The Twilight days are long over for Robert Pattinson. The man is now at chameleon status, disappearing into the role of a blonde sociopath in Good Time.
Connie’s (Pattinson) a lowlife. He lies, cheats, and steals to survive in New York. After his latest heist lands his autistic brother Nick (played by co-director Ben Safdie) in jail, Connie desperately attempts to bail out Nick. He’s ten grand short and most of his loot was ruined by a dye-pack, so now what? Credit card fraud, an amusement park robbery, and selling an acid-laced Sprite bottle sound like a good time.
Ben and Josh Safdie direct Good Time as a fast-paced, neon-drenched heist film. This is a product reminiscent of the 70s New Hollywood and 80s Indie eras. It’s gritty, violent, mesmerizing, and exhausting. It’s also an acquired taste, depending on the viewer’s tolerance of trash cinema.
Good Time begins and ends in Nick’s point of view. His scenes are semi-heartbreaking given he doesn’t understand what’s going on. When Connie interrupts Nick’s therapy appointment, that’s when Good Time is Connie’s show. Pattinson chews up every scene as Connie, whether we root for him or not.
That’s where Good Time suffers. We watch Connie take advantage of his girlfriend’s credit card, make out with a teenage girl, and later sell her out to police. There aren’t any redeeming qualities for Connie as he’s an immoral sociopath. When there is supposed redemption, Connie isn’t there for us to witness it, lacking power.
What Good Time lacks in substance, it makes up in its style. The score is a hypnotic techno score, each shot is filled with color and kinetic energy, and every chase is a thrilling blend of shock and dark humor.