'Good Fortune' Review: Keanu Reeves Is a Godsend in Aziz Ansari and Seth Rogen's Otherwise Basic Comedy

No film should attempt to recapture the magic of It's a Wonderful Life unless it has something fresh to say. Multiple movies have tried, focusing on people engulfed in regret and misfortune who are finally given a chance to see how things could be if they caught a break and lived the life they imagined. The tale of George Bailey is not just iconic as a Christmas tale, but as a timeless story of a man at the end of his rope who learns life is worth living, no matter how difficult it can be. It's a well-tread concept and, thank heavens, Good Fortune is an entertaining attempt. That doesn't mean the movie sticks every landing, or that it stands out among similar films with the same premise, but it is a humorous take on familiar concepts buoyed by some amazing performances.

Good Fortune uses these strengths to examine the struggle to exist in poverty in a big city, even if it ultimately only takes a surface-level dive into how capitalism is the root of these issues in a society of low-wage employment and the gig economy. The movie takes concepts from It's a Wonderful Life, combined with The Prince and the Pauper, in an effort to paint a picture of those with power and privilege against those who are simply trying to get by, all through a modern lens. And while this can get old quickly, it maintains a level of earnestness throughout the film that doesn't overstay its welcome.

Starring Aziz Ansari, Seth Rogen, Keanu Reeves, and the almighty Keke Palmer, Good Fortune does not lack subtlety, but it does manage to succeed with a pair of not-so-surprising standout performances. It's just enough to avoid being bogged down by its stunted pacing, though the plot picks up the momentum with a second-act twist that pushes the characters into new scenarios that are ripe for the cast's comedic talents. This twist also stretches the runtime to the point where the film comes close to wearing out its welcome, prompting a satisfying, yet still abrupt, resolution.

What Is 'Good Fortune' About?

Ansari, making his directorial debut with a script he also wrote, pulls triple duty as Arj, the plot's receiving end of the titular good fortune. He toils away in the gig economy just to survive, doing everything he can to claw his way out of financial struggle. Through Arj, we see the battle to simply exist and the exploitative nature of our common, capitalist society — all through the hazy gaze of Los Angeles. It is also through Arj that we meet Palmer's Elena, the one bright spot in his life. Even if he can't recognize why just yet, Elena's perseverance and dedication to uplifting her fellow human beings serve as a source of strength for Arj.

After a random gig puts him in the orbit of Jeff (Rogen), a wealthy venture capitalist with more money and opportunities than he knows how to handle, Arj's future gets a bit brighter. He impresses Jeff to get a job as his assistant, and Arj finally starts making enough money to live in a dive motel instead of his car. The potential for more feels limitless. After years of setbacks, everything seems like Arj's life is finally going to work out for the best. But we haven't even talked about Gabriel. Fucking Gabriel.

Gabriel (Reeves) is a guardian angel, and a terrible one at that. After being relegated to menial work meant for the worst of the worst guardians, he rebukes his duty and decides to meddle in Arj's life with hopes of turning it around. His intention is not purely altruistic; he yearns for something more — to help a lost soul and give his work more importance. That's bad news for everyone involved, resulting in Arj and Jeff swapping places in life while Gabriel is left with little recourse to correct his perceived mistake.

Good Fortune's plot takes too long to get going, and yet it still clocks in under 100 minutes. The issues stem from odd pacing, where we sit too long in certain circumstances just to fit in more comedic bits. Ultimately, this is a movie where you get to see these actors flex their comedic muscles, so watching Jeff and Arj in their own lives and then swapping places takes up a lot of real estate. On top of that, the film tries to pack a lot into its runtime and tends to sag when the emotional beats hit.

Arj's growth is central to the film's plot, as he's faced with dilemmas that ultimately affect everyone around him. The mid-act twist just stretches out the conflict, even when a resolution is lingering in sight. It feels unnecessary heading into the film's climax, in which we are conditioned to expect each character will ultimately see that their lives have meaning and there is beauty in the struggle, with a healthy heaping of empathy gained along the way. The ending has a charming execution that doesn't fully satisfy because of how quickly it flies by.

Keanu Reeves and Keke Palmer Steal the Show in 'Good Fortune'

Ansari's Arj manages to remain somewhat obtuse in his misery, no matter how relatable the struggle actually is. The performance does very little to surprise you, but that's not what the movie is promising from Ansari here. He's going to get frustrated over his misfortunes and talk in a very high pitch, and if you're a fan of his work, he will definitely provide a lot of laughs. But his performance manages to give just enough heart where you want to keep rooting for him, even when he's pissing you off.

And Seth Rogen, as always, is Seth Rogen: you know what you're getting, and he doesn't disappoint. Seeing him and Reeves' Gabriel play off each other becomes a bright spot in the film as Rogen struggles to get his life back. Suddenly, the privilege is wiped away, yet his drive and entitlement keep him determined to return to the way things were. Rogen delivers nuanced growth as Jeff, shattering his ego while he remains hopeful that his setback isn't permanent.

Ansari, as writer and director, makes great use of both himself and Rogen as performers, because they don't make a single attempt to play against type. Instead, it's Palmer and Reeves who stand out in their roles, and that shouldn't be a surprise for those who have followed their careers. Palmer is the true heart of Good Fortune, as the anchor of morality and reason, even if she's somewhat underused when the plot sharpens its focus on the boys. Her part of the plot feels a bit tacked on, but she's still able to take advantage of her screen time with her portrayal of Elena. Reeves's role as Gabriel permeates every scene, even when he's not physically present. Reeves channels his naivety from Bill & Ted, matched with the charm from Parenthood and Always Be My Maybe. This is fun Keanu, and we need to see more of it. Many of the funniest parts of the movie consist of seeing him interact in the real world for the first time. Even though his struggles come close to extinguishing his flame, he never loses his charm in his own journey of self-discovery.

Guided by these strong performances, Ansari weaves a simple yet satisfying tale of people coming to realize that they can both cherish what they have and still fight for a better world — not just for themselves, but for those around them as well. In the film's climax, Rogen's character stops just short of looking into the camera while stating "eat the rich," although he does literally say those words earlier in the film. Again, subtlety is not Good Fortune's strength. Yet it's a fine first entry for Ansari, and sort of feels like it could be an absurd, surreal episode of Master of None.

'Good Fortune' Is What You'd Expect — but It's Still Fun Along the Way

A major source of strength in the film's composition comes from cinematographer Adam Newport-Berra. After working on successful indies and TV shows, he found skill in crafting tension on series like Euphoria, The Bear, and Rogen's The Studio, and he uses those strengths deftly in Good Fortune. From the framing of intimate moments and patient dolly tracking during intensifying arguments, Newport-Berra has command of each scene and how much tension or levity it can provide. It's simple and easy to miss, but his camerawork skillfully conveys the intention behind each scene with no confusion. Without it, the film could easily veer into slapstick and lose the nuance Ansari requires.

That's not to say Ansari is consistently nuanced throughout this journey. Your mileage may vary on that. After a gigantic middle finger to capitalism, coupled with each character's realization of what it takes to be a good person and why it's worth it, Ansari finally takes something that has been prevalent throughout the entire film and puts it in the spotlight. Good Fortune is about love, redemption, and privilege, but it's also an indictment of exploitative labor and the forces that enable it, even if it takes many clumsy steps to get there. Its greatest strength is a reminder that being a good person doesn't get you a reward — being a good person is the reward.

Good Fortune comes to theaters on October 17.