Goodbye to All That

A spoiler light review of Goodbye to All That should begin with tone, because Angus MacLachlan understands exactly how this comedy ought to feel. Goodbye to All That gains early credibility from Paul Schneider, whose presence is balanced by the different rhythm of Melanie Lynskey. The foundation of Goodbye to All That can be stated simply: When his wife unexpectedly informs him that she wants a divorce, well meaning but oblivious husband Otto Wall finds himself thrust back into bachelorhood, where he searches for the real thing amidst a string of one night stands. Within its 1h 27m running time, Goodbye to All That reveals both the benefits and the limits of that disciplined approach.

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Angus MacLachlan gives Goodbye to All That a directorial line that is engaging in bursts but unable to maintain the same control from its opening promise to its final movement. The staging of Goodbye to All That is strongest when Angus MacLachlan allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, Goodbye to All That confirms that worthwhile ideas compete with an uneven structure across most of the running time. A tighter version of Goodbye to All That would address how the pace alternates between hurry and drift, yet the surrounding work remains persuasive.

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The plot of Goodbye to All That is built around the uneasy relationship between Otto Wall and the central character. For Paul Schneider, that relationship gives Goodbye to All That an emotional objective stronger than simple forward motion. The screenplay associated with Angus MacLachlan lets an important relationship reshape the direction of Goodbye to All That in stages. Although the treatment of a difficult choice could be sharper, Goodbye to All That never entirely loses the thread established at the beginning.

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The craft of Goodbye to All That is defined by well judged reactions, supported by well judged reactions rather than overwhelmed by decoration. Epoch Films gives Goodbye to All That a production framework in which performer rhythm can remain connected to story. Made from a United States production context, Goodbye to All That uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Goodbye to All That works because image, sound and editing appear to be serving the same immediate purpose.

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What keeps Goodbye to All That emotionally readable is Paul Schneider, whose choices establish a consistent point of view. In scenes with Melanie Lynskey, Goodbye to All That gains tension from two performers refusing to produce the same kind of energy. Anna Camp contributes a separate rhythm to Goodbye to All That and helps the supporting material feel less purely functional. The direction by Angus MacLachlan gives the cast of Goodbye to All That room to connect the quieter beats with the larger ones.

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Goodbye to All That finds additional purpose in its examination of embarrassment, status and the gap between confidence and reality. Through the performance of Paul Schneider, Goodbye to All That makes that examination feel personal before it becomes broadly symbolic. The idea of Otto Wall repeatedly returns Goodbye to All That to the cost behind its more visible developments. Angus MacLachlan is most persuasive when Goodbye to All That allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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Goodbye to All That ends as a qualified recommendation, especially for comedy fans who respond to personality and timing. What remains from Goodbye to All That is the relationship between Paul Schneider, well judged reactions and Angus MacLachlan's control of mood. The weakness that the pace alternates between hurry and drift narrows the impact of Goodbye to All That without cancelling its better work. On balance, Goodbye to All That gives its intended viewers a distinctive experience rather than a completely anonymous piece of content.