Back when Twilight was a thing, I, along with many other people, questioned why the hell Robert Pattinson was in the movie business at all—the guy couldn’t act. Or was it that the writing and direction of those popular films were just so bad that he didn’t have a chance?
Good Time puts that question to rest once and for all—Pattinson delivers an enthralling performance as a low-level criminal who, in an effort to save his mentally disabled brother, winds up on a rollercoaster of an evening. Between The Lost City of Z and Good Time, 2017 has served as a wakeup call that will hopefully be listened to by casting directors: Pattinson has plenty of talent, and the uglier he looks, the better.
In City of Z, Pattinson masked himself in dirt, a bushy beard and a mumbling accent. In Good Time, he looks continuously tired, seemingly only half a step ahead of real trouble at any given moment, sweat a permanent fixture on his pale face.
But it’s not just Pattinson, or his appearance, that makes the movie work. Directors Benny and Josh Safdie have compiled one of the most colorful, captivating experiences since 2011’s Drive. The movie pulses with style and hums with a memorable score by Daniel Lopatin. The plot, while simplistic to some degree, winds and weaves in unpredictable ways. You never know what’s going to happen next, and the Safdie brothers hold an aggressive pace that rarely lets up.
The supporting cast of characters make the story all the more colorful, even if Oscar nominees Jennifer Jason Leigh and Barkhad Abdi aren’t given enough to do.
Good Time is a satisfyingly moody thriller that features plenty of entertaining moments, even more style and a career-defining performance by Robert Pattinson. Recommended.
Review by Erik Samdahl unless otherwise indicated.