‘Good Luck, Have Fun, Don’t Die’ Review: Sam Rockwell Rules in Raucous Sci-Fi Thriller

Okay, so if you really break down Good Luck, Have Fun, Don’t Die, underneath all the wild energy, it’s basically a really harsh lecture about how technology is ruining our lives. It feels like a big “get off my lawn” moment, accusing everyone of being glued to their phones, losing themselves on social media, and only appreciating classic literature if it’s been Hollywood-ized – like, only knowing Anna Karenina because of the Keira Knightley movie. It argues tech is making us unable to think for ourselves and turning things like bookstores into relics of the past. But honestly, the movie isn’t about that lecture. Once it gets that out of the way, it explodes into this crazy, over-the-top dark comedy about AI. It’s visually stunning, the story takes so many unexpected turns, and the characters are wonderfully weird – even if they don’t always quite fit together. It’s a fun ride, though!

Let me tell you, it’s fantastic to see Gore Verbinski back in the director’s chair! It’s been too long since ‘A Cure for Wellness,’ and he clearly has a lot of pent-up creative energy. ‘Good Luck…’ is wonderfully weird – almost to the point of being chaotic, with ideas flying at you from every direction. But honestly, that’s part of the fun. What really holds it all together is Sam Rockwell. He’s brilliant as this mysterious guy from the future, tasked with preventing an AI takeover, and he commits to the role with such manic energy and charm. You genuinely believe he could convince a bunch of strangers to help him save the world! This film is a return to form for a truly gifted blockbuster director, and while it’s a wild ride, it’s a warning we should all pay attention to. If you’re looking for something different and delightfully offbeat, this is it.

Despite its chaotic style, Good Luck… cleverly avoids simply listing its influences. The story borrows heavily from films like 12 Monkeys and The Terminator, mixes in the satirical humor of Idiocracy and Douglas Adams, and even playfully references the music from Patton. This blend of inspirations feels fitting for the film’s patchwork aesthetic – much like the junkyard-inspired costume worn by the main character when he appears at a diner in Los Angeles, everything feels deliberately thrown together.

Briarcliff Entertainment

The strange man, acting erratically, insists he’s from the future and warns that our addiction to social media has enabled AI to dominate humanity. Ironically, his audience – the café’s customers – mostly ignore him while scrolling through their phones. He’s tried 116 times to gather a team to prevent this AI takeover, and this time, his impassioned speech manages to convince a handful of downcast patrons to join his cause, forming a reluctant, but hopeful, group ready to fight back.

The film follows a shadowy group operating at night in Los Angeles (though filmed in Cape Town, South Africa), led by a possibly unstable man. Director Verbinski and editor Craig Wood had to manage the actor’s (Robinson) constant stream of ideas to prevent the story from becoming chaotic. They largely succeed in keeping things focused, even with frequent flashbacks revealing the surprising connections between the seemingly random team members. These flashbacks show us Susan (Juno Temple, delivering a subtly heartbreaking performance) grieving her son, who died in a school shooting, and then agreeing to have him cloned. We also see high school teachers Mark and Janet (Michael Peña and Zazie Beetz, both charming) battling students who have become zombie-like due to their cell phone addiction.

Briarcliff Entertainment

The film includes scenes reminiscent of Black Mirror, suggesting that too much dependence on technology leaves people feeling empty and longing for genuine connection. With dark humor, it points out the tragic reality that for some struggling teenagers, online interactions replace real relationships, and can lead to violence like school shootings. The film offers a surprising potential solution through the character of Ingrid (Haley Lu Richardson), who dresses as a princess and is literally allergic to the signals from phones and Wi-Fi.

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Ultimately, Good Luck… shows that while it tackles relevant issues, it prioritizes being visually engaging over making a serious impact. It’s unlikely to inspire anyone to change their habits, but it is a very enjoyable return for director Gore Verbinski. The film playfully criticizes modern life, pointing out how consumed we are with entertainment, even as it contributes to that very cycle – and it’s entertaining enough to make that a worthwhile trade-off.

Good Luck, Have Fun, Don’t Die, from Briarcliff Entertainment, opens in theaters on February 13.

2026-02-06 21:34

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