A Good Person

A Good Person mostly works, thanks to the strength of its performers and its compassionate spirit.

The pleasure lies in watching Pugh and Freeman face up and finally come around to one another. It’s not straightforward, a dance of advance and retreat with both revealing their strengths and weaknesses, but it’s always worth watching.

Pugh gives a mesmerising performance and Freeman, for once cast in a very substantial role, is better than he’s been in several years.

The tone is jarring throughout, mostly preachy and po-faced, and built upon several awkwardly overperformed scenes (Lots of “ ‘F*** you!’ ‘No, f*** you!’ ”) that mostly feel like offcuts from an Edward Albee tribute play.

Having redeemed the rather silly Don’t Worry Darling through sheer charisma, Florence Pugh is once again called upon to bring her magic to otherwise indifferent material.

A bad movie about unreal people.

There is a split narrative in A Good Person that weaves through the tale of grief. In some ways the pull of focus from one character or another fails the stronger narrative of Allison.

If only the filmmaker had relinquished the rehab template and dared to explore the more obscure corners of a story a hundred times told, A Good Person could have transcended the clichés it's mired on.

Has everything that you would expect from a Zach Braff film - a good screenplay and a great soundtrack. This one will keep you guessing with all of its twists and turns. Morgan Freeman, Florence Pugh and Celeste O'Connor are amazing throughout.

Braff has not grown as a filmmaker or writer and still believes putting a bunch of indie songs over a scene is enough to make it dramatically coherent. Still, for those who love Florence Pugh, her performance will not disappoint even if the film does.