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The Good House

The Good House

Romance · Drama · Comedy · 2021

When wry New England realtor Hildy Good rekindles a romance with her old high-school flame, Frank Getchell, it ignites long-buried emotions and family secrets that propel Hildy toward a reckoning with the one person she's been avoiding for decades: herself. Based on the best-selling novel by Ann Leary.

Movie details

The Good House

2021 Romance · Drama · Comedy 1h 43m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

When wry New England realtor Hildy Good rekindles a romance with her old high-school flame, Frank Getchell, it ignites long-buried emotions and family secrets that propel Hildy toward a reckoning with the one person she's been avoiding for decades: herself. Based on the best-selling novel by Ann Leary.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Good House?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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(Untitled)

(Untitled)

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Cyrus

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Comedy · 2010

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Where it lives

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Names above the title

The people responsible.

Directed by

Wallace Wolodarsky · Maya Forbes

Written by

Thomas Bezucha · Maya Forbes · Wallace Wolodarsky

Sigourney Weaver

Sigourney Weaver

Hildy Good

Kevin Kline

Kevin Kline

Frank Getchell

Morena Baccarin

Morena Baccarin

Rebecca McAllister

Rob Delaney

Rob Delaney

Peter Newbold

David Rasche

David Rasche

Scott

Rebecca Henderson

Rebecca Henderson

Tess

Molly Brown

Molly Brown

Emily

Court is in session

Put The Good House on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.