Good Time can be described in one word – desperate. From its opening scenes of a heist gone wrong, all the way to the events that lead to the electrifyingly tense closing moments, the sense of dire desperation is evident in everything Connie (Robert Pattinson, utterly mesmerising) does for his brother. As a story, it exemplifies the old adage that crime doesn’t pay, but has a sense of tenderness underneath the cruelty. Employing a 70’s grit (New York has never looked so unglamorous), 80’s synth music and the best Robert Pattison performance ever, the film is an unholy combination of the best moments of Sidney Lumet’s Dog Day Afternoon interspersed with the wicked nightly paranoia of Scorcese’s After Hours.
Like those films, the setup is simple, the execution clever. In order to free his brother from prison and assemble enough bail money, Pattison convincingly portrays a relentlessly driven yet somewhat incompetent petty criminal who will go anywhere and do anything to secure his brother’s release. Building on top of one clever unpredictable situation after another, the film has a contemporary energy that carries it through to the very end. But if Good Time’s energy is derived from its long, nighttime chase and intense close-ups, its heart can be found in the two tender scenes featuring Connie’s mentally challenged brother that bookend the film – clearly ensuring us that the film is more than just a visceral thrill. Remarkably exhilarating and utterly unforgettable, Good Time completely delivers on the bold promise of its title.
Rating: 
