
Eric, 10, finds himself almost overnight living with Gabriel, his father, who he barely knows. The man has trouble keeping their heads above water and building a relationship with his son. Maria Isabel, the woman Gabriel works for as a carpenter, decides to take the child under her wing.... (Full plot summary below)
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Eric, 10, finds himself almost overnight living with Gabriel, his father, who he barely knows. The man has trouble keeping their heads above water and building a relationship with his son. Maria Isabel, the woman Gabriel works for as a carpenter, decides to take the child under her wing.
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| AV ClubMike D'AngeloGood People might have been better titled "Dumb People", or at least "People Who Have Never Seen A Movie In Their Entire Lives." |
| One Guy's OpinionFrank SwietekAn attempt at a modern noir that works its way to a pretty exciting, if absurd, climax but mostly bides time until then. |
| Blu-ray.comBrian OrndorfWeirdness is exactly what Good People needs, providing something diverting to break relentless formula that dries out the excitement that has managed to survive the brutal editorial process. |
| ReelViewsJames BerardinelliThere's probably enough content here to warrant a three-hour movie but Good People is only 90 minutes long. |
| The Patriot LedgerAl AlexanderIt's barely 80 minutes long, but Genz manages to exhaust every cliche in the thriller genre. But he's just talented enough to make it work. |
| Los Angeles TimesGary GoldsteinGood People goes from being simply pedestrian to outright preposterous without batting an eye. |
| Cinemalogue.comTodd JorgensonThey might be good people, but they make a bad movie in the case of this generic thriller. |
| Time OutTrevor JohnstonA fairly standard white-people-in-peril thriller. |
| New York ObserverRex ReedJames Franco again, more subdued and less hokey than usual, this time in something called Good People, the kind of routine thriller they used to show on Thursday and Friday nights before the big Saturday double features, back in the good old studio years when the marquees changed every two days. |
| Screen InternationalBrent SimonMindless and mechanical until it suddenly decides to abandon any pretense of sense in a pulpy third act that hints in the faintest fashion at the deranged fun the film could have been ... |