Good Time

Good Time ★★★★½

GOOD TIME is a fantastic, insomniac crime thriller that explores the seedy underbelly of New York. The whole film feels like a prolonged panic attack due to the Safdie brothers’ claustrophobic camera-work that tightly frames the characters in such a way that intensifies their precarious circumstances and the overall story’s unpredictability.

Robert Pattinson delivers one of the year’s best performances, and it’s fueled by pure, unadulterated adrenaline. The best analogy I could think of for his character is a cancer cell. He pretty much ruins the life of every single person he comes into contact with, and yet he’s our protagonist and keyhole through which we experience this neon-infected world. Connie is a byproduct of his environment and the cruelty that smears it. His drive to save his brother has transformed him into an invincible instrument that has all officers with their hands on their gun. Connie transcends the status of guardian; he is a fable of willpower. He’s also not that bright.

Connie knows what his end-goal is, but doesn’t have a clear plan in attaining it. He just wings it, which inevitably makes this whole endeavor kind of hilarious. It's as if the script is intentionally throwing curve balls at him every five minutes or so, to which he’ll try his damnedest to avoid, improvising from one cluster-f*ck to another and venturing deeper and deeper into the heart of darkness.

Daniel Lopatin's intoxicatingly electric score augments the undiluted mania that permeates these characters’ grimy world. Madness, chaos and violence lie at the end of every alleyway, awaiting to carry out swift, unyielding justice to those who evade the consequences of their deeds.

Blood is thicker than water. In one man’s crusade, a restless city will toss in its bed as two brothers fight to their dying breath to reclaim what’s rightfully theirs: a birthright of happiness.