This big new studio film release takes a tough look at the social economics system in place today. So, it’s a hard-hitting drama or maybe a “searing” slice-of-life documentary? No, it’s a comedy. Stranger still, it’s a fantasy comedy about the “haves” and “have-nots”. It’s about what happens when a rich guy and a “barely scraping by” guy switch lifestyles. And yes, its makers openly acknowledge the 83′ TRADING PLACES, even lifting a “needle drop” as a tribute. So, the fantasy element? It’s not a witch or a djinn or even a fairy godmother (or father). Instead, the “status quo” is upended by an angel. And he’s a bit inept, but (due to the casting) always “awesome” as he delivers a much needed (but is it deserved) “batch” of GOOD FORTUNE.
In the opening moments, we meet that angel watching over the streets of modern-day LA from a rooftop. He’s Gabriel (Keanu Reeves), who may be considered a “second string”, “budget”, or a “minor” angel (his fairly small wings are a hint), who is tasked with alerting those highway menaces who “text while driving”. Gabe pops into their car’s backseat, touches their shoulder, causing them to look up from their “holy” screen. He’s kept busy, but Gabe wants to do more. Perhaps that’s why he takes an interest in one of his “humans”, Arj (Aziz Ansari), an aspiring documentary filmmaker who is mired in the “gig economy” (he’s a “task sergeant”) while trying to get his “big break”. Later, at a meeting of angels, Gabe tells his supervisor Martha (Sandra Oh) that he wants to aid Arj much like adored “lost souls” angel Azrael (Stephen McKinley Henderson). She sternly tells him that he must “stay in his lane”. But Gabe still hovers near Arj as he becomes an assistant (for a one-week trial period) to a wealthy “tech bro” Jeff (Seth Rogan). But when Arj uses a “work charge card” for a surprisingly expensive date with a cute union organizer at a “big box” hardware store, Elena (Keke Palmer), Jeff fires him (despite Arj telling his account that he’ll pay it back). Arj is at his lowest point when is car (also his bedroom) is towed at a Denny’s lot. Then Gabe appears to him and offers him a chance to switch places with Jeff, thinking this will teach him that money isn’t everything. But Arj loves it (Jeff is his poor, hapless aide). Gabe appears to Jeff, and confesses the life “swap”. Things get more convoluted when Martha demote Gabe (no wings, no magic, just human). Can he and Jeff survive on the mean streets long enough to get Arj to go back to his old existence, which will get Gabe his old job back (along with those “heavenly perks”)?
The marketing big selling point is Reeves as Gabriel, though many may think of him as an action movie icon (forever Mr. Wick to some). Here he reminds us of his considerable comedic “chops” as he scores near constant laughs as the dim adult-cherub whose line delivery almost echoes the much adored iconic Ted Logan. But Reeves adds so much appreciated pathos to Gabe as we see his childlike wonder, and eventually annoyance, over the ways of “reg’lar folk” (loves them chicken “nuggies”). Also hitting the “pathos button” hard is Azari has the constantly “dumped-on” Arj who is a good man dealt a very “bad hand” by life. He still retains a sweetness beyond the snark, especially in his interactions with Elena (the talented Ms. Palmer builds on her similarly-themed “under the radar” comic romp from earlier in the year, ONE OF THEM DAYS). Sure, Arj is ecstatic over the “turn of events”, though Ansari conveys Arj’s guilt over a life unearned (but not ready to leave). The very busy Mr. Rogen (with two terrific streaming comedies, “The Studio” and “Platonic”) is strong as the somewhat spoiled app-investor who finds out how his impulsive decisions can really impact other, when he becomes one of them. His arrogance is soon squashed as he confronts the challenges of the “now”. Though we only see her briefly, Oh adds the proper gravitas (and is the perfect comic “straight” to Reeves) as the somber Martha, while Matt Rogers is effective as Arj’s new “big bucks” buddy Peter.
In his big screen directing debut (after the still shelved BEING MORTAL). Ansari directs with a light touch, slipping the jokes “in” quietly and avoiding lots of frenetic bombast. There is some slapstick as Arj almost echoes the often hapless Everyman played in the silents by Keaton and Lloyd. The LA locations are used well, from the ultra swank home of Jeff high above the city, to the street-level squalor that he now roams with the “de-winged” Gabe. The opening act is so strong that it makes the rest of the story a bit sluggish. This may be due to the structure of Asnari’s script (with elements of CITY OF ANGELS, THE FAMILY MAN, IT’S A WONDERFUL LIFE, and the aforementioned TP) which jarringly shifts focus after the switch. We’ve been following Arj so closely that it’s difficult to suddenly being with Jeff and Gabe nearly all through the last hour. This makes its length feel much greater than just under 100 minutes. And while a lot of the plot is a zany romp, it takes a rather preachy detour, making the case for corporate empathy (which will properly be ignored by the 1%), even shifting to Elena’s push for a union at her hardware store. It’s a shame that the final result falls short on the inspired premise and casting (particularly for Reeves). Now, that would certainly be some prime cinematic GOOD FORTUNE.
2.5 Out of 4
GOOD FORTUNE is now playing in theaters everywhere
