‘Good Grief’: Review

Dir/scr: Daniel Levy. US. 2023. 100mins

The loss of a spouse evolves into something of a rebirth in this gentle comedy drama from writer/director Daniel Levy. Anyone expecting the same levels of glorious snark on display in his hit Netflix show Schitts Creek (created with his father Eugene) may be disappointed by Good Grief’s over-indulgent gooey centre, although this January 5 Netflix release does have moments of sharp, sincere insight amidst the schmaltz.

Moments of sharp, sincere insight amidst the schmaltz

Comparisons with Richard Curtis come thick and fast, from the picture-perfect London backdrop, which positively gleams through every season of this year-long narrative, to the central theme that love, actually, is all around — even after death. That should appeal to audiences looking for warm, uncomplicated post-Christmas entertainment from this Netflix Original, and many will also be tempted by the charming presence of Levy, who also stars as protagonist Marc (and produces through his Not A Real Production Company).

Artist Marc lives in a handsome West London home with his husband Oliver (a swaggering Luke Evans), a famous novelist-turned-screenwriter. A tragic accident takes place on the night they throw a lavish Christmas party for their legion of well-heeled friends which leaves Marc alone and, over the course of the next year, heavily reliant on the support of his two best friends; the hapless Thomas (Himesh Patel) and chaotic Irish firebrand Sophie (Ruth Negga).

This being a romantic comedy — and Marc being wealthy enough not to have to worry about any of life’s distracting realities, like work — this takes the shape of sleepovers in his impressive pad, nights out at art galleries and, late in the film, a weekend in Paris. The trip is driven by a shocking discovery Marc has made about his supposedly perfect marriage; a secret which will be exposed in a ’night of 1000 truths’ showdown between Marc, Thomas and Sophie.

The chemistry between these three is the film’s greatest strength, and Good Grief plays best as a love story between friends. The characters are well drawn, three points of a triangle; Marc is confident and self-composed, Thomas is reserved and strait-laced while Sophie — in a scene-stealing turn from Negga — is a ball of angst masquerading as a party animal whose determination to have a good time tips into dangerous irresponsibility. The trio have a sincere, natural rapport, their interactions moving easily from banter to intervention, and they are easy to spend time with.

Elsewhere, however, the earnest screenplay – which was inspired by the death of Levy’s grandmother – often gets in the way. Levy makes some very poignant observations about the sharp pain of loss, the dull ache of grief, but much of these are wrapped up in clunky dialogue which feels out of place in normal human conversation. A sequence between Marc and Parisian paramour Theo (Arnaud Valois) over French onion soup is full of recognisable truths, yet so overwrought that it is difficult to fully connect. Far more successful are smaller moments; particularly a heartfelt, deeply moving funeral speech by Oliver’s father (David Bradley).

Good Grief is enriched with a peppy score, lavish production design and rich colour palette — which, notably, pales following Oliver’s death, only to warm again during the care of his friends — and sumptuous cinematography which paints London and Paris as veritable playgrounds. (That this is the case only for those who can afford them is never explored.) Indeed, in taking a light approach to weighty themes, the film could be classified as a soufflé; a gorgeous-looking, inviting confection which does not always stand up.