'Good Time' (2017)
92/100
Tense, compelling, and surreal: an utterly original thriller
Robert Pattinson's desperate scramble to shed himself of the unfortunate Razzie-laden legacy of Twilight has seen him take on increasingly ambitious projects helmed by the likes of David Cronenberg and Werner Herzog. In doing so, he has managed to assert himself as one of his generation's most multi-talented and dedicated actors and has hit a career best with the wonderful Good Time, a quintessentially unique film by the increasingly promising Safdie Brothers.
The engaging story tracks the efforts of Pattinson's resourceful bank-robber Connie to free his mentally challenged brother Nick (played convincingly by co-director Benny Safdie) from captivity. His mission, however, soon devolves into a nightmarish Sisyphian odyssey of misfortune and absurd coincidence as he spends the night pursuing a never-ending series of fruitless escapades. Though grounded in gritty realism, the tale becomes more and more dreamlike as the night progresses, especially when he crosses paths with consistently vivid and memorable supporting characters such as former convict Ray. Played by real-life former inmate Buddy Duress, Ray injects a surge of manic energy into the film with his authentic personality and a comically improbable monologue about his journey out of prison. Pattinson is truly phenomenal as the lead here, anchoring an unpredictably surrel story with a committed performance as the desperate Connie. His range is impressive, conveying a diverse range of emotions with facial expressions alone whilst finding room for quick-thinking lies and blackly comic line delivery.
Something that sets Pattinson's protagonist apart from similar small-time criminals is his believable relatability. Much like Dan Gilroy's impeccable Nightcrawler, below the surface of this intense thriller lies a deep undercurrent of social commentary, specifically regarding the effects of recession on low-income Americans and the lengths to which people are forced to go. Connie is driven to extremes by a harsh and unforgiving New York City, combined with the challenges of caring for his brother alone (the brothers are presumably orphans, with only an uninterested grandmother in the picture), an expectant girlfriend, and few personal prospects. Thus, he resorts to a life of crime and is thrust into the city's underbelly. Undeniably, he does many morally reprehensible things and the majority of his problems are caused by his own actions. Nonetheless, he makes a compelling character because of how believable and ultimately identifiable he is. It is reminiscent of Inside Llewyn Davis, in which the titular protagonist is repeatedly victim of his own self-harming decisions but remains sympathetic due to the unrelenting desperation of his plight.
In addition to all these positives, Good Time features some gorgeous cinematography, with DP Sean Price Williams frequently framing Pattinson in isolation during his quest to free his brother. In one particularly creative shot, Connie trudges along a dour, austere street whilst the inexorable spectre of capitalism looms over him in the form of a McDonald's sign dominating the shot's background. Oneohtrix Point Never's carefully-crafted score is a particular highlight, both ratcheting up tension at appropriate moments with pulsating synth and finding room for ruminative introspection with Iggy Pop's original song over the credits. Admittedly, the film's disparate elements sometimes get lost over the thrill of the story's progression. As Connie's brother Nick, for example, Safdie the Younger looks to be providing the emotional core of the movie, but he is quickly sidelined as the more bizarre plot takes over. Nevertheless, this is a cinematic experience like no other and is certainly a must-watch.
Thrilling, tense, and truly unforgettable, Good Time's surreal plot is ideal for its vibrant setting, and is anchored by a wonderful central performance from Robert Pattinson. 92/100