'Good Luck, Have Fun, Don’t Die' [REVIEW]: Sam Rockwell Leads One of 2026’s Wildest, Smartest Rides

By Klep Napier | Wearecritix.com

Starring Sam Rockwell, Zazie Beetz, Michael Peña, Juno Temple, and Haley Lu Richardson, and directed by Gore Verbinski, this film is easily one of the most original theatrical experiences I’ve had so far in 2026.

The premise is deceptively simple. A man claiming to be from the future walks into a diner to recruit a handful of ordinary people who are essential to stopping an AI-controlled apocalypse. That’s the hook. But what unfolds is far more layered than a standard time-travel thriller.

I went into this film blind outside of the trailer, and that worked in its favor. Because this isn’t a movie you solve. It’s a movie you experience.

Structurally, the film plays like controlled chaos. You’re following breadcrumbs, yes, but they’re intentional. There’s a rhythm to how information is revealed. The script understands restraint. It lets questions linger. It allows doubt to breathe. And in a genre that often over-explains its mechanics, this film trusts its audience.

Where it really separates itself is in tone.

This isn’t just man versus machine. It’s humanity versus itself. The satire surrounding AI doesn’t feel like a surface-level commentary on technology. It feels like a reflection of our dependency, our shortcuts, our obsession with efficiency over empathy. The film never stops to lecture you, but the implications are loud.

Sam Rockwell carries the film with the kind of charisma that makes even the most absurd concept feel grounded. He plays ambiguity well. You believe him, but you’re never fully sure if you should. That tension fuels the first half of the film.

But this ensemble is doing real work.

Zazie Beetz brings a sharp intelligence that balances the emotional volatility of the group. Michael Peña adds humanity and relatability. Juno Temple injects unpredictability in a way that keeps you leaning forward. And Haley Lu Richardson? She’s the emotional core.

Her performance evolves in subtle but powerful ways. What starts as uncertainty grows into something deeper, more layered, more resonant. She gives the film weight when it needs it most. And that balance between absurdity and sincerity is what keeps this thing from flying off the rails.

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Now let’s talk about the risk factor.

This film is weird. Intentionally weird. There are moments that will pull some viewers out because they challenge believability. But that’s the gamble. Verbinski leans into heightened reality rather than strict realism. If you accept the rules of its world early, the payoff is rewarding.

Visually, the film has style. It moves with urgency but never feels rushed. The pacing is tight without being frantic. And most importantly, it doesn’t feel like anything else currently in theaters.

That originality is the biggest win. In an era of safe sequels and recycled IP, Good Luck, Have Fun, Don’t Die feels like a genuine swing. It’s bold. It’s satirical. It’s structurally confident. And yes, it’s bonkers in the best way. I said it in my initial reaction, and I stand by it. This might be my first favorite film of 2026.

Not because it’s perfect, but because it’s fearless.

Good Luck, Have Fun, Don’t Die is in theaters NOW. And this is absolutely one you should experience on the big screen. Go in curious. Go in open. Let it take you for the ride.

Then come back and tell me what you thought.

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