Film Review – Good Fortune (2025)

      Good Fortune, 2025.

      Written and Directed by Aziz Ansari.

      Starring Keanu Reeves, Aziz Ansari, Seth Rogen, Keke Palmer, Sandra Oh, Sherry Cola, Stephen McKinley Henderson, Matt Rogers, Jay Traynor, Cam Barr, Shoukath Ansari, Alexander Jo, Joe Mande, and Aditya Geddada.

      SYNOPSIS:

      A well-intentioned yet clumsy angel named Gabriel interferes in the lives of a struggling gig worker and a prosperous venture capitalist. This uproarious comedy is for anyone who has rolled their eyes at or felt frustrated with well-meaning people who insist that wealth can’t resolve all issues. In Good Fortune, writer/director/star Aziz Ansari delivers a cathartic experience, humorously countering that idea through the amusing life-exchanging antics, showcasing that while money may not fix every problem, it certainly leads to a more relaxed and enjoyable life, where challenges don’t present overwhelming financial burdens.

      One can envision Ansari lounging on his couch, scoffing at the optimistic themes in classic films like A Christmas Carol or It’s a Wonderful Life, fueled creatively to reimagine these ideas for modern times. He tackles the increasing greed of society and the widening gap between the working class and the elite, while shedding light on the thankless nature of the workforce. However, this film does not simply glorify wealth but presents a more honest view of its relation to achieving a stable and happier existence.

      The comedic premise features divine intervention, with Keanu Reeves perfectly cast as the detached angel Gabriel, who works for a department of heavenly aides. He holds the unglamorous yet crucial role of nudging distracted drivers from the backseat to avert accidents. While this is a significant savior task, Gabriel dreams of climbing the ranks (which would humorously inflate his cheaply made practical wings and grant him the ability to fly) and getting directly involved in the lives of lost souls to lead them toward more hopeful futures.

      Growing frustrated with waiting for a higher calling, Gabriel decides to intervene in the life of Arg (Aziz Ansari), a tasker who completes odd jobs for various clients through a service app that allows for star ratings. Struggling with his own life — from a successful cousin his father won't stop mentioning, sleeping in his car, to difficulties in both work and romance — Arg finds himself cleaning the cluttered garage of wealthy investment client Jeff (Seth Rogen), who is lounging by his luxurious pool. This prompts Arg to seek a position as Jeff’s paid assistant, offering him a glimpse into the privileges of the rich.

      However, an artificial incident soon leads to Jeff firing Arg, who, despite being a well-meaning slacker, lacks the harshness needed for the film's central conflict, partly due to Rogen’s inherent charm. This prompts Gabriel to switch their lives around after showing Arg a montage of his possible future if he chooses to live, which includes both positive experiences with his coworker and activist Elena (Keke Palmer) and some bleak realities. Gabriel is misguidedly convinced that Arg will realize Jeff’s life is not as enviable as it seems.

      Good Fortune also shifts between characters rather than focusing on just one of the star-studded trio, often changing perspectives as the dynamics evolve. One moment might showcase Arg reveling in his newfound wealth, while the next may depict Jeff's attempts to restore normalcy, or Gabriel hilariously finding himself in human situations without his heavenly powers, learning to navigate a job and the vulnerabilities of the human experience.

      Unsurprisingly, the humor is a highlight, with Keanu Reeves delivering an endearing dim-wittedness reminiscent of his Bill & Ted days. Seth Rogen comically portrays a privileged elite who has never faced real labor, gaining firsthand insight into the hardships of the working class, realizing that despite his misplaced confidence, it's not as simple as it appears. Meanwhile, Arg becomes aware that Elena's feelings for him are not based on his wealth. Ansari smartly portrays the character as someone indulging in a lifestyle not out of hidden desires for debauchery, but rather due to the joy of living freely.

      The outstanding comedic performances and lively exchanges from the cast contribute to overshadowing the film's heavy-handed and overt messages. While it slightly drags at times and presents a theoretical solution that is introduced early but never revisited, such flaws seem minor given the film's consistent humor and its incisive commentary on class disparity and the exploitative nature of the workforce.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

      Robert Kojder