Good Fortune is not divine intervention. It’s divine confusion with a smile. Ansari’s reach sometimes exceeds his grasp, but he’s reaching for something noble: empathy in an age of exhaustion. The film’s uneven pacing and hasty resolution can’t dim its underlying heart, nor its gentle reminder that redemption, like rent, is due every month.

Title: Good Fortune

Director: Aziz Ansari

Cast: Seth Rogen, Aziz Ansari, Keke Palmer, Sandra Oh, Keanu Reeves

Where To Watch: In theatres.

Rating: ***

Director Aziz Ansari’s Good Fortune arrives like a sermon in sneakers, half revelation, half delivery gig. Borrowing its halo from ‘It’s a Wonderful Life’ and its hangover from modern hustle culture, it sits between satire and sentimentality. Ansari, as writer and star, plays Arj, weighed down by bills and burnout, with even his guardian angel (Keanu Reeves) mildly overworked. The film’s clever conceit, a celestial intervention in a capitalist nightmare, falters as Ansari’s script struggles to balance philosophy and comedy. The result is an amiable, muddled fable about money, morality, and the malaise of too many open tabs.

Actors’ Performance

Keanu Reeves, as the angel Gabriel, is the film’s soft light and saving grace. His mix of cosmic naïvet�© and quiet comic timing gives the film its wings, even when the script forgets to flap. Watching him rediscover earthly pleasures like burgers, dance floors, and human frailty is pure joy, the cinematic equivalent of watching a saint attempt stand-up. Ansari plays his everyman role with the same bemused sincerity that made Master of None so watchable, though he occasionally mistakes self-pity for depth. Seth Rogen delivers reliable charm as the rich man forced into penance, while Keke Palmer adds warmth and spark despite limited screen time. Sandra Oh’s brief turn as Gabriel’s celestial superior is underused but spirited.

Music and Aesthetics

Visually, Good Fortune shifts between urban drudgery and dreamlike gloss. Adam Newport-Berra’s cinematography sometimes soars, finding poetry in neon reflections and late-night loneliness. The editing is sitcommy, robbing the film of the patience its themes need. Carter Burwell’s score adds breezy, ironic cheer to scenes of quiet despair, a witty but weary touch. Ansari’s affectionate direction lacks precision; his sketches of heaven, hell, and Hollywood hope sometimes blur into sentimentality. Still, the film’s imperfections feel as handmade and earnest as its protagonist’s crumpled resume.

FPJ Verdict

Good Fortune is not divine intervention. It’s divine confusion with a smile. Ansari’s reach sometimes exceeds his grasp, but he’s reaching for something noble: empathy in an age of exhaustion. The film’s uneven pacing and hasty resolution can’t dim its underlying heart, nor its gentle reminder that redemption, like rent, is due every month. Reeves’s performance alone makes the film worth the ticket; proof that even angels can make excellent dishwashers. For viewers willing to forgive its flaws, Good Fortune offers a quirky sermon on the price of happiness, told with warmth, wit, and just enough celestial chaos to keep things interesting.