm. He has the difficult task of convincing both the diner patrons and the audience that his world-ending stakes are real, and he does so with a charisma that keeps the film anchored even when the plot threatens to drift away. It is the kind of performance that reminds you why he is one of the most reliable actors of his generation.
The supporting cast is equally impressive, functioning as the skeptical stand-ins for the audience. Haley Lu Richardson, Michael Peña, and Zazie Beetz provide the necessary groundedness, reacting to the madness with a mixture of confusion and eventually, a hard-earned sense of purpose. Juno Temple also makes a significant impact in a segment centered on a character named Susan, bringing a grounded emotional truth to an otherwise heightened sci-fi scenario. The chemistry between these mismatched heroes is what makes the final act work. As they transition from disgruntled strangers to a makeshift team, the film finds its emotional footing, leading to a climax that delivers genuine feeling alongside its blockbuster thrills.
Direction and Technical Aspects: The Unmistakable Verbinski Touch
Gore Verbinski has always been a director who excels at world-building, and Good Luck, Have Fun, Don't Die is no exception. His vision for both the gritty reality of the LA diner and the "terminal threat" of the future is visually stunning. The cinematography captures the neon-soaked grime of the city with a big-city polish that makes the film feel expansive. Verbinski’s style is characterized by a kinetic energy; even the scenes where characters are just talking in a booth feel loaded with potential movement and danger.
The visual storytelling is particularly effective during the film’s lengthy climax. Here, Verbinski leans into the "bonkers" nature of the concept, incorporating monstrous memes and high-concept sci-fi imagery that could have looked ridiculous under a less capable hand. Instead, these elements feel like a natural extension of a world gone mad. The editing is sharp, though it occasionally struggles to reconcile the film’s wild tonal shifts. There is a sense of visual playfulness throughout, from the production design of the futuristic tech to the way the camera lingers on the small, human details of the diner. It is a reminder that blockbuster filmmaking can still be artistic and idiosyncratic.
Trailer Good Luck, Have Fun, Don't Die (2025)
Music and Atmosphere: Navigating Tonal Whiplash
The atmosphere of the film is one of its most polarizing features. It oscillates wildly between broad, almost slapstick comedy and moments of grave, existential seriousness. One moment you are laughing at a joke about a "Tailor Swift" shop (wait, that was the other movie, but you get the idea), and the next you are confronted with the distressing realities of a school shooting’s aftermath. This tonal whiplash is clearly intentional, designed to keep the audience off-balance and mirror the "predicament" of the characters, but it can be exhausting.
The score and sound design play a crucial role in smoothing over these transitions. The music shifts from high-energy action cues to more somber, atmospheric tracks that help sell the emotional weight of the mission. The audio experience is designed to be immersive, using the sound of the rogue AI’s encroachment to create a sense of mounting dread. When the film hits its stride, the atmosphere is intoxicating, a mix of late-night LA noir and high-stakes futuristic adventure. It is an experience that demands you submit to its rhythm, regardless of how jarring that rhythm might be.
Strengths and Weaknesses
What works well:
- Sam Rockwell’s Performance: His "electric" charisma is the glue that holds this ambitious project together, making the Man From the Future a character you truly want to follow.
- Verbinski’s Visual Style: The film marks a "versatile" and "innovative" return for a director who hasn't lost his touch for creating stunning, unique imagery.
- Ambitious Satire: The film’s willingness to tackle "distressing" global statements and the "depressing future" through a sci-fi lens is refreshing and bold.
- Emotional Climax: Despite the "bonkers" setup, the finale manages to deliver "genuine emotion" and satisfying character resolutions.
- The Supporting Ensemble: Haley Lu Richardson and the rest of the diner crew provide a perfect, grounded counterpoint to the sci-fi madness.
What doesn't work:
- Tonal Inconsistency: The rapid shifts from "broadly comic" to "gravely serious" may leave some viewers feeling dizzy or disconnected.
- Narrative Confusion: The script occasionally feels like it’s "moving backwards," with certain sub-plots (like the clone satire) feeling a bit tangential to the main plot.
- Lengthy Runtime: At 133 minutes, the film "confounds and frustrates" in its middle act, where some of the satirical elements start to feel repetitive.
- Familiar Satirical Tropes: Some of the jokes about advertising and tech feel like they’ve been covered before in other recent sci-fi satires.
Final Verdict: A Wild, Rewarding Ride for the Bold
Rating: 4/5 stars
Good Luck, Have Fun, Don't Die (2025) is a film that wears its flaws like a badge of honor. It is messy, loud, confusing, and occasionally brilliant. It represents the kind of "lofty ambition" that we rarely see in contemporary genre cinema, and for that alone, it deserves to be celebrated. Gore Verbinski hasn't just made a comeback; he has made a statement about the power of original, visual-first storytelling. While it might not be a "perfect" film, it is a "wild ride" that stays with you long after the lights come up.
Who should watch it? If you can cope with high-concept sci-fi that isn't afraid to be "bonkers," this is the movie for you. It is a treat for fans of Sam Rockwell and anyone who has missed the specific, chaotic magic that Gore Verbinski brings to the screen. It is for the viewer who wants their blockbusters to have a brain, even if that brain is currently short-circuiting.
Who might not enjoy it? Those who prefer their movies to have a clear, linear tone and a straightforward narrative might find this "frustrating" and "confounding." If you are sensitive to abrupt shifts from humor to tragedy, the tonal whiplash of the Susan and clone segments might be too much to handle.
Final Thoughts and Recommendation: I recommend Good Luck, Have Fun, Don't Die as a bold, electric piece of cinema. It is a movie that isn't afraid to fail in its pursuit of something great. Catch it on the biggest screen possible to fully appreciate Verbinski’s visuals and Rockwell’s star power. It is a vibrant, flawed, and ultimately satisfying return for one of our most unique filmmakers.
 Movie Review: A Chaotic, High-Stakes Sci-Fi Odyssey That Marks the Triumphant Return of Gore Verbinski){kind=link}
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