Between speed and spleen, Good Time movie is a hypnotic trip through the crappy alleys of a torn America that survives. Dark Odyssey, influenced by independent American films of the 1970s, which sees Robert Pattinson confirm his insane talent. Good Time is a work that is in the direct line of the previous films of the Safdie brothers with this visceral, DIY independent cinema, like what other accomplices like Harmony Korine can produce.
Good Time movie critic
Camera shaking and close to the face, hardly romanticized story thus accentuating the documentary aspect of the fiction, thematic of the poor and invisible districts of the great megalopolis of New York, Good Time is a true film of the Safdie brothers. But while Made Love in New York and The pleasure of being robbed were akin to throbbing and dark walks that strolled through the grubby squats of the city, Good Time movie endows itself with an urgency that convinces even better to the visual embodiment. filmmakers. From this tale, which sometimes bogs down on its own despite its emotional force, the Safdie brothers turn it into a hectic nightlife.
Good Time is just a series of obstacles. From the first images, during a therapy session, this first dialogue between an autistic and a doctor, the language barrier becomes cruel. Then, the irruption of the sick man’s brother becomes vindictive and the film begins his descent into hell. While he thinks he can give wings and allow his brother to remove the chains that society sends him back, he is on the contrary, a bird of bad omen. From the seconds that follow the robbery, we feel that it ends badly. That the evening stinks of shit. See that it oozes Calvary for miles. And we are not mistaken, we know how it will end.
But the finality is not the most important in Good Time movie, because the cavalcade, this race against time is fascinating as much by its cryptic power where the directors bring their science of editing and hallucinogenic images to use with fluorescent neons as by their descriptive and sticky iconization of an America littered with loosers who destroy themselves in small fires, with acid bitures or punches that spurt blood on the walls. It’s about desperation, struggling to get and maybe even signaling how in America violence seems to be the safe option for those looking for a quick change of life, above all, that the Safdie brothers have a real talent for taking care of their chase scene as evidenced by the one glimpsed through the top of a balcony.
Good Time is a cry of rage, a mastery of a cinema close to craftsmanship, a cinema of movement in the image of the main character that is Robert Pattinson (Connie), who does not know how to stay still, to be able to get his brother out of the jail or the hospital in which he is imprisoned. Going from misadventures to misadventures, petty thieves on the run, who believes he is getting good deals when he is only a mountebank, a mediocre grandson and a blind brother, the character brings to life a real empathy for him because we feels a true love for his brother living in him. Even though the Coen brothers love to film these empathetic loosers as well, there is a real difference in point of view between the two siblings.
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While the former feed their story with a dark irony that is sometimes funny, the Safdie brothers, for their part, eclipse any second-degree attempt, and transparently films a certain idea of disillusion, a creeping pathetism as anxiety-inducing as it is human. these vampires. A criminal with whom we identify, who never wields a weapon, even if he sometimes uses violence. An animal with a primitive instinct as he puts it himself: he thinks he was a dog in a previous life. Connie takes on a mission that becomes more and more desperate and irrational the further he moves through the night.
Much of Good Time movie is shot in close-up by cinematographer Sean Price Williams. It’s an interesting motif that underscores the idea that Connie is stifling human contact that he really doesn’t have time to close in the image of one of the last shots of Robert Pattinson’s sunken gaze which is fascinating in its quiet subtlety, the same way you seem to see a man slowly descending into the darkness, into a peaceful fall.