Good Luck, Have Fun, Don’t Die review – AI is the bad guy in lively yet overstuffed caper

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There’s fun to be had in Pirates of the Caribbean director Gore Verbinski’s satisfyingly tech-fearing adventure – but some restraint wouldn’t have gone amiss Despite directing a phenomenally successful franchise starter (Pirates of the Caribbean), two of its sequels (Dead Man’s Chest and At World’s End), a smash-hit horror remake (The Ring), an Oscar-winning animation (Rango), and films starring Brad Pitt and Julia Roberts (The Mexican) and Nicolas Cage and Michael Caine (The Weather Man), Gore Verbinski never quite broke through as a name the average cinemagoer would instantly recognise. There are some through-lines in his work – a dark sense of humour, an ease with pushing megastars past their limits – but he was mostly there in service of something or someone else, whether it be IP or an A-lister. After both consumed him in 2013’s loathed flop The Lone Ranger, Verbinski went away and returned three years later with an extravagant “one for me”, the ambitious throwback horror A Cure...
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Streaming: Past Lives and the best immigrant stories on film

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One of the year’s best films, Celine Song’s Korean-American love story, now on streaming and DVD, continues cinema’s rich tradition of immigrant stories, from Chaplin to Persepolis

Awards season often tends to benefit the newer, shinier end-of-year releases that are freshest in voters’ memories, but Celine Song’s lovely, low-key Past Lives appears to be quietly staying the course. Having premiered way back in January, hit cinemas in the summer and since become available to stream – with the DVD out last week for physical media loyalists – it is now routinely popping up on best-of-2023 lists, and scooped best feature at the Gotham awards in the US. Something sticks in the mind and heart about Song’s melancholic, gentle but emotionally acute tale of a rekindled relationship between a Korean-American immigrant and the childhood friend she left behind in Seoul. Anyone whose life has been split across countries can relate to its study of the split identities and frayed possibilities of immigrant existence.

It’s those infinitely complex internal tensions – at once universally recognisable and particular to each individual – atop external fish-out-of-water challenges that make the immigrant experience such a rich and recurring film subject. As early as 1917, English émigré Charlie Chaplin distilled all those dynamics in his 22-minute short The Immigrant (Internet Archive), playing his signature Little Tramp character’s calamitous voyage to, and overwhelmed arrival in, New York for maximum comedy and pathos. Nearly 100 years later, American director James Gray took the same title for a rather more solemn look at a European ingenue seeking a new life in the Big Apple, meeting with ugly exploitation and poisoned ardour. Gray’s The Immigrant (2013) plays as symphonically grand tragedy, but retains that old romantic mythos around the US as a place to make or remake yourself.

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