Recensioni de* critic*

Scaffolding his story on an illogical foundation, Braff continues to be an aggravatingly unsubtle filmmaker, over-relying on totems of profundity and showboating with the camera in ways that distract rather than enhance the drama. Still, [Florence] Pugh is watchable doing just about anything.

Imagine [A Good Person] as a jar full of thoughts and feelings, but one that’s been tipped over and spilt haphazardly onto the floor. Pugh is excellent, as she always is, ruled by instinct and laced with pain down to her very arteries – but it’s only because she’s so believable that she’s allowed to clamber on top of the mess.

Everything, from the dialogue to the occasional camera flourishes, feels as if it was conceived from an A.I. pulling ideas from other films. There isn’t any clear indication that the situations in the story are anything that Braff has been through himself.

Though Pugh valiantly muscles through the melancholy beats of Braff’s melodrama, there are too many other characters and plot threads to allow her to do much besides heave the story forward.

[A Good Person is] all concocted for maximum emotional impact, yet as the film piles on this excess, it loses all semblance of plausibility as the characters crystallize their inner thoughts rather than expose them through their behaviors.

Zach Braff here puts us through an ordeal of excruciating contrived nonsense: a masturbatory Calvary of ersatz empathy and emotional wellness.