Good Luck, Have Fun, Don’t Die (2026) is directed by Gore Verbinski and written by Matthew Robinson. It stars Sam Rockwell, Juno Temple, Haley Lu Richardson, Michael Pena, Zazie Beetz, Asim Chaudhry, Tom Taylor, Georgia Goodman, Daniel Barnett, Artie Wilkinson-Hunt, Riccardo Drayton, Dominique Maher, and David Sturzaker. The film follows a nameless time traveler (Rockwell) who enters a diner in LA, where he attempts to assemble the precise combination of individuals capable of saving humanity from an imminent AI apocalypse. Because he has a device that can reset the night at the push of a button, he’s played out the scenario over 100 times, failing to save the world on each attempt. Feeling reckless, he selects a combination of individuals he’s never chosen. Although a dysfunctional, ragtag group, they might just be exactly what humanity requires. 

For the most part, this is a very strong ensemble cast. Although it’s no surprise that this is primarily a showcase for Sam Rockwell’s unhinged comedic talents, the script gives each character the perfect amount of focus. Whether it’s Juno Temple as a grieving mother or Haley Lu Richardson as a moody high school prom attendee, the variety of characters helps keep the experience fresh. Flashbacks are often used to flesh out each character’s backstory, but surprisingly, the film never feels as if it loses momentum. I think this is because these flashbacks also provide a lot of necessary world-building and some of the film’s best comedic moments. This isn’t to say the more action-heavy, dire nature of the main storyline is devoid of good humor; It’s just not the primary goal. Verbinski impressively balances life-and-death drama, goofy science fiction, and laugh-out-loud jokes. The film’s uncanny tone might not be for everyone, but there’s no denying it’s a refreshing, oddball vision. 

The film is often bright, colorful, zany, and silly, but also surprisingly dark in terms of both drama and comedy. A lot of the humor revolves around morbid scenarios and the dangerous, most pessimistic implications of AI technology. Thankfully, the film presents itself more as a warning than an outright prediction, a distinction that helps dilute the premise’s hopeless nature. Similarly, the story’s Groundhog Day (1993)-esque time loop elements make it easier to accept when certain characters bite the dust in humorous ways. We’re told right off the bat that these characters have died hundreds of times in the same scenario, so the possibility of death this time around doesn’t feel as final. 

   Just like it does Groundhog Day, the film also borrows from Sci-Fi classics such as Terminator 2: Judgement Day (1991). Thankfully, it borrows sparingly, never feeling like it copies those classic films. It uses some similar big ideas as starting points, but always takes them in fresh, interesting directions. What really impresses me, however, is that the film has the bravery to include a distinctly non-commercial ending. It will definitely piss off a portion of the audience, but it’s original, memorable, and naturally sets up a sequel better than most films that actually intend to do so. 

Overall, this is not only one of the funnier, edgier comedies I’ve seen in a while, but it’s also one of the sharpest recent explorations of humanity’s growing overreliance on AI. Although Michael Pena and Zazie Beetz’s subplot is somewhat unsatisfying and inconsequential, I found myself equally compelled by the various, initially unconnected storylines. The humor, drama, and meta elements are impressively balanced, resulting in a tone that feels one-of-a-kind. It’s a wild, fun ride that’s a lot more intelligent than it initially appears. I already consider it a quintessential Sam Rockwell performance/film. The marketing and trailers didn’t do it any justice, so I hope it finds a long, prosperous life on streaming. B+