'The Pure and the Damned' by Oneohtrix Point Never ft. Iggy Pop from the official soundtrack of Good Time including unused scenes of a 'what if' ending if Connie and Nick successfully completed the heist.
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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
Josh Safdie about street-casting first-time actors: "We've always been interested in the quote unquote 'sudden star', like the idea of someone who's a star that you might not have seen before. That they basically have this gravitational pull and they are just emitting their own magnetism. The film that we made prior to Good Time, was almost perversely interested in that. We were casting people playing parts where they were recreating scenes from their real life that happened, sometimes, a few weeks ago. So it's like this weird psychodrama happening there. With Good Time, we wanted to do like a genre film, like a thrilling piece of pulp, but we wanted to pepper in this idea of, this movie, of it's like a thriller, but it's actually thrilling because you don't know where the movie ends and real life begins. Taking that alchemy, the chemistry of taking someone who has no baggage, who's basically playing a version of themselves, opposite someone you know is not playing a version of themselves, is creating a really cool, kind of almost dangerous element where the stakes are higher. It's like, if Rob (Pattinson) messes up as an actor, the failure is actually tenfold because it looks so bad opposite someone who's just being real. It raises the stakes." See more »
It is not shown how did Ray get rid of handcuffs. See more »
The Pure and the Damned
Written and performed by Daniel Lopatin (as Oneohtrix Point Never) featuring Iggy Pop
Words - Iggy Pop, Music - Daniel Lopatin (as D. Lopatin)
Courtesy of Warp Records
Iggy Pop appears courtesy of Thousand Mile Inc.
Published by Top Notch Booty (BMI) Administered by BMG Rights Management (US) LLC
Published by Warp Publishing (SESAC)
Iggy Pop vocals recorded by Rafael Pereira at Elite Music Studios Miami 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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