The Jonathan Goldstein and John Francis Daley Movies Ranked
Jonathan Goldstein and John Francis Daley aren’t exactly the most famed writing-directing duo, but at least one half of the partnership is probably more familiar to you. Beginning his career as an actor, Daley first gained fame as Sam Weir in the incredible yet short-lived FREAKS AND GEEKS (1999–2000), but I have a feeling even more know him from his role on BONES (2005–2017). However, in partnership with Goldstein, who came to show business from the legal profession, the two have also had a writing hand in a number of prominent comedies and blockbusters within the past decade. HORRIBLE BOSSES (2011), CLOUDY WITH A CHANCE OF MEATBALLS 2 (2013), and SPIDER-MAN: HOMECOMING (2017) are some of those most notable writing projects, but Goldstein and Daley had directed a couple of shorts, WHAT BABIES DO (2001) and AUDIO TOUR (2011), before their careers came to later fruition. Unfortunately, I haven’t been able to track down those shorts, which are part of the five directorial projects from Goldstein and Daley over the past 21 years, so perhaps it’s fairer to say the duo have helmed three features in the nearly eight years since 2015. In any event, I decided to write this piece to not only elevate one specific, brilliant comedy, but also to acknowledge Goldstein and Daley’s growing proficiency as directors after a rocky start.
#3 — VACATION (2015)
The soft reboot of National Lampoon’s famed and hit-or-miss Vacation series was not an auspicious feature directing debut for Goldstein and Daley. Ed Helms serves as the fifth Rusty Griswold, indeed the same character from the original 1983 film and its sequels, Leslie Mann as sister Audrey, Christina Applegate as his wife Debbie, and now-semi-heartthrob (at least among a certain contingent) Skyler Gisondo as their older son. Chevy Chase and Beverly D’Angelo even reprise their roles, ancient as they (perhaps more specifically Chase) appear. All this strange “legacy” is indicative of the past decade or more of franchise and IP revivals and I suppose someone somewhere is affected by the evocation of the past Vacation movies. I’m not one of them, and since VACATION is not a terribly funny movie in its own right, the movie is essentially a flop. It’s actually not as terrible as it could have been (it’s certainly not the worst in the series), but its angle and sense of humor seems to have been very directly influenced by a hit of a few years prior, WE’RE THE MILLERS (2013). In a cyclical bit of nonsense, I feel that movie was a raunchier 21st-century continuation of the Vacation movies. All of these factors combine to make for a pretty limp comedy, although Charlie Day’s appearance is a highlight and the movie’s not without its marginal chuckles. In retrospect, VACATION comes off as a warm up for a much more impressive directing career from Goldstein and Daley.
#2 — DUNGEONS & DRAGONS: HONOR AMONG THIEVES (2023)
Goldstein and Daley’s latest film at the time of this writing and the impetus for this piece is without a doubt their most high-profile and successful work yet. The big-budget fantasy based on the iconic roleplaying game is not only a swashbuckling bit of fun casting back to camp classics like THE MUMMY (1999), but it is also an adaptation that understands the appeal of tabletop RPGs and cleverly yet relatively subtly references its source material’s massive multiverse. DUNGEONS & DRAGONS: HONOR AMONG THIEVES obviously surfaced as a crossover hit, satisfying players of the game and providing an escapist experience outside the bounds of superhero franchises. And it’s deserved! The camaraderie of its core cast, with Chris Pine as the highlight (indeed the best Hollywood Chris), freewheeling heist sequences (with their fair share of hilarious complications), and eye for practical effects and quality set-building (a number of creatures are rendered with animatronics and/or prosthetics and decent chunks of locations were fabricated, not green-screened, for a lived-in feel) mark the film as a refreshing bit of blockbuster fun in a crowded space feeling more and more drab. HONOR AMONG THIEVES indicates Goldstein and Daley’s ability to craft an expansive, ambitious movie that trades in modern expectations and formulas while also imparting a more principled aesthetic approach and charming emotional center.
#1 — GAME NIGHT (2018)
There’s no doubt in my mind that GAME NIGHT is Goldstein and Daley’s best film, and indeed, that it is also one of the best comedies of, oh, the past decade. The movie is such a committed high-concept bit of raunch and humor that almost feels out of place in a film genre now defined by post-ironic references. GAME NIGHT’s constant escalation from the gaming inclinations of Jason Bateman and Rachel McAdams’ central characters is facilitated by a great supporting cast that plays up the outrageous situations in pitch-perfect fashion. Jesse Plemons especially shines as the weirdo neighbor next door; most of his scenes left me wiping tears of laughter from my eyes. And like all the great comedies, GAME NIGHT carries a core of likability and charm that never dives into cheap sentiment at the expense of strong jokes. With their second feature as directors, Goldstein and Daley displayed a sudden proficiency at not only steering quick, comedic filmic language, but also shepherding comic actors. The two obviously worked with a much better script than VACATION for GAME NIGHT, but it’s also clear they encouraged a spirit of improvisation that created a funny experience that’s almost all killer, no filler. Goldstein and Daley’s improvement since VACATION mark them as a duo worth watching even more closely, but I have a feeling GAME NIGHT will always be a highlight in their body of work.
