Robert Pattinson stars as large brother/bank pirate Connie in “Good Time.”
The fraternal directing twin of Josh and Benny Safdie make civic odysseys that upsurge with a quicksilver currents of New York. You can feel a gum-stained cement underneath your feet. You can smell a Q train.
The Safdies were already an electric new appetite in cinema — streetwise and scuzzy — though in a ironically patrician hop “Good Time,” they have quickened their already kinetic pace. This movie, furious and erratic, is officious blistering. The opening credits, as if rushing to locate up, don’t seem until good into a film, after all ruin has already damaged loose.
Many of their gritty, disintegrating tales emanate directly from a street; that’s where they found a homeless, heroin-addicted protagonist (Arielle Holmes) of their final film, a “verite” “Heaven Knows What.” The same could not be pronounced for a star of “Good Time”: Robert Pattinson. The “Twilight” actor, perplexed by a still from “Heaven Knows What,” contacted a Safdies, and out came “Good Time.”
It goes though observant that this is a prolonged approach off from “Twilight” — a authorization that, whatever a other attributes, has during slightest given us dual of a many engaging actors of a generation. While Kristen Stewart has already won commend for herself in Olivier Assayas films and others, Pattinson has some-more sensitively fabricated an equally considerable filmography with a likes of David Cronenberg and James Gray, in whose “The Lost City of Z” Pattinson done a graphic (if heavily bearded) sense progressing this year.
In “Good Time” he plays Connie, one of dual brothers from Queens. The other, Nick (played by co-director Benny Safdie), is mentally challenged. With no relatives apparently on a scene, Connie is Nick’s keeper, and a rarely controversial one during that. In a opening scene, he pulls Nick out of a psychiatrist session, instigation him as they dispatch down a corridor that it’s not where he belongs.
Connie believes in his hermit — too much, we could say. Not moments after journey a doctor, he’s grouping Nick to put on a facade — a cheap, rubbery black face — and heading him into a bank spoliation during a teller window. Not given “Dog Day Afternoon” has a some-more confused span attempted their palm during an ill-considered heist. They emerge with $60,000 in cash, though shortly after their cabdriver picks them up, a color container explodes and a brothers brief out of a automobile in a cloud of red smoke.
From here it’s a nonstop giveaway fall. Chased by a police, Nick crashes by a potion doorway and is arrested. Connie, unfortunate to put bail income together, initial tries to take advantage of his better-off partner (Jennifer Jason Leigh) and, when that fails, improvises his approach by increasingly brazen schemes in a nightly journey that somehow includes trips to an entertainment park, White Castle and a pointless domicile in that Connie takes a time to color his hair blond. Along a way, Taliah Webster, as a black teen exploited by Connie, and “Heaven Knows What” actor Buddy Duress give superb performances. (Duress’ opening is alone value a cost of admission.)
In a annals of a crime film, a pounded “Good Time” is roughly a conflicting of something like a uber-professional thieves of “Heat.” At one indicate “Cops” is seen on a television, and these are a kind of dimwitted exploits that would fit right in there. But aside from being a clinging brother, a rapacious Connie is also a clever, lascivious user of people.
Love was a drug for a soft immature lady of “Heaven Knows What.” For a brothers of “Good Time,” it’s an exploitation. But in a film’s uncontrolled rush, a jailed Nick probably disappears, and that feels like a mistake. If there’s a hit on “Good Time,” it’s that a perfect zeal for anything radical comes during a cost of something deeper.
But what a outing it is. “Good Time” flies by in a rush of neon colors and a stroke electro measure of Oneohtrix Point Never. The cinematography of Sean Price Williams is unusually agile. In a character of Robert Altman’s “McCabe Mrs. Miller,” Williams fuses grainy realism with solidified moments hold in a extensive zoom.
And in close-up we see Pattinson some-more clearly than ever before. His opening — supportive and tranquil amid a disharmony — is simply a best of his career. But a Safdies, one suspects, are only removing started.