“Elizabethtown. ““Dean.” “August: Osage County.” All somewhat recent cinematic efforts of the past several decades revolving around a person or two dealing with the passing of a family member, more often than not, accompanied by a return to their childhood home or small town that will itself become far more inevitably meaningful by film’s end. Directed by renaissance man Robert Schwartzman, having helmed such efforts as “Dreamland,” “The Unicorn,” and “The Argument” in addition to fronting indie group Rooney and appearing onscreen as the dreamboat love interest in “The Princess Diaries,” there’s a smattering of ambition present throughout his latest project “The Good Half, “one that can easily find itself in line with the contemporaries above but can’t help but repeatedly trip over its storytelling shoelaces in the process.
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