Good Fortune, this fantasy film by actor Aziz Ansari, is struggling in theaters. Several reasons may explain its reception: Its generic name doesn't convey the film's distinctive charm. The script is often moralizing and heavy-handed regarding the messages. Its performances seem uninspired and staged, as if the cast are reading lines directly from a script. Moreover, the film comes at a time of financial uncertainty and disparity, that could render audiences less open to a story which implies wealthy people enjoy every advantages while those in need possess spirit.
However, here's what the movie stands out: It's unique, bold, creative, frequently funny, and certainly relevant. Plus, it offers a enjoyable the actor hangout movie.
Personally, I've never regarded Keanu Reeves a strong actor. His monotonal delivery and persistent look of slight perturbation has consistently felt limited, regardless of his wide variety of characters he's taken on over the last 40 years. Astute filmmakers have often placed Reeves in roles in which his stoic nature works perfectly, including My Own Private Idaho to the sci-fi classic to John Wick. Yet nearly every one of these roles required him to appear hardened, distant, or detached.
Throughout Good Fortune, Reeves plays an angel, a minor protecting angel assigned with looking after individuals that use their phones while behind the wheel. His whole job is sitting in his vehicles and gently touching the drivers' arms as they're about to crash, alerting the person in order that the driver stop before impact. But, while standing high above the city, looking down on the mortal world similar to an alternative interpretation of the angel in the director's classic film Wings of Desire, the character becomes ambitious. He desires to become a great protector and rescuer of lost souls.
Therefore, Gabriel reveals himself to struggling odd-jobber a character (played by the director), who's living in a vehicle and cursing his situation. Gabriel then swaps Arj with the existence of stupidly rich tech mogul a character (played by Seth Rogen). This point behind the experiment is that Arj to understand Jeff's existence has significant drawbacks, and thankfully return to his own circumstances, similar to a character in It's a Wonderful Life.
Problem is, Arj right away discovers how the mogul's issues (boring meetings, a pricey pool-heater bill) are negligible and easily resolved using wealth. Arj further sees that becoming rich provides endless opportunities for self-indulgent enjoyment. He has zero desire in returning to his previous life, and the angel can't compel him to return. Then, additional trouble comes: Because of overstepping his duties and disrupting the balance of the world, Gabriel loses his position from his celestial role, and turned into a mortal.
Personally, I remained never persuaded by Reeves as an celestial being who has big aspirations and a burning wish to make a difference. Reeves turns in the same somewhat stiff acting he has been providing for no less than the past 3 ten-year periods. Watching him in the role of celestial being who's just turned human for the first time, however, proved to be highly entertaining, due to something that truly astonished viewers initially: This is something new for Reeves. Or perhaps more accurately, an aspect old.
Early into the character's baffling experience as a human, clinging to the wealthy character (who the angel had swapped with the handyman's hand-to-mouth existence and underemployed status), Gabriel begins tentatively experimenting with human activities like chewing and swallowing meals. And Reeves smiles. Authentically, cautiously, happily smiles. (This is a lot more believable than his grin on the poster, which appears digitally altered.)
The moment truly surprised me to recognize just how surprising and welcome that smile was. At what point did we last audiences observed Keanu Reeves grin in a film in which he wasn't showing malice, irony, or bitterness? He probably attempts a smile at some point in 2020's misbegotten Bill & Ted Face the Music, but I am not revisiting the mess to confirm. The actor has remained typecast with grim, murderous, broody, or simply solemn characters for such a duration that just seeing him grin seemed like seeing an entirely new performer.
As the plot goes on, the character finds himself having to get a dishwashing position, which fails to provide sufficient for survival, and he starts smoking heavily out of disappointment. Simply the image of the actor in a cheap paper restaurant cap, with his recent signature locks pulled back in a plain bun, leaning against a building and puffing on a smoke, is worthy of watching. His kitchen worker attire completely changes his appearance and posture: Unexpectedly, the lean, suited action star of the John Wick films is awkward, ordinary, and a lot increasingly human.
The film isn't consistently enjoyable to watch, especially when the director (who additionally wrote the screenplay) has to create plausible explanations for {Ar
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