Review: ‘In Good Hands 2’ Focuses On Alcohol Addiction After Losing A Loved One

By Daniel Hart
Published: May 23, 2024
In Good Hands 2 on Netflix Image
(L-R) Mert Ege Ak playing Can and Kaan Urgancioglu playing Firat for the movie In Good Hands 2 (Credit - Netflix)


In Good Hands 2 is a soft continuation that provides heartwarming character development for Firat and Can.

I know someone who has had to grieve the loss of a romantic loved one too early in life, so I was quick to sympathize with In Good Hands 2. It’s easy to say to someone, “Move forward” when they’ve lost someone, and it’s easy to judge when they reach for the bottle rather than gain perspective instead. But this film provides a good enough sympathetic angle to keep it a lighthearted experience. 

The sequel to the first film, which we covered back in March 2022, focuses on life after loss. Unexpected father and son, Firat (Kaan Urgancioglu) and Can (Mert Ege Ak), navigate life after the death of the mother, Melisa. Sadly, that means they pretend that they are acquaintances living together rather than dad and son, which is understandable considering that Can only found out that Firat is his birth father later in his young life. The sequel performs that personal space between them considerably well, even if it is a questionable, dysfunctional dynamic. 

In the second movie, Firat is still grieving the loss of Melisa. He’s also probably grieving for his old life, too, where he was unaware he was a father and was not a single parent trying to make it by. Unfortunately, Firat cannot stop drinking alcohol, making the viewing experience uncomfortable. It’s difficult to witness a man numbing himself rather than stepping up for his young son. 

On the flip side, Can is not dealing with the transition either, causing a clash of opposing personalities. In Good Hands 2, the predictable scenario is a child feeling rebellious due to an undesirable and tragic change in their life. This provides the film’s main concoction: a suffering father and son painfully trying to reach the next phase of their lives. 

The film’s contributing factor is Sezen (Melisa Pamuk), the love interest who catches Firat’s eye. Firat is resistant to the idea of forming a new romantic connection. The confusing feelings of essentially being widowed but finding romance elsewhere are part of the character’s development. 

Regardless of the themes, the movie cannot escape from Firat’s lean towards drinking at every opportunity. Dealing with the grievance is poor in some cultures. A reluctance to process death and move forward can be emotionally damaging. The movie does not sell Firat as a raging alcoholic but more of a clumsy, irresponsible man who cannot get a handle on his new situation. 

The sequel is still basic in storytelling and direction. While it’s heartwarming, the story does not push boundaries. It’s kept at a simple level, which can be frustrating at times. I wanted there to be a big moment, but the film keeps it at the same level. 

But it hardly matters. If you’re watching the sequel, you’ve likely fallen in love with Can and Firat already. This is a soft continuation that will at least appeal to its supporters.  


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