After a botched bank robbery lands his younger brother in prison, Connie Nikas embarks on a twisted odyssey through the city's underworld in an increasingly desperate-and dangerous-attempt to get his brother Nick out of jail.
Set over one summer, the film follows precocious six-year-old Moonee as she courts mischief and adventure with her ragtag playmates and bonds with her rebellious but caring mother, all while living in the shadows of Walt Disney World.
In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.
Motivated by an almost ferocious love for his intellectually disabled brother, Nick, and an explosive mix of desperation and thirst for a better life, the abrasive and fledgeling criminal, Connie, involves his sibling in an ill-conceived bank robbery that swears to be a quick and easy job. Instead, things go utterly wrong, and Nick will wind up in Rikers Island after one unanticipated complication, forcing the desperate but determined Connie to embark on a nightmarish, no-holds-barred quest to bail Nick out. Inevitably, over the course of a long and violent night, Connie will go to great lengths to save Nick from a cruel fate, doomed, however, to do more harm than good. Is it all heading somewhere?Written by
As preparation for the brother relationship between Connie and Nick, Robert Pattinson and Benny Safdie hung out with people that Connie might be friends with in real life and went to different places in-character, including a car repair's in Yonkers, a Dunkin' Donuts shop and a car wash where there worked for a day. Pattinson got the experience of having a disabled brother and how difficult it is in trying to include Nick in conversations and interactions in daily life. See more »
In the end credits the directors thank the fast food chain Pizza Hut for using it as a location, but Connie and his brother Nick actually went to a Domino's shop. See more »
A thrilling, neon-drenched subterranean madcap odyssey anchored by a superbly nervy Robert Pattinson
The new feature from the Safdie Brothers, Good Time, is utterly incontrovertible proof of Robert Pattinson's talent. A skilled young actor who broke out young, Pattinson, like his equally skilled former co-star Kristen Stewart, has been plagued by his "Twilight" image, and accordingly (and unjustly) derided because of his involvement. The truth is that both Pattinson and Stewart are audacious and feverishly talented young actors, and Good Time will convince all who see it that Robert Pattinson is a fearless and versatile actor.
As an ashen-faced, stubble-laden, nervy-eyed criminal thrust into a constantly escalating trip into the recesses of city nightlife, where stakes are always high, Pattinson relishes in the opportunity to inhabit this character and fully realise all his traits. His pretty-boy-image disappears into an expertly assembled composite of agitated mannerisms and a thick Bronx-like brogue.
The film excels in its visuals. The Safdies adore neon light, which leads to many memorable neon-drenched sequences, such as an extended sequence in a haunted-house theme park that reels in the tension. Much of the film takes place at night, allowing for some atmospheric, neo-noir vibes to come to the fore. What also must be credited is the unrelenting pace of the film, living up to its cheeky title through constantly escalating stakes, a thunderously exciting electronic score and a plot that keeps throwing delightfully absurd and insane twists to keep you constantly engaged. Good Time been likened a lot to Dog Day Afternoon, Sidney Lumet's taut and incredible bank-heist-gone-wrong film, and it's a comparison that is apt, if a bit flattering; the Safdies come close to matching that film's inspired lunacy and delirious tension, through a decidedly more modern aesthetic.
The Safdies directorial style is unique, and I'll be honest it at times got on my nerves. I noticed early on that almost every shot is a close up, often hand-held, which can feel claustrophobic, but also just irritating. That being said, I grew used to the style, and eventually understood its purpose, in buttressing the manic instability of its protagonist, and his morally questionable odyssey. Even so, the style was not always seamless with the narrative. Make sure you don't sit too close to the screen when you watch this film.
Good Time is an exciting, pulsating, modernised noir/New Hollywood thriller that deserves a lot of praise for its terrific suspense and Pattinson's bravura turn.
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