---
title: "Good Luck, Have Fun, Don't Die"
year: 2026
kind: "film"
canonical: "https://film.one/film/good-luck-have-fun-dont-die"
fi1m_id: "good-luck-have-fun-dont-die"
imdb_id: "tt1341338"
tmdb_id: 1119449
wikidata_id: "Q125843356"
fi1m_score: 64
critics_score: 68
critics_reviews: 19
published: "2026-09-22T21:23:28.406057+00:00"
updated: "2026-09-22T21:23:36.996710+00:00"
region: "BR"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Good Luck, Have Fun, Don't Die (2026)

Directed by Gore Verbinski · 2h 14m · ClassInd 16 · Science Fiction, Action, Comedy

## Identity

Good Luck, Have Fun, Don't Die

- **Canonical:** https://film.one/film/good-luck-have-fun-dont-die
- **Type:** Film
- **Fi1m ID:** good-luck-have-fun-dont-die
- **IMDb ID:** tt1341338
- **TMDB ID:** 1119449
- **Wikidata ID:** Q125843356
- **Same entity:** https://www.imdb.com/title/tt1341338/, https://www.themoviedb.org/movie/1119449, https://www.wikidata.org/wiki/Q125843356

**Fi1m score: 64** · Critics 68 from 19 reviews

*In a sentence:* The world is about to end and everyone in the diner would rather look at their phones

> Gore Verbinski’s return is fast, loud and frequently funny, with Sam Rockwell giving everything as a time traveller trying to save a world that will not look up from its screen. It has about ninety minutes of ideas and 134 minutes of film.

## Synopsis

A dishevelled man who calls himself the Man from the Future (Sam Rockwell) walks into a diner and tells the strangers eating there that artificial intelligence is about to finish off the human race, that he has come back to stop it, and that he needs them. He has said this before, many times, and failed every time. Among the people he presses into service are Susan (Juno Temple), Ingrid (Haley Lu Richardson), Mark (Michael Peña), Janet (Zazie Beetz) and Scott (Asim Chaudhry), none of whom asked to save anything. As he gathers them, the film cuts back to how each of them came to be sitting in that diner, and how the phones, feeds and machines in their lives got them there. The AI itself appears as a boy (Artie Wilkinson-Hunt).

## Review

Gore Verbinski has come back with a science fiction comedy about the end of the world, and he has decided the end of the world should be argued about in a diner. A man who says he is from the future (Sam Rockwell) bursts in, tells the customers that the machines are about to win, and starts recruiting. He has been here before. He has tried this many times. Matthew Robinson’s script treats the time loop as a running gag as much as a plot: the hero knows every wrong turn and is too tired to be patient about it. The film is good fun for an hour, patchy for the next half hour, and lost by the end.

Rockwell is the reason to go. He plays the Man from the Future as somebody who has watched the same apocalypse enough times to be bored by it and terrified of it in equal measure, and he does exhaustion better than almost anyone working. He shouts a great deal, because the script asks him to, but the best moments are the ones where he stops, looks at a stranger he has failed before, and decides whether to bother. He is playing a very old joke, the prophet nobody listens to, and he keeps it alive by sheer effort.

The structure is the trouble. Every recruit gets a flashback showing how technology ruined them, so the film keeps stopping to tell short, separate stories about screens. Some are sharp. Juno Temple’s Susan gets a strand about cloning that is unsettling and funny at once, and Temple plays it with a fixed smile that we found harder to watch than any of the action. Haley Lu Richardson’s Ingrid is the one person in the diner who behaves like someone with a life, and the film is steadier whenever it stays with her. Michael Peña and Zazie Beetz get less to do and do it well.

Other vignettes feel like complaints about the internet written some years ago and left in a drawer. Jokes about people staring at their phones, about likes, about nobody talking to each other, arrive with the confidence of a fresh observation. They are not fresh. Each time the film returns to the diner it has to build its momentum again, and Craig Wood’s cutting, brisk as it is, cannot hide how often the story has been put down and picked up.

We laughed, properly and often, in the first hour, mostly at Rockwell’s face as another plan went wrong. Somewhere past the ninety-minute mark, when the film went into yet another backstory, we felt it go slack, and it did not recover. The last act moves into a bigger, stranger place we will not describe. What we can say is that it is where the digital effects do the heaviest lifting, and they are not up to it, and that the film seems to mistake volume for a resolution.

Jim Whitaker shoots the diner in grubby, close, ordinary light and saves the wide, clean frames for the set pieces, which is a sensible choice and makes the set pieces feel earned. David Brisbin’s near future is our present with more screens in it, which is the film’s argument in a single design decision and a good one. Neil McClean dresses Rockwell in clothes that look slept in for a decade. Geoff Zanelli’s score is loud and insistent, and in the finale it is doing the work the pictures should be doing.

Verbinski has always liked chaos more than tidiness, and in [*Pirates of the Caribbean: The Curse of the Black Pearl*](https://film.one/film/pirates-of-the-caribbean-the-curse-of-the-black-pearl) (2003) and [*Rango*](https://film.one/film/rango) (2011) the chaos had a spine. Here the spine is an idea about how tired we all are of our devices, and it is a fair idea, but the film says it in the first twenty minutes and then keeps saying it.

See it for Rockwell, for Temple’s strand and for the first hour, which is as lively as anything he has made. Sit near the back so the finale is smaller. It runs 134 minutes and carries a 15.

*Fi1m score 64, published 22 September 2026.*

## What the critics say

Most critics like it, with fourteen positive notices against three negative. The praise gathers around Gore Verbinski’s return: the reviews describe the film as audacious, raucous and full of ideas, a science fiction comedy about a time-loop mission to stop a rogue AI that moves with real energy even when it does not hold together. Sam Rockwell’s manic lead performance is the element singled out most often, and several reviews also pick out the Black Mirror-style vignettes, Juno Temple’s cloning storyline in particular.

The reservations are about shape. Even admiring critics find it overstuffed, the flashbacks cumbersome and the final act confusing or overlong, and a few note dated gags and poor CGI. The spread is wide. The Times finds it dull as well as unhinged, Little White Lies calls the satire hacky and Time Out says it has nothing new to say about life online. Screen Daily, more moderately, misses a human element beneath the glibness.

## Straight answers

**Is Good Luck, Have Fun, Don't Die worth watching?**

*Good Luck, Have Fun, Don't Die* is worth watching for Sam Rockwell and its lively first hour, and we scored it 64. Gore Verbinski's science fiction comedy is fast and often funny, but it keeps stopping for flashbacks about screens and loses its way in a loud, effects-heavy finale. Go for the performances rather than the ending.

**How long is Good Luck, Have Fun, Don't Die, and what is it rated?**

*Good Luck, Have Fun, Don't Die* runs 2h 14m and is rated 16 by the ClassInd in Brazil. It is a science fiction and action film.

**Where can I watch Good Luck, Have Fun, Don't Die in Brazil?**

*Good Luck, Have Fun, Don't Die* is available to rent from Amazon Prime Video from R$14.90. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Good Luck, Have Fun, Don't Die, and is it suitable for children?**

*Good Luck, Have Fun, Don't Die* carries a UK 15 certificate, so it is not for children and is aimed at older teenagers and adults. It is a science fiction comedy rather than a horror film, with shouting, set pieces and an unsettling strand about cloning; expect the language and content a 15 implies rather than sustained frights.

**How does Good Luck, Have Fun, Don't Die compare to Repo Man?**

*Good Luck, Have Fun, Don't Die* is bigger, louder and far longer than [*Repo Man*](https://film.one/film/repo-man), and the earlier film is the better of the two. Both are scruffy comedies where the world is ending and nobody much minds, but Alex Cox keeps his cast in one register for a lean running time, where Verbinski keeps pausing for backstories. Choose Cox for people, Verbinski for spectacle.

**What should I watch after Good Luck, Have Fun, Don't Die?**

After *Good Luck, Have Fun, Don't Die*, try [*Repo Man*](https://film.one/film/repo-man) (1984, Fi1m 83): Alex Cox’s scruffy Los Angeles science fiction, where the world ends and nobody much minds. Then [*Twelve Monkeys*](https://film.one/film/twelve-monkeys) (1995, Fi1m 82): A time traveller nobody believes, played by Bruce Willis with the same exhausted eyes; and [*Brazil*](https://film.one/film/brazil) (1985, Fi1m 83): Terry Gilliam’s bureaucratic nightmare; the machines are dafter and the jokes land harder.

### Reviews we read (19)

- **The Telegraph** (88/100, inferred): The critic calls the film a riotous and blood-curdlingly timely science fiction satire about humanity’s last stand against AI, praising its grippingly unpredictable energy and sharp observations on tech’s absurd yet grim effects. [Read](https://www.telegraph.co.uk/films/2026/02/19/good-luck-have-fun-dont-die-review/)
- **Slant Magazine**, Justin Clark (85/100, inferred): The critic praises the film as a fun techno-horror wake-up call that effectively mixes awkward humor with surrealist technological horror, likening it to a 21st-century Bosch painting and highlighting Verbinski’s confident control and bizarre ambition. [Read](https://www.slantmagazine.com/film/good-luck-have-fun-dont-die-review-sam-rockwell-gore-verbinski/)
- **Radio Times**, Rosie Fletcher (4/5): The critic calls the film audacious, fresh and a massive amount of fun despite a confusing final act, praising its clever, unpretentious energy and wild originality. It singles out the strong Black Mirror-style vignettes, especially Juno Temple’s troubling yet funny cloning storyline. [Read](https://www.radiotimes.com/movies/good-luck-have-fun-dont-die-review/)
- **RogerEbert.com**, Brian Tallerico (80/100, inferred): The film is a playful, sharp action-comedy that spins AI concerns into timely entertainment with creative spark and energetic direction, though its structure can feel haphazard. It warns about technology's dangers while celebrating the cast, especially Sam Rockwell's charismatic lead performance. [Read](https://www.rogerebert.com/reviews/good-luck-have-fun-dont-die-sam-rockwell-film-review-2026)
- **The Guardian** (77/100, inferred): The critic finds fun to be had in Verbinski’s satisfyingly tech-fearing sci-fi comedy adventure but notes it is lively yet overstuffed and could use more restraint. The human mess of the film and standout performances, particularly from Haley Lu Richardson, are singled out positively amid the excess. [Read](https://www.theguardian.com/film/2026/feb/12/good-luck-have-fun-dont-die-movie-review)
- **Los Angeles Times**, Amy Nicholson (75/100, inferred): Verbinski’s maniacal farce is a sly sci-fi satire about stopping a tech-pocalypse, with an intricate, angry, and ambitious script that feels like a feat to get made. It explores how the internet’s promise has soured through flashbacks and mean observations on digital life. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-02-12/good-luck-have-fun-dont-die-review-sam-rockwell-haley-lu-richardson-michael-pena-gore-verbinski)
- **Financial Times**, Danny Leigh (★★★☆☆): The critic describes a rowdy sci-fi caper in which Verbinski shares anxiety about AI before mapping salvation, noting it is more curious than it sounds with Black Mirror-lite vignettes indicting tech-addled times. [Read](https://www.ft.com/content/44b45671-8afc-4eec-aa36-7090efceabc3)
- **The Hollywood Reporter**, David Rooney (74/100, inferred): The critic finds the film a reasonably entertaining gonzo sci-fi comedy thanks to its appealing cast and Verbinski’s kinetic action set pieces, but notes it falls short of its title’s sardonic promise due to an only occasionally funny or fresh script and an indulgent runtime. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/good-luck-have-fun-dont-die-review-sam-rockwell-1236495659/)
- **Sight and Sound** (71/100, inferred): The critic finds the film a fun tech-paranoia caper that empathizes with frustration over AI dominance but notes many dated gags and clichés. It praises the satirical bite in the characters' backstories while acknowledging the mix of shrewd observation and outmoded humour. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/good-luck-have-fun-dont-die-ai-comedy-with-just-enough-satirical-bite)
- **Empire**, Helen O’Hara (70/100, inferred): The critic finds the film messy and madcap but ultimately entertaining, with fun amid the mayhem in this time-travel AI-apocalypse story. They single out Sam Rockwell’s immensely fun, manic performance as the standout element. [Read](https://www.empireonline.com/movies/reviews/good-luck-have-fun-dont-die/)
- **The New York Times**, Alissa Wilkinson (70/100, inferred): Gore Verbinski returns with a weird, wild dystopian sci-fi about repeatedly trying to stop a rogue AI, full of ideas and ready to explode at any moment. The story centers on a time traveler assembling a team in a diner to prevent humanity's doom. [Read](https://www.nytimes.com/2026/02/12/movies/review-good-luck-have-fun-dont-die.html)
- **Variety**, Peter Debruge (65/100, inferred): Verbinski makes a raucous comeback with an irreverent, wildly inventive sci-fi comedy about a time-loop mission to curb AI, led by Sam Rockwell’s wild-eyed performance. The script is hyper-referential and satirical but can’t decide if society should be saved or scolded. [Read](https://variety.com/2025/film/reviews/good-luck-have-fun-dont-die-review-sam-rockwell-1236534609/)
- **Screen Daily** (54/100, inferred): The critic describes an audacious, irreverent action-satire that taps into tech anxieties but proves too glib and nihilistic in execution. It singles out the lack of a sufficient human element and notes the film may find cult status rather than mainstream success. [Read](https://www.screendaily.com/reviews/good-luck-have-fun-dont-die-review-sam-rockwell-rages-against-the-machines-in-glib-gonzo-ai-satire/5213288.article)
- **Little White Lies**, Esther Rosenfield (4/2/1): The critic calls the film a disappointing slog and gobsmackingly bad, with hacky, dated satirical broadsides against technology that feel like rejected Black Mirror episodes. It singles out one moderately original cloning concept but faults the overall narrative collapse, hideous CGI and relentless nonsense. [Read](https://lwlies.com/reviews/good-luck-have-fun-dont-die)
- **The Times**, Kevin Maher (40/100, inferred): The critic finds the AI-focused apocalypse comedy from Gore Verbinski both unhinged and dull, noting it starts promisingly with Sam Rockwell but becomes unwieldy due to cumbersome flashbacks and an anticlimactic confrontation. [Read](https://www.thetimes.com/culture/film/article/good-luck-have-fun-dont-die-film-review-cjv5v09b3)
- **Time Out**, Stephen A Russell (30/100, inferred): The critic finds the film a sci-fi snooze with nothing new to say about online times, calling the screenplay sloppy and AI-like with leaden exposition and bad CGI. It singles out the failure to deliver on its potential as searing commentary, resulting in a 404 error message instead. [Read](https://www.timeout.com/movies/good-luck-have-fun-dont-die-review-2026)
- **/Film**, Rafael Motamayor (8/10): The critic calls it a bold, hilarious sci-fi adventure with a great cast and timely anti-AI commentary that starts like Repo Man and ends like Akira. They single out the absurdist humor blended with heart in its treatment of technology and school shootings for praise, while noting it loses some steam in the metaphysical finale. [Read](https://www.slashfilm.com/1979287/good-luck-have-fun-dont-die-review/)
- **Den of Geek**, David Crow (3 out of 5): The critic finds the film audacious and original in its dark satire on AI and modern ennui, but notes the humor is more mean than mirthful and the third act overstays its welcome; praises the subversion of time-loop tropes and Rockwell's performance. [Read](https://www.denofgeek.com/movies/good-luck-have-fun-dont-die-review-shocking-comedy-ai-school-shootings/)
- **The Wrap** (75/100, inferred): The critic views the film as a welcome, ramshackle return for Verbinski that delivers a frequent blast of dark comedy and big ideas, even if not everything connects. They single out Sam Rockwell's charismatic, unhinged lead performance as essential to sustaining the off-kilter energy amid the chaos. [Read](https://www.thewrap.com/creative-content/reviews/good-luck-have-fun-dont-die-review-gore-verbinski/)

## Details

- **Director:** Gore Verbinski
- **Director:** Gore Verbinski
- **Writer:** Matthew Robinson
- **Cinematography:** Jim Whitaker
- **Editor:** Craig Wood
- **Music:** Geoff Zanelli
- **Production design:** David Brisbin
- **Costume design:** Neil McClean
- **Producer:** Robert Kulzer, Oly Obst, Erwin Stoff
- **Cast:** Sam Rockwell as The Man from the Future; Juno Temple as Susan; Haley Lu Richardson as Ingrid; Michael Peña as Mark; Zazie Beetz as Janet; Asim Chaudhry as Scott; Tom Taylor as Tim; Georgia Goodman as Marie
- **Runtime:** 2h 14m
- **Certificate (ClassInd):** 16
- **Release (Brazil):** 23 April 2026
- **Genres:** Science Fiction, Action, Comedy
- **Budget:** $20 million
- **Box office:** $10 million
- **Trailer:** https://www.youtube.com/watch?v=Nm4WbapDzDQ

## Where to watch in Brazil

- Amazon Prime Video: rent R$14.90, hd
- Amazon Prime Video: buy R$59.90, hd

*Checked 2026-09-22.*

Also available in: AU, BR, CA, CL, CO, DK, ES, FI, FR, GB, HK, ID, MX, MY, NO, NZ, PH, PL, SE, SG, TH, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Repo Man* (1984), Fi1m 83: Alex Cox’s scruffy Los Angeles science fiction, where the world ends and nobody much minds. — [Fi1m page](https://film.one/film/repo-man.md)
- *Twelve Monkeys* (1995), Fi1m 82: A time traveller nobody believes, played by Bruce Willis with the same exhausted eyes. — [Fi1m page](https://film.one/film/twelve-monkeys.md)
- *Brazil* (1985), Fi1m 83: Terry Gilliam’s bureaucratic nightmare; the machines are dafter and the jokes land harder. — [Fi1m page](https://film.one/film/brazil.md)
- *Sorry to Bother You* (2018), Fi1m 81: Boots Riley’s satire goes as strange as this one and knows exactly why. — [Fi1m page](https://film.one/film/sorry-to-bother-you.md)
- *A Cure for Wellness* (2016): Verbinski at his most patient and peculiar; a very different pace, the same appetite.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/good-luck-have-fun-dont-die