Dysfunction, greed, and a body count—what could go wrong?

On paper, Daniel’s Gotta Die has all the ingredients for a riotous dark comedy: a wealthy family reunion set in the Cayman Islands, a fortune up for grabs, and a protagonist too pure for the backstabbing world around him. But despite a promising premise and a few moments of eccentric charm, this madcap tale of familial betrayal rarely hits the mark, stumbling more often than it soars.

Following the sudden death of the Powell family patriarch, Daniel (Joel David Moore) is named sole heir to the family fortune—on one condition. His estranged siblings must survive a bonding weekend together at the family’s lavish beach house. What Daniel envisions as a healing reunion quickly spirals into a murder-fueled farce, as his greedy relatives plot to eliminate him and claim the inheritance for themselves.

The setup is ripe for biting satire, but Jeremy Lalonde’s direction never fully leans into the chaos or emotional core the story seems to reach for. The pacing drags, the tonal shifts are jarring, and the comedic timing often feels off. Despite the colourful cast—including Mary Lynn Rajskub, Carly Chaikin, and the late Bob Saget in one of his final roles—the performances feel underutilised, lacking the punch needed to elevate the material. Even Iggy Pop’s brief appearance registers more as novelty than narrative necessity.

Joel David Moore gives Daniel an endearing naïveté, and the film’s central question—whether goodness can survive in a world poisoned by greed—has potential. But the sincerity clashes with the film’s broader, more cartoonish elements. It’s a movie at odds with itself, unsure whether it wants to be a zany murder comedy or a morality tale with heart.

The Prognosis:

Daniel’s Gotta Die may amuse some viewers with its outlandish premise and offbeat energy, but it ultimately feels like a missed opportunity. It aims for a twisted family portrait but delivers a sketch that’s only half-filled in.

• Saul Muerte