Disappointing movie considering the rave reviews. Pattinson and the score by Oneohtrix Point Never is spot on but eveything besides that is a dull second rate drama masquerading as a thriller populated by losers and fuck ups and the narrative lacks urgency and loses steam very quickly. At the half way point I couldn´t care less about the characters and from then on the movie didn´t work for me.
"Good Time's" neon lighting, ambient synth soundtrack, and nocturnal atmosphere bring to mind the work of Nicolas Winding Refn infused with a street level, documentary-like grit. Robert Pattison has never been this dynamic onscreen, and the film manage to feel like a genre movie without a single setpiece or very much in the way of "action" beyond breathless running. The most propulsive cinematic experience of 2017.
A jarring thrill ride full of tension in neon soaked madness, GOOD TIME is the film of the year for me. Style and substance with great performances. Rob Pattinson's performance will be remembered as a cult film legend, and Oneohtrix Point Never's synthy, moody score sets the tone for the chaos that transpires. I can't wait to see what the Safdie Brothers do next.
Makes itself appear to go in a crazier direction than it actually goes.. and none of this confident, relentless jumble would happen without Oneothrix's beautiful score. It is present at all times to the point of nausea, almost suggesting a chicken and egg question about this film.
This a fabulously entertaining crime caper with a truly magnetic performance from Pattinson. With just the right amount of candy-colored lighting and blaring synth, its easy to get swept up in Connie's grimy, farcical journey, but ultimately this is all sizzle, no steak. The plot's non sequiturs tumble forth rather than build, and the final destination is more of a head-scratcher than a soul-stirrer.
What this film captures so vividly is a particular shade of desperation, as seen through the neon violence of a crime drama. It's desperation that flares up in frenzied outbursts, that trips over itself in one hallucinatory monologue, that throbs and shivers as an irrepressible impulse driven by the pulsating soundtrack. It rambles, it stumbles, it just won't quit. And I, in turn, couldn't quit looking either.
The first name under "special thanks" is Martin Scorsese, and they owe him that for Mean Streets if nothing else. Like a Scorsese crime pic, its anti-heroes are almost smart enough to realize how stupid they are, and like a Scorsese crime pic, the question is whether it's more than an adrenaline rush. To the film's credit, it is: Good Time is not a good time, but a bad trip laced with sociological critiques and MDMA.
I know many of these scenes were meant to be funny, but the bleak circumstances and unredeemable characters disallowed any potential laughs. What must society have done to these people? How utterly stupid and inhuman they all were. Noticeably devoid of women. For humane contemporary gritty realism, check out Sean Baker.