Michael Keaton and Mila Kunis in fatherly drama

Few people were surprised when Andy Goodrich’s wife Naomi (Laura Benanti) told him she had checked into rehab and planned to leave him. The mother of his two elementary school-age children has been known to reach for pills to put herself to sleep at night, along with a few extra glasses of wine.

Still, the news comes as a shock to Andy, played by Michael Keaton, and it only adds to his own distraught state. The gallerist never became the partner or parent he is now, as evidenced by his relationships with his first wife (Andie MacDowell) and eldest daughter (Mila Kunis). Now, with his current union on the verge of collapse, Andy feels the pressure for change.

GoodrichHallie Meyers-Shell’s second feature film “Andy” observes his struggle to become a better father. The narrative follows familiar beats, offering only a few novel moments along the way. When Naomi seeks residential treatment for drug addiction, Andy takes it upon himself to care for their twins, Billie (Vivien Leila Blair) and Moses (Jacob Koppella), for 90 days – — Drive them to and from school, organize their play dates, and take care of their emotional lives. In addition to fulfilling his parental duties, Andy is trying to save his gallery, a dream project that has struggled to turn a profit in recent years.

Keaton’s affable performance carries much of the Goodrich. While Andy isn’t exactly like Jack, the automotive engineer from Keaton’s 1983 vacation Mr. Momthe experiences of the two characters have some echoes. Like Jack, Andy initially struggled to cope with the demands of family life. He nearly sent his son into anaphylactic shock by forgetting that he was allergic to peanuts, and nearly ruined the twins’ attendance records when they were late. Keaton responds to the character’s misfortunes with his signature assured humor, finding moments of sympathy in his chronic incompetence and comedy in even the most serious scenes.

In doing so, he helps the picture overcome some of its more formulaic turns and distracts from the overwrought visual language. Meyers-Shyer calibrated Goodrich Bringing tears of comfort and encouragement, not an unworthy mission for a well-intentioned comedy like this. But a more inspired path would be welcome. The plot offers a plethora of recognizable tropes, from the overly precocious child to Andy’s fumbling patterns to complete a mission and ultimately emerge victorious.

An overreliance on montages shot by cinematographer Jamie Ramsey and carefully constructed to Christopher Willis’s evocative score disrupts the film’s rhythm. Some are fun, like Andy attending a feminist art show in hopes of attracting new clients. But others, like when Andy meets his ex-wife, fit strangely into the narrative framework. These moments betray a distrust of the audience, as if without clues we might not understand the emotional weight of certain scenes.

In fact, there’s no need to do this, as Meyers Sher has both a solid story and a solid cast. When the director loosens the reins, allowing room for some narrative space, the result is as charming as Andy—an art-world maverick in a suit—with his children and another parent (the scene-stealing Michael Played by Yuri) and go shopping for Halloween costumes together.

As Andy raises his twins, his failings as a father to Grace (Kunis) begin to unfold. He had never been involved in his oldest child’s upbringing in the same way, and even now, when she was pregnant with her first child, he failed her. Goodrich At its core lies the relationship between dad and daughter as they dig up past pain and create new memories. Kunis stars alongside Keaton, and the two have a natural, joyful chemistry on screen. Honors also go to Danny Deferrari, who makes the most of his brief appearance as Grace’s husband (Andy’s antithesis).

However, Andy and Grace’s dynamic would benefit from more space, especially as it becomes more relevant to the film’s most emotional reveal. When Andy first learns of Naomi’s absence, he looks to Grace for guidance in raising Billie and Moses. He also relies on her to help him strike a deal with the daughter (Carmen Ejogo) of a recently deceased famous artist whose work might help avoid the gallery closing. But when Andy still fails to fulfill his promise to Grace, disappointment breeds a rage in her that is about to explode.

This also increases the risk Goodrich By creating some much-needed narrative friction. We all know that a feel-good ending will eventually come. But a little more patience and fewer clichés might have made its emotional feel more worthwhile.