Dramatic subtlety makes Good One's coming-of-age a great one

Good One is a movie that should be seen in a theater. Not because of its grand scale; it’s actually very modest in that way. The reason writer/director India Donaldson’s debut feature needs to be absorbed in the most immersive environment possible is that it hinges on a small but seismic moment—one that could easily be missed were one, say, to put this film on in the background while scrolling through one’s phone. That moment colors everything that happens afterwards, irrevocably changing the way our teenage protagonist looks at her father and the world. But you have to notice it to feel that. Otherwise, it’s just a walk in the woods.

Good One tackles its uncomfortable coming-of-age theme with an approach comparable to Kitty Green’s underappreciated 2019 film The Assistant, in which the threat of sexual harassment was always present, but rarely addressed. Here, Donaldson similarly dramatizes a young woman understanding the stark reality of the world of men and her place in it for the first time. It’s a revelation that can be dramatic, or can happen quietly enough that its full impact isn’t felt until afterwards. This film explores the latter.

The filmmaking is sensitive as well, full of thoughtful details and meditative moments that capture the mix of emotions felt by 17-year-old Sam (Lily Collias) as she embarks on a weekend camping trip with her uptight dad Chris (James Le Gros) and his loose-cannon buddy Matt (Danny McCarthy). Matt is going through a divorce, so he’s a little tuned up, and his constant chatter is appropriately annoying as the trio tromps out into the Catskills for multiple days of hiking and sleeping outdoors. At first, Sam and Chris silently commiserate about their shared frustration. But that familiarity won’t last.

The shifting dynamics between the three leads—the only characters on screen for much of the film’s runtime—are essential to the success of Good One. For the most part, it’s a low-key hang. Donaldson fleshes out her older characters, taking care not to demonize Matt or Chris without holding back on the negative side of either man’s personality. Sam is virtuous by comparison, an observer who chooses her words carefully and is wiser that she appears. Collias’ sulky but soulful performance effectively sells these qualities, making Sam feel like a real person despite her relative lack of flaws.

Good One is beautifully observed, making its point without being too obvious, and perfectly judged in that it doesn’t waste a single shot. The beats of the film are simple and straightforward, but if you hone in on the details, every second is full of information. The look exchanged between Sam and a female cashier at the grocery store where she and her dad pick up supplies. A slug wriggling meditatively through the dirt. The camera lingering on Collias’ face as she listens to Chris and Matt, a few feet away, discuss Matt’s ex.

This could all be so delicate and understated that it ends up becoming boring. But Donaldson’s all-around excellent screenplay has some genuinely funny lines, and the performances are strong enough to make even ordinary exchanges and knowing looks hit hard once you tune into the movie’s wavelength. We don’t always realize how what we say and do will affect others, and despite our best intentions we end up damaging each other in ways that both are and aren’t our fault. Almost everyone has experienced a moment like this; Donaldson’s film specifically shows how the ambient misogyny permeating our society hurts young women, but Good One has the potential to start conversations about how these dynamics are harmful for everyone. The subtlety is the point. 

Director: India Donaldson
Writer: India Donaldson
Starring: Lily Collias, James Le Gros, Danny McCarthy
Release Date: August 9, 2024