Preaching a good, if slightly toothless, message about how the world works against the working class and gig economy workers while also doubling as a satire of the ultra-rich, “Good Fortune” finds humor in all the expected places but still manages to wear its heart on its sleeve. Most of that warmth comes from Keanu Reeves, who plays a guardian angel trying to make a difference and learns that “nuggies” are, in fact, very tasty.
Written, directed, and co-starring Aziz Ansari, “Good Fortune” is an earnest story about a lowly Los Angeles gig worker searching for a deeper purpose in life (aren’t they always?). Arj (Ansari) can never seem to catch a break. He works odd jobs assembling furniture, doing laundry, and even waits in a two-hour line to get bagels from the hottest place in town, but it’s never enough. It’s a miserable way to live: constantly being yelled at, rated one star, and forced to sleep in his car just to get by.
Things start to look up when Arj is hired by Jeff (Seth Rogen, doing what he usually does, and I mean that as a compliment), a tech-bro venture capitalist who’s somehow even dumber than the one Rogen played in “Dumb Money.” For a moment, Arj gets a taste of the high life, while also finding a spark with a Home Depot co-worker named Elena (Keke Palmer), an ambitious woman with big dreams of forming a union despite the odds stacked against her.
Unbeknownst to Arj, he’s being watched by Gabriel (Reeves), an angel whose job is to stop texting-and-driving incidents. All he has to do is gently tap people on the shoulder and—poof—they’re saved from disaster. It opens up plenty of questions about the world Ansari is creating, like: where’s the angel that prevents drunk driving? Either way, Gabriel is still in training but wants to make a bigger impact on the world, much like Arj, who’s trying to break into documentary filmmaking.
Gabriel reports to Martha (Sandra Oh), who runs weekly angel meetings on LA rooftops. Despite her warnings, he decides to intervene directly in Arj’s life to prove it has meaning. Gabriel is essentially, as Arj puts it, “a budget guardian angel.” When Arj grows disillusioned with what his life has become, Gabriel takes matters into his own hands and literally swaps Arj’s life with Jeff’s, allowing him to see how the other half lives.
Except there’s one problem: Arj, as anyone who’s lived in poverty would tell you, likes being rich, and has no intention of switching back. Jeff, meanwhile, after having his memory restored by Gabriel, isn’t thrilled to see Arj living the life he built for himself.
It’s a clever spin on “It’s a Wonderful Life” for modern audiences, and it’s eerily relatable. Who wouldn’t want to live in a mansion, throw lavish parties, and dine at the best restaurants? To never have to worry about money again? Sign me up. It’s also a fun learning experience for Gabriel, who eventually gets to discover what being human really means. Reeves is the movie’s secret weapon, delivering a performance so pure and delightfully odd that it feels like Paddington reincarnated as a man. His Gabriel is a beacon of light, reminding us what makes life worth living. His discovery of how taxes are deducted from paychecks is hilarious, and his growing love for tacos is downright endearing.
He’s also the only character with much depth. Rogen is still riffing on his mogul archetype from “The Studio,” while Ansari’s Arj gets sidelined halfway through in favor of Gabriel and Jeff’s journey. The film’s ultimate point—that rich people should use their wealth to help others, and that life is worth living no matter how tough it gets—isn’t exactly groundbreaking. Palmer, meanwhile, makes a strong impression with limited screen time, and it’s a shame the movie doesn’t invest more in her character.
Even with those flaws, “Good Fortune” is a pleasant experience that never feels like it’s wasting your time. There are, however, a handful of side quests that take the story in weird directions, and splitting up Reeves, Rogen, and Ansari for most of the runtime feels like a missed opportunity that undercuts the film’s comedic rhythm.
“Good Fortune” is far from a slam dunk, but it shows that Ansari has poise behind the camera and a genuine empathy for the everyday grind. To his credit, the film never feels pandering, though it sometimes teeters on the edge. Ultimately, it gets by on the strength of Reeves fully leaning into the script’s goofier elements (his extraordinary use of the word “nuggies” deserves immense praise) and an ensemble that’s likable enough to smooth over the clunkier parts of the screenplay.
It’s a solid three-star comedy, the kind of movie that would’ve done decent business in another era and then quietly disappeared from conversation.
GOOD FORTUNE opens in theaters Friday, October 17.