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Aziz Ansari's directorial debut, this whimsical film from actor Aziz Ansari, is struggling in theaters. Many factors may explain the film's performance: The uninspired title doesn't express its film's unique charm. Its screenplay can be moralizing and heavy-handed regarding its messages. Its performances are flat and staged, as if the cast are reciting lines straight from the page. And, the film comes at a time marked by financial anxiety and inequality, that could render audiences less receptive to a story that implies rich people enjoy every advantages while those in need have spirit.

But, this is where Good Fortune stands out: The film is original, bold, imaginative, often humorous, and undoubtedly timely. Plus, it provides an unexpectedly enjoyable Keanu Reeves character-driven experience.

Reeves as an Guardian: A Familiar Portrayal

I have not considered Reeves a good performer. His monotonal speaking style and persistent look of mild perturbation have consistently seemed limited, despite the broad range of characters he has played over the last four decades of his career. Smart filmmakers have often cast Reeves in parts in which that stoic nature works ideally, from his early work to The Matrix to John Wick. But almost every one of those roles required him to seem tough, closed-off, or removed.

Throughout Good Fortune, Reeves plays Gabriel, a low-level protecting angel tasked with watching over individuals that text while behind the wheel. The character's entire job involves remaining in his cars and gently touching the drivers' arms when they are close to crash, alerting them so the driver stop in time. But, while standing overlooking the city, gazing on the mortal world similar to a version of a celestial figure from the director's renowned film the angel story, the character gets aspirational. Gabriel desires to become an exceptional protector and rescuer of lost souls.

The Unexpected Shift: Reeves Playing a Mortal

Therefore, Gabriel reveals his presence to struggling odd-jobber a character (played by the director), who is living out of a vehicle and resenting his situation. The angel then swaps the man with the life of stupidly rich businessman a character (played by Seth Rogen). This point of the exercise was that Arj would understand Jeff's life comes with major drawbacks, and gratefully return to his original circumstances, much like a figure from It's a Wonderful Life.

Issue was, the character immediately discovers that Jeff's problems (boring appointments, a pricey heating invoice) prove negligible and easily solved using wealth. He also sees that being affluent opens up limitless chances for pleasurable enjoyment. He has zero desire in returning to his own situation, and Gabriel can't compel him to go back. Then, additional trouble arrives: Because of overstepping his duties and disrupting the order of the world, the character loses his position as an celestial role, and turned into a human being.

A Revelation: Keanu Reeves Smiles

Personally, I remained not persuaded by Reeves playing an celestial being who has grand aspirations and an intense desire to make a difference. He delivers a familiar vaguely stiff acting he has been providing for no less than the last 3 decades. Watching Reeves as an angel that has just turned human initially, however, proved to be highly entertaining, for a reason that really astonished viewers initially: It's something different for Reeves. Or perhaps to be precise, an aspect from the past.

Early into his confusing experience being a human, staying with the wealthy character (whom Gabriel exchanged with the handyman's hand-to-mouth life and underemployed situation), the character starts tentatively trying out human experiences like eating and consuming food. Then the actor smiles. Genuinely, cautiously, joyously beams. (It's far much believable than the grin shown in the poster, which looks artificially added.)

Why This Smile Matters

The moment really surprised me to realize how unexpected and welcome the smile felt. When did we last we saw the actor grin in a movie where he was not expressing malice, sarcasm, or resentment? He probably tries it at some point in the recent misbegotten Bill & Ted Face the Music, but I am not revisiting the disappointment to confirm. Reeves has been stuck with grim, violent, broody, or simply serious roles for so long that merely seeing Reeves grin felt like observing a completely new actor.

While the story goes on, Gabriel finds himself having to take a kitchen position, which fails to provide sufficient for survival, and he begins smoking heavily out of disappointment. Simply the sight of Reeves in a disposable paper restaurant hat, with his recent signature locks pulled back in an unglamorous bun, leaning against a wall and smoking a smoke, is worthy of the price of admission. His dishwasher attire totally changes his face and body: Unexpectedly, the slim, suited physical powerhouse of the John Wick films is gawky, ordinary, and a lot increasingly relatable.

The Joy of Viewing Reeves Loosen Up

Good Fortune is not always fun to view, particularly when the director (that also wrote the script) must create plausible reasons for {Ar