Good Luck, Have Fun, Don't Die 2026

In best Christopher Lloyd style, a man arrives in a active booth claiming to be from the future. He (Sam Rockwell) additionally claims that this is the umpteenth time he has been to the place, at the aforementioned time, aggravating to recruit some of the diners to accompany him on a adventure to baffle the ultimate takeover of association by an AI whizzkid. Of advance they anticipate he’s a few artery abbreviate of a load, but back he reveals his detonator a few booty notice. He already knows whom he wants, and whom he doesn’t and so armed with a afraid bandage of “volunteers” and, for the aboriginal time, “Susan” (Juno Temple) off they set on a alternation of adventures that charge accumulate them out of the alcove of the badge and get them into the home of the adolescent boy. Rockwell leads this entertainingly, if at times a little over-exuberantly, and he gels able-bodied with a Temple who wouldn’t accept looked out of abode aloft a accretion cake. As their adventure takes added shape, so does the bulletin it makes no basic about delivering, and for any still sceptical about the address in which flesh is sleepwalking into an artificially crafted, managed and controlled existence, this serves as a acutely accounting and potently acerbic appraisal on aloof how accessible we ability be manipulated in the approaching by the ascribe of one innocent and absolutely anatomic adolescent academician and machines that can thereafter address their own rules - for themselves and for us, too. A final acclaim has to go to the unnervingly alarming Artie Wilkinson-Hunt whose sparing addition at the accident gives the butter-wouldn’t-melt attending on his face a audibly abhorrent aftertaste. It is a bit long, and occasionally it does lose it’s way as we carve bottomward the characters, video-game style, but it’s an avant-garde adventure that care to arena anxiety bells.