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Good Dick

Good Dick

Comedy · Drama · Romance · 2008

A fidgety, wisecracking video store clerk develops a fixation on a particularly reclusive customer, a frequent visitor to the pornography section of Cinefile, the video store where he works in Los Angeles. After multiple failures to impress her during their brief daily transactions, he finds her street address in the store's database, drives to her apartment building and initiates an unconventional campaign to win her affections.

Movie details

Good Dick

“A hard man... is good to find.”

2008 Comedy · Drama · Romance 1h 26m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

A fidgety, wisecracking video store clerk develops a fixation on a particularly reclusive customer, a frequent visitor to the pornography section of Cinefile, the video store where he works in Los Angeles. After multiple failures to impress her during their brief daily transactions, he finds her street address in the store's database, drives to her apartment building and initiates an unconventional campaign to win her affections.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Good Dick?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Just Before I Go

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Names above the title

The people responsible.

Directed by

Marianna Palka

Marianna Palka

Marianna Palka

The Woman

Jason Ritter

Jason Ritter

The Man

Eric Edelstein

Eric Edelstein

Eric

Mark Webber

Mark Webber

Derek

Martin Starr

Martin Starr

Simon

Tom Arnold

Tom Arnold

Dad

Jesse Garcia

Jesse Garcia

Jose

Court is in session

Put Good Dick on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.