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Aziz Ansari's directorial debut, this fantasy comedy from actor Aziz Ansari, is struggling at the box office. Several reasons could explain the film's performance: Its generic name doesn't express its movie's unique charm. The script can be preachy and obvious with the themes. The performances are flat and staged, like the actors were reciting dialogue directly from a script. Moreover, the film comes during an era marked by economic uncertainty and disparity, that could make audiences not very open to a narrative which implies rich individuals have all the advantages while the poor have heart.

But, here's what the movie excels: It's unique, daring, imaginative, frequently humorous, and undoubtedly timely. And, it offers a great the actor hangout movie.

Reeves as an Angel: His Typical Portrayal

Personally, I've not regarded Keanu Reeves a good performer. His flat speaking style and consistent look of slight concern has consistently seemed limited, despite his wide range of characters he has taken on over the last four decades of his career. Astute filmmakers have placed Reeves in parts where that stoic nature works ideally, including his early work to The Matrix to John Wick. But almost every one of these roles called for him to appear tough, distant, and detached.

Throughout Good Fortune, the actor plays Gabriel, one low-level protecting angel assigned with watching over individuals who text when driving. The character's entire duty is sitting in their vehicles and lightly touching their shoulders as they are about to have an accident, alerting them in order that they brake in time. However, while standing overlooking his domain, gazing upon humanity like a interpretation of a celestial figure in Wim Wenders' classic film the angel story, Gabriel becomes aspirational. He desires to become a great guardian and a savior of wayward souls.

The Surprising Turn: Keanu Playing a Human

Therefore, Gabriel presents himself to down-and-out odd-jobber Arj (played by the director), who's residing in a vehicle and resenting his situation. The angel proceeds to swaps the man into the existence of stupidly rich businessman a character (played by the comedian). This point of the exercise is that the character to realize Jeff's existence comes with significant downsides, and thankfully return to his own circumstances, much like the figure from It's a Wonderful Life.

Issue is, the character immediately discovers that Jeff's problems (boring appointments, a pricey heating bill) prove negligible and readily solved with wealth. He also realizes that becoming affluent opens up limitless opportunities for pleasurable enjoyment. He shows zero desire in going back to his own life, and Gabriel can't compel Arj to return. Then, additional trouble arrives: Because of exceeding his mandate and messing with the balance of existence, Gabriel is fired from his celestial job, and turned into a mortal.

The Revelation: Keanu Reeves Smiles

Personally, I remained never persuaded by the actor as an celestial being with grand aspirations and a burning desire to effect change. Reeves turns in the same vaguely stiff performance he has been providing for no less than the last 3 ten-year periods. Viewing him as an angel who's just turned human for the first time, however, proved to be highly entertaining, due to something that truly surprised viewers at first: It's something different for Reeves. Or perhaps more accurately, something from the past.

Early into his baffling experience being a human, staying with Jeff (whom Gabriel exchanged with Arj's hand-to-mouth life and jobless situation), Gabriel begins hesitantly experimenting with human experiences like eating and consuming food. Then Reeves smiles. Genuinely, cautiously, happily smiles. (It's far more convincing than his smile on the poster, that appears digitally altered.)

Why This Smile Is Significant

The moment truly took me aback to recognize how unexpected and refreshing the smile felt. When did we last we saw Keanu Reeves grin in a film in which he was not expressing ill will, irony, or resentment? He probably tries it somewhere in 2020's ill-conceived Bill & Ted Face the Music, however I am not revisiting that mess to find out. Reeves has been typecast with grim, murderous, broody, or simply solemn roles for so long that just watching him grin felt like seeing an entirely new actor.

While the plot progresses, Gabriel ends up needing to take a dishwashing position, a role that doesn't pay enough to live on, and he starts smoking heavily out of disappointment. Just the image of Reeves in a cheap paper restaurant hat, with his late-career signature locks tied in a plain bun, leaning against a building and puffing on a smoke, is worth the price of admission. The dishwasher attire totally changes his face and body: Suddenly, the lean, well-dressed physical powerhouse of his famous movies becomes gawky, unglamorous, and much increasingly relatable.

The Pleasure of Viewing Reeves Relax

Good Fortune is not consistently enjoyable to view, especially when the director (who also authored the screenplay) has to find believable reasons for {Ar