Good Luck, Have Fun, Don’t Die is what would happen if Idiocracy, Black Mirror and Terminator got together to have offspring… and nobody set any kind of limits for them.
And that is good. And, at the same time, it is also the problem.
Because the film is total chaos, but interesting chaos. You will see what I mean.
Let’s start with the plot, which is probably the most predictable part of the whole thing.
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Plot
We are in the near future where, in what looks like a normal U.S. diner, an -apparently- homeless man walks in, armed with explosives and saying he has come from the future to save the world from a superintelligent AI that has it under control.
I am not spoiling anything, because this happens in the opening moments of the film, before it goes on to explain the dystopian future in which the film’s protagonists live, all of them people who are in the diner when the protagonist appears.
So we have high-school teachers terrified by students glued to their phones, executives who never question the system, a girl with a rare disease…
A mixed group that has to help -by force- our protagonist achieve his goal.
From each of their pasts and the situations the plot sets up, we get a mix of dystopia, satire and absurdity where the characters try to navigate a system that amplifies problems instead of solving them.
A totum revolutum of ideas
Because I mentioned Idiocracy, Black Mirror and Terminator, but this film borrows ideas from many others too.
It will not be hard to find references (or rip-offs, depending on how you look at it) to Edge of Tomorrow, Ready Player One, The Matrix, Akira, 12 Monkeys, Better Call Saul and even Toy Story.
Not to mention that even the very structure of the title -split into three sections- seems borrowed from the Oscar-winning Everything Everywhere All at Once.
Without the slightest shame, the film takes ideas from multiple works -the ones mentioned and several more I am leaving out- throws them into a pot and stirs them, hoping for a broth that is pleasant to the palate.
And, surprisingly -at least for me- it does.
Because the movie has that constant “there is something here” energy that keeps you in, even when it starts to overflow with all the ideas it wants to fuse together.
Maybe because what it raises (the all-powerful AI, addiction to phones and technology, mediocre human decisions amplified by technology) connects with the present and because neither its science nor its fiction seem that far from our reality, despite being pushed into absurdity.
But the problem is that it does not know when to stop.
It keeps piling ideas on top of one another as if each one were too good to leave out. At first that adds to it, but eventually it becomes overwhelming. Especially when, suddenly, a giant cat appears more or less out of nowhere.
It does not feel like a flaw, but more like a statement of intent. The film does not try to be coherent, but excessive.
Conclusions
If its thing is your thing, it works. Because it is fun, has pace and has strong ideas (its own or borrowed). But it also runs longer than it needs to. It could lose a good chunk of footage.
Even so, it is worth it.
Because in our current context, where many films are designed not to bother anyone (for the “easily offended”, as that guy would say), this one decides to take risks.
It is not a great film. But it is more interesting than most, which always play it safe.
PS: I’m genuinely surprised A24 did not produce it, given the company’s track record.
Technical details
| Field | Data |
|---|---|
| Title | Good Luck, Have Fun, Don’t Die |
| Year | 2025 as file year / 2026 as commercial release |
| Director | Gore Verbinski |
| Screenplay | Matthew Robinson |
| Main cast | Sam Rockwell, Haley Lu Richardson, Michael Peña, Zazie Beetz, Asim Chaudhry, Tom Taylor, Juno Temple |
| Music | Geoff Zanelli |
| Cinematography | James Whitaker |
| Editing | Craig Wood |
| Production | Gore Verbinski, Robert Kulzer, Erwin Stoff, Oliver Obst, Denise Chamian |
| Production companies | Constantin Film, Blind Wink Productions, 3 Arts Entertainment |
| Distributor | Briarcliff Entertainment |
| Runtime | 134 minutes / 2 h 14 min |
| Genre | Science fiction, comedy, action, tech satire |
| Country | United States and Germany |
| Original language | English |
| U.S. theatrical release | February 13, 2026 |
| Spanish release | April 3, 2026 |
| Rating | R in the United States |
Rating
Who it is for
✔️ Satirical science fiction: you need to be into this kind of thing.✔️ If you enjoy films with personality, even when they are imperfect.
Who it is not for
❌ For those looking for a solid structure and total coherence.❌ If excess annoys you.
Frequently asked questions
What is the film about?
A science-fiction story set in the near future where an alleged time traveler bursts into a diner to stop an AI from taking over the world. From there, it mixes dystopia, satire and absurdity with a group of characters trapped in that situation.
Is it a serious film or more of a comedy?
It is both. It has a dystopian science-fiction base, but it is handled with humor, irony and absurd moments. It does not try to take itself too seriously.
Does it resemble other films or series?
Yes, constantly. It has clear echoes of multiple science-fiction, time-travel and social-satire references. Part of its appeal (and its weakness) is that excessive mixture.
Is it easy to follow?
Not especially. The main idea is clear, but the accumulation of concepts and situations makes it chaotic at times.
What is the best thing about the film?
Its energy. It is always putting something forward and keeps your interest. It also touches on current topics such as AI and technological dependence in a recognizable way.
And the worst?
It does not know when to stop. It introduces too many unfiltered ideas and that ends up becoming overwhelming. It also runs longer than necessary.
Is it a good film?
It is not excellent, but it is interesting. It stands above many safer but forgettable films.
Who is this film for?
For anyone who enjoys science fiction with satire, films with personality and stories that take risks even when they are not perfect.
Who is it NOT for?
For anyone looking for total coherence, a classic structure or who is bothered by narrative excess.
Is it worth watching?
Yes, if you value ideas, pace and risk over technical perfection. It is not rounded, but it is stimulating.
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