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Good Fortune, the fantasy comedy from actor the director, has been facing challenges at the box office. Several factors may explain the film's reception: Its uninspired name doesn't convey its film's distinctive appeal. The script is often preachy and heavy-handed regarding its themes. The performances are uninspired and presentational, like the actors are reading lines directly from the page. Moreover, the film comes at a time of economic uncertainty and inequality, that could render audiences less open to a story that suggests wealthy people have every benefits while those in need have heart.

However, this is where the movie stands out: The film is unique, bold, imaginative, often funny, and certainly relevant. And, it provides an unexpectedly great the actor hangout experience.

Reeves as an Angel: His Typical Portrayal

Personally, I've never considered Reeves a good actor. His flat speaking style and consistent expression of mild concern has always felt limited, despite his wide range of characters he's played during the past four decades years. Smart directors have often cast Reeves in parts where that stoic nature fits perfectly, including his early work to The Matrix to the action series. Yet nearly all of these characters required him to appear tough, distant, and removed.

In the film, Reeves plays Gabriel, one minor guardian angel tasked with looking after individuals that text while behind the wheel. His entire duty involves remaining in their cars and lightly making contact with the drivers' shoulders when they are about to have an accident, warning the person so the driver brake in time. But, while standing overlooking his domain, looking down on the mortal world like a version of a celestial figure in Wim Wenders' renowned film Wings of Desire, the character becomes aspirational. He wants to be a great guardian and rescuer of wayward souls.

A Surprising Turn: Reeves as a Mortal

So, he presents himself to down-and-out odd-jobber a character (portrayed by Aziz Ansari), who is residing in a vehicle and cursing his life. The angel then swaps Arj into the life of extremely rich businessman a character (played by the comedian). The point of the exercise was that Arj would realize Jeff's life has significant drawbacks, and thankfully return to his original life, much like a character in It's a Wonderful Life.

Problem was, Arj right away realizes how the mogul's issues (tedious appointments, a pricey pool-heater invoice) prove negligible and easily solved using money. He also sees that becoming affluent provides endless opportunities for self-indulgent enjoyment. The character shows zero interest in returning to his previous life, and the angel can't compel him to return. Subsequently, more trouble comes: For overstepping his duties and messing with the balance of existence, Gabriel loses his position from his angel role, and transformed into a mortal.

A Revelation: Keanu Reeves Smiles

Personally, I remained never persuaded by the actor playing an angel with big aspirations and a burning wish to make a difference. He turns in a familiar vaguely constipated performance he's consistently offering for at least the last three ten-year periods. Viewing him in the role of angel that has recently turned human for the first time, however, proved to be a blast, for a reason that really surprised me initially: This is an element different for Reeves. Or more accurately, something old.

Early during his baffling experience as a mortal, clinging to the wealthy character (who Gabriel had swapped into the handyman's precarious existence and underemployed situation), Gabriel begins tentatively trying out human experiences such as chewing and consuming food. And Reeves smiles. Authentically, hesitantly, joyously beams. (It's a lot more convincing than the grin on the poster, that looks artificially added.)

The Reason That Grin Is Significant

It really surprised me to recognize just how surprising and refreshing that expression was. When did we last we saw the actor smile in a film where he was not showing malice, sarcasm, or resentment? The actor probably attempts it somewhere in 2020's ill-conceived Bill & Ted Face the Music, but I am not going to returning to the disappointment to find out. Reeves has remained typecast with serious, murderous, introspective, or just serious roles for so long that merely seeing him grin seemed like seeing an entirely new actor.

While the story progresses, the character finds himself needing to take a dishwashing job, which doesn't pay sufficient to live on, and he begins chain-smoking due to disappointment. Just the sight of Reeves in a disposable paper restaurant cap, his late-career signature locks pulled back in an unglamorous ponytail, slouching on a wall and puffing on a smoke, is worthy of watching. The dishwasher getup completely alters his appearance and posture: Unexpectedly, the slim, suited action star of the John Wick films is awkward, unglamorous, and a lot more human.

A Joy of Watching Keanu Loosen Up

The film is not consistently enjoyable to view, especially when the director (that additionally authored the script) has to find plausible reasons for {Ar