‘Everything’s Going to Be Great’ Review: Bryan Cranston and Allison Janney Can Only Do So Much to Elevate This Thinly Sketched Dramedy

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Lester Smart (Benjamin Evan Ainsworth) is the kind of teenager who can’t help but be true to himself. He imagines conversations with famous theater personalities such as Noël Coward (Mark Caven) and Tallulah Bankhead (Laura Benanti), and he responds to bullies by quoting lyrics from Hair. In a time when faded Motley Crüe t-shirts were the trend, he prefers ascots and berets. These unique characteristics might have been difficult for a 14-year-old boy in late-’80s suburbia, but they could prove to be advantageous once he’s ready to pursue his dreams on Broadway.

The movie “Everything’s Going to Be Great,” where Les is featured, could have benefited from more of his infectious energy. Unfortunately, the latest film by Jon S. Baird (known for “Tetris”) seems disappointingly indecisive, a blend of uncertain tones, inconsistent plot developments, and themes that are only fleetingly explored. It’s not a terrible watch due to the presence of Allison Janney and Bryan Cranston, but it fails to deliver a truly fulfilling experience.

The movie “Everything’s Going to Be Great” could have used more Les’ charm. Unfortunately, Jon S. Baird’s new film seems unclear in its tone, with inconsistent plot points and shallow exploration of themes. While it’s not terrible because of Allison Janney and Bryan Cranston, it doesn’t offer a satisfying viewing experience either.

Instead of following a typical pattern like Kurt Hummel’s backstory, Les’ interests actually strengthen his relationship with his parents, Buddy (Cranston), a wannabe Broadway producer, and Macy (Janney), a practical bookkeeper. While their support doesn’t involve casting him in their regional theater productions without auditions, he still has to compete for roles, often landing minor ones that require him to dash on stage during scenes not his own, just to get a taste of the limelight. However, when Les practices the bagpipes with Buddy before school or sings along to musical numbers in the car, it’s clear where he developed his love for theater. In contrast, it’s Derrick (Jack Champion), the older brother, who is the odd one out among this group, typically identified as a jock.

However, despite Buddy’s firm belief that “happiness is unavoidable” and his conviction that success is imminent, life at the Smart home isn’t always smooth sailing. His recent venture, a seasonal job with potential for long-term employment, requires the family to move from Ohio to New Jersey, and later to a Kansas farm owned by Buddy’s somewhat estranged grumpy brother, Walter (played by Chris Cooper).

The phrase “Everything’s Going to Be Great” brings about some light humor, primarily due to Cranston’s performance in the first half. Known for his bold acting style, he portrays Buddy as a captivating character who is continually brimming with ideas and strategies, always striving to brighten up any situation. Yet, he subtly balances Buddy’s grandeur with warm affection for his family and fleeting moments of irritation. His disagreements with Macy, centered around financial struggles and her perceived doubts in him, delve into the darker aspects of creative pursuit. “Dreams can lead to destruction,” she cautions Les near the end of the film, and by then, we’ve witnessed enough heartache to understand the wisdom behind her words.

In her role, Janney portrays Macy with a great deal of warmth, yet there’s a persistent undercurrent of dissatisfaction. She shares this struggle with a confidant, an actor friend (Simon Rex). Over the years, she’s been the one to keep things practical while Buddy enjoyed the fun, which has left her feeling overlooked and disconnected from her personal desires. As time goes on, she finds herself seeking comfort in faith, much to the unease of her husband who is notably unconventional.

Essentially, “Everything’s Going to Be Great” is a film that primarily focuses on the maturation process of the character Les. In the latter part of the movie, it transitions from a somewhat whimsical comedy featuring an eccentric boy and his equally peculiar family, into a heartfelt drama exploring Les’ struggle with the complex legacy of his flawed father whom he deeply admires, and how his upbringing in less glamorous settings influences him.

At least, that’s how it seems theoretically. However, in reality, the screenplay written by Steven Rogers for “I, Tonya” doesn’t delve deep enough into these themes to lead us anywhere engaging or intriguing.

Or, put another way:

In theory, the storyline suggested is compelling. But in practice, the screenplay of “I, Tonya” doesn’t explore its potential themes deeply enough for an engaging and intriguing journey.

Ainsworth attempts to infuse life into his character, but it’s notable that he shines brightest and evokes strong emotions during Les’ quieter moments, such as when he is moved to tears by a church choir’s beauty. Although Rogers should be commended for not softening too many of Les’ harsh traits (he can indeed be quite unpleasant, and the movie acknowledges this to some extent), he does not delve deeply enough into the protagonist’s mind, leaving Les as merely a collection of quirks rather than a fully realized character.

Macy and Buddy seem more authentic due to the convincing portrayals by Janney and Cranston. However, their character developments appear rather straightforward, suggesting they could use more depth; their struggles often don’t fully develop before they abruptly resolve.

With Derrick’s character, there appears to be a deliberate lack of depth, if not a bit harsh. The movie doesn’t solely focus on Les’ perspective; it gives each Smart family member their own individual scenes. However, the narrative seems to mirror Les’ indifference towards the possibility that Derrick could have any significant inner thoughts or emotions. Throughout the story, Derrick remains as simple-minded as ever, preoccupied only with joining the football team and losing his virginity.

It’s All Going to Turn Out Wonderful implies that everything happening now will eventually contribute to Les’ remarkable artistic journey. An imaginary William Inge (David MacLean) consoles Wes, saying, “Kansas was my true inspiration. Kansas shaped me into an artist.” He adds, “You can be content here.” (Les responds sarcastically: “Didn’t you take your own life?”) However, if it aims to portray a fictional memoir, it seems more like an early, disorganized draft — filled with too much detail and lacking depth, a collection of hurried thoughts in search of a coherent narrative.

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2025-06-14 01:24