SilentDawn’s review published on Letterboxd:
Some detailed, spoiler-filled, round-2 observations:
- I think Connie choosing the costume of 'construction worker' for the heist is telling. Normalcy is a face to hide behind. But of course, getting rich quick has its side-effects. That they don't even check the money is the first dumb-bell move.
- Thus begins Good Time's neon poem; a splatter design of privilege with Connie as the head weasel. This is an non-transactional B-Side of Eyes Wide Shut. Money the ultimate goal, but never accessible. A declined credit card, ripped away from even the slightest exposure to the lower class, is the last sight of it. Connie then, within a psychedelic, woozy framework, utilizes various prerogatives for survival. "God bless you!", he cries out, as a family knowingly lets him and his "brother" into their home. The repeated usage is an unconscious recognition of his steps toward success. Connie's tactics are a camouflage ingrained in the very fibers of his skin, and it keeps him free and alive to the furthest possible point. That's all the Safdie Brothers need to say, really, and they do it without one unnecessary word. What's implicated isn't Connie, but the system in which he flourishes inside.
- But the film doesn't stop there. If it did, the final shot would end on Pattinson's magnificent barred portrait; desperation incarnate finally caught and enclosed. Good Time, instead, cuts to Nick, and it's a bamboozle of the highest order, a reminder of narrative. The initial viewing highlights this: If you're like me, you were shaken awake by the conscious recollection of the *real* victims at play, people like Crystal and Dash and Nick. Connie's carnival descent is so relentlessly hypnotic - blazing in glitzy, gleaming glory - that the film's POV and sensory delicacies provide a delayed-reaction to its moral theft rotting out from the interior.
- With all that in mind, the final scene of Good Time is an All-fucking-Timer, and Benny Safdie's performance stirs the soul to its furthest depths. His tender visualization of Nick's traumatic embrace - captured by a simple stroll across the room - is an *astounding* silent gesture.
- Huge fan of how the Safdie brothers keep the opening/closing credits ever-present, running as if this is where the audience is starting and ending their read-through of these lives. The film continues, however. The story isn't over.