We may not be able to control the family we are born into, but we can pick who we want to be part of our chosen family. The latter is something that Daniel Powell (Joel David Moore) fails to realize in Jeremy LaLonde’s latest film Daniel’s Gotta Die.

An eternal optimist, Daniel believes that one should never turn their back on family. Despite the warnings from his ailing father Edward (Iggy Pop), a wealthy businessman who would rather die in a hospital alone than put up with Daniel’s selfish siblings, the young man believes a getaway is just what everyone needs to mend family bonds.

His theory is put to the test when, after passing away, his father’s last will and testament declares that the family inheritance will comes with certain conditions. Daniel and his siblings, influencer Jessica (Carly Chaikin), cold-hearted boss Mia (Mary Lynn Rajskub), and reckless gambler Victor (Jason Jones), must spend the whole weekend together bonding. If they are successful, they will equally share in their father’s money. However, if they do not last the weekend, then Daniel will get the lions share and have the authority to decide what if any his siblings receive.

Accompanied by Lawrence (Bob Saget in his finale role), their father’s loyal righthand man, Daniel’s fiancée Emily (Chantel Riley), and Carter (Varun Saranga), Mia’s often abused assistant, the siblings reluctantly set off to the family’s lavish vacation home. However, it does not take long for the others to realize that more money could flow their way if Daniel meets an untimely demise.

Oblivious to the dangers that await him, Daniel is determined to show that blood is thicker than water. Unfortunately, it is his blood that his siblings are most interested in seeing.

The marketing material for LaLonde’s film list Daniel’s Gotta Die as a “Knives Out-esque family drama” and it is easy to see the comparisons. The greed and air of superiority within the Powell family falls along the same lines as the Thrombeys in Rian Johnson’s murder mystery. However, there are several areas where Johnson’s film succeeded and this film falters.

Part of what made Knives Out work was the fact that the central character, Marta, the housekeeper, was an outsider to the central family. Through Marta, the audience had someone to connect to who understood the plight of the common person. This made reveling in the conniving and self-centered nature of the Thrombey clan, and their subsequent downfalls, easier as the viewer was rooting for the family to get their comeuppance.

There is no real Marta character in the film, the closest one gets is Emily who tries to be the voice of reason. Unfortunately, she is gone for large swaths of the film. The audience is left with Daniel, who is well-meaning, but far too gullible to seem believable, and his siblings who are too one-note. Despite the strong casting, Mary Lynn Rajskub and the late Bob Saget are especially good in the film, the characters are simply written too thin. One loses interest in what happens to them long before Daniel is even aware that his life might be in danger.

While LaLonde tries valiantly to keep the film moving swiftly, he also edits the film, he cannot overcome the shortcomings in Matthew Dressel’s script. A talented director who has proven he can handle comedic works, with films such as the delightful The Go-Getters and James vs. His Future Self, not to mention his work on the Baroness Von Sketch Show, however, he can only resuscitate the lifeless humour for so long. Neither as cutting nor as silly as it could be, Daniel’s Gotta Die often feels like it is going through the motions.

Although the talent in front and behind the camera is undeniable, much like those who wish to bump off the titular character, Daniel’s Gotta Die misses the mark.