After a botched bank robbery lands his younger brother in prison, Connie Nikas embarks on a twisted odyssey through the city's underworld in an increasingly desperate-and dangerous-attempt to get his brother Nick out of jail.
Set over one summer, the film follows precocious six-year-old Moonee as she courts mischief and adventure with her ragtag playmates and bonds with her rebellious but caring mother, all while living in the shadows of Walt Disney World.
A traumatized veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe's nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening.
Motivated by an almost ferocious love for his intellectually disabled brother, Nick, and an explosive mix of desperation and thirst for a better life, the abrasive and fledgeling criminal, Connie, involves his sibling in an ill-conceived bank robbery that swears to be a quick and easy job. Instead, things go utterly wrong, and Nick will wind up in Rikers Island after one unanticipated complication, forcing the desperate but determined Connie to embark on a nightmarish, no-holds-barred quest to bail Nick out. Inevitably, over the course of a long and violent night, Connie will go to great lengths to save Nick from a cruel fate, doomed, however, to do more harm than good. Is it all heading somewhere?Written by
According to Benny Safdie, "he (Pattinson) wanted to kind of disappear into our world, and he's like, 'You guys can take me there.' And we're like 'Okay, but don't tease us, cause we'll go, and we'll take you at your word for it, and we're like times a thousand'. And he did it. You can see the dedication that he brought. But we could sense that he wasn't kidding from the beginning. Because a lot of people say, 'Oh yeah, I'll do this, I'll do that', but he meant it. And we could tell that he meant it. I think he really wanted to disappear into this character and we could see that this level of commitment wasn't just a verbal one. We could see that he really just wanted to go for it. And when he left, we're like, 'I think we can do something interesting', because he has like a mania and an energy that not a lot of people see and we wanted to tap into that. And there was an element of that, that we really wanted to bring to the character." See more »
It was the Nassau County Police department that showed up at the Adventureland Amusement Park. However, Adventureland is located in East Farmingdale in Suffolk County. See more »
As soon as he hears the word JAIL, he fuckin' freaks, talkin' about "I'm not getting ripped off by one of you punks again" and he just fuckin' steps on the gas. And that was it, and just takes off. Then I hear the word COPS, I lose it, like I gotta fuck out of here. "I'm not going back to jail man, I'm not going back to jail!" So I happen to get one of the doors open before he locks the door. And this guy's crazy, he's fuckin' driving, speeding down the road 30-40 miles per hour and I know ...
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The film's editors receive an unusually prominent credit position: between producers and writers. See more »
Good Time is a small movie about small people doing small things. But never let it be said that it's dreary or dull. This movie somehow took the edgy anxiety of a waking nightmare, bottled it up, and put it on the screen so you'd leave the theater in a cold sweat. If the DVD/Blu-ray release of Good Time doesn't have a critic blurb saying "this movie gave me indigestion," I'll be sorely disappointed.
The setup is simple: a wanted man (Pattinson) tries to raise the money for bail to get his mentally handicapped brother (Safdie) out of prison. The two had held up a bank earlier that day and throughout the night, Connie resorts to dubious and dangerous lengths to avoid punishment and consequence.
In an interview with NPR co-director and co-star Benny Safdie said "We wanted to deliver a piece of pulp that actually felt dangerous." With that in mind cinematographer Sean Price Williams shot on 35mm and much of the movie is loaded with claustrophobic close-ups and delirious hand-held sweeps. The 35mm film bleeds into the New York nocturne. The punishing fluorescents and neon glints that makeup the movie's milieu taunts our protagonist as he spins his wheels round and round. It's a movie that recaptures the intimacy and intensity of a 4am sneak-about.
Even in calmer moments, the film pulses in its nervy desperation. The various innocents the come across Connie's path are more-or-less looking for the same thing, a way out of the mess. They approach their situations with variant levels of legality but never with Pattinson's level of sleaze or sense of entitlement. Despite this, Connie proves remarkably resourceful; one minute his back is up against a corner, the next he's clawed his way out and slumping towards the next hurdle of his odyssey. One can't help but think that if Connie put his mind towards anything other than crime, he'd be on the cover of a business magazine.
Instead he's in an unending fever dream whereby the urban sprawl is the water to his drowning rat. At its height, Good Time has the sparseness and clarity of a John Steinbeck novel and at its most pedestrian it still has the chaotic energy of The 25th Hour (2002).
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