The gritty, dark, and raw low-budget crime thriller “Good Time” hits you like a physical blow. The more I consider this film, the more my appreciation for it grows. It's uncommon to encounter a movie so assured and fully invested in its somber atmosphere, launching itself with an unexpected, bold confidence right from the opening scene. While reminiscent of Scorsese’s earlier films, it never feels derivative of that influential director. Robert Pattinson, almost unrecognizable (and deserving of praise for embracing challenging, non-glamorous roles), delivers a remarkable performance as Connie, a petty criminal brimming with ambitious ideas but lacking in intelligence. After convincing his developmentally disabled brother Nick (Benny Safdie, in a wonderfully understated portrayal) to be his accomplice during a bank robbery, things quickly unravel when Nick is arrested while Connie manages to escape. The subsequent hour follows this unsavory character as he desperately tries to secure his brother’s release from police custody. Throughout a sleepless night, Connie navigates the city streets and finds himself increasingly ensnared in a spiraling nightmare. As time passes, his desperation intensifies, leading him to harm those who cross his path – an amusement park security guard (Barkhad Abdi), a teenage girl (Taliah Webster) and her immigrant grandmother, and a recently released drug dealer (Buddy Duress) with a bottle of LSD. Connie is not a sympathetic character; he exploits his brother, verbally abuses his unstable girlfriend Corey (Jennifer Jason Leigh), displays subtle racist tendencies, and takes advantage of almost everyone he meets. He’s generally unpleasant to all except for his brother and a dog, but Pattinson's performance is so captivating that I unexpectedly found myself wanting this amoral, predatory man to evade the authorities. This feels like a pivotal moment in his career, and Pattinson leaves an indelible impression; comparisons to a younger Al Pacino are inevitable. The film exudes independent filmmaking spirit and possesses a deeply personal feel, which isn't surprising given that brothers Benny and Josh Safdie were involved in nearly every aspect of the production, from writing and directing to editing, sound design, and acting. The film’s exceptional audio is particularly impactful, featuring an unsettling original score alongside jarring sound effects that mirror the script's overall discomfort and discord. Though straightforward, the story incorporates numerous abrupt narrative shifts that repeatedly surprised me. My only real criticism of the entire movie (aside from its frustratingly ironic title) concerns the epilogue, which I won’t describe here. It feels conspicuously added on, an unnecessary element the directors should have removed but couldn't resist including. I understand what they were aiming for, but there's no need to hammer audiences over the head with it; we are more perceptive than that. The film shares a similar sense of hopelessness as last year’s “Hell or High Water,” presenting a similarly compelling story of an American man who has nothing left to lose and will therefore seize any opportunity. The bleak urban landscape of New York City is brought to life through intense, textural, dreamlike visuals that feel like a nightmare. Every scene possesses a squalid vibrancy and palpable tension, all while maintaining a sense of understated beauty. Despite its morally reprehensible protagonist, disturbing narrative, and unsettling tone, “Good Time” stands out as one of the best films of the year.

Source on TMDB