Four Good Days (2021)

Four Good Days earns its title by turning a familiar premise into something urgent, intimate, and quietly unforgettable, anchored by two ferociously honest performances from Glenn Close and Mila Kunis. The film doesn’t glamorize addiction or reduce it to easy lessons; it sits in the raw, day-to-day tension of love tested by exhaustion, hope, and hard boundaries, and finds real compassion in the mess. Its tone is restrained but deeply affecting, the kind of drama that trusts small moments and sharp silences to land like punches. It’s not a light watch, and if you’re looking for tidy catharsis you may find it bracingly direct, but if you want a touching, human story that treats recovery and family with respect, it’s absolutely worth your time.

Four Good Days is clearly aiming for an intimate, emotionally grounded look at addiction and the exhausting push-pull between a mother and daughter during a fragile window of sobriety. The problem is it often plays like a checklist drama: familiar beats, obvious symbolism, and side threads that feel more like padding than insight, which can make the whole thing feel a bit artificial despite the serious subject. If you’re hoping for a fresh, nuanced take that surprises you or digs deeper than the standard recovery narrative, this may leave you cold. That said, the lead performances do real work and there are moments of raw honesty, so if you mainly want solid acting in a straightforward, accessible tearjerker, you might still find it worthwhile.