Here’s a bold statement: In a world drowning in cynicism, Good Fortune dares to remind us that laughter and hope can still coexist—even in the messiest of lives. But here’s where it gets controversial: Can a comedy truly tackle the brutal realities of late-stage capitalism without losing its charm? Aziz Ansari’s latest film says yes, and it does so with wit, warmth, and a dash of celestial absurdity. Premiering in theaters on October 17, Good Fortune is a refreshing take on the age-old life-swap trope, cleverly flipping the script on classics like It’s a Wonderful Life while staying grounded in the relatable struggles of modern existence.
The film follows Arj (Ansari), a man at rock bottom, scraping by in Los Angeles through gig apps and living out of his car. Enter Gabriel (Keanu Reeves), a bumbling, low-level angel whose job is to prevent texting-and-driving accidents—not to fix lives. But Gabriel, hilariously leaning into Reeves’ beloved doofus persona, becomes obsessed with Arj, believing he’s a lost soul worth saving. The problem? Gabriel’s meddling only complicates Arj’s already chaotic life, especially after he starts working for Jeff (Seth Rogen), a wealthy, oblivious tech bro. What ensues is a witty, insightful mess that’s as thought-provoking as it is funny.
And this is the part most people miss: Beneath the laughs, Good Fortune is a sharp critique of societal inequities. It doesn’t shy away from the exhausting reality of poverty, echoing James Baldwin’s poignant observation: “Anyone who has ever struggled with poverty knows how extremely expensive it is to be poor.” The film wraps this harsh truth in a charming, comedic blanket, making it accessible without sacrificing depth. Ansari, alongside co-writer Alan Yang (Master of None, Parks and Recreation), crafts a narrative that feels both high-concept and deeply human.
The chemistry between Ansari, Reeves, and Rogen is a standout, but it’s Reeves’ Gabriel who steals the show. His innocent, almost childlike presence serves as the perfect foil to the film’s darker themes, allowing it to explore why the world feels broken without losing its sense of humor. Keke Palmer also shines in a supporting role as Arj’s union-organizing coworker, though her comedic genius is even more evident in this year’s One of Them Days.
What’s truly remarkable is that Good Fortune rose from the ashes of Ansari’s canceled project, Being Mortal, with Palmer and Rogen returning from that production. This makes the film feel like a triumph of resilience, a testament to Ansari’s vision and perseverance. Watching it in a packed theater, where the audience laughed and gasped in unison, only heightened the experience. My advice? Go in blind—skip the trailer, ignore the clips, and let the story unfold organically.
But let’s address the elephant in the room: Is Good Fortune too ambitious for its own good? Some might argue it tries to juggle too many themes—poverty, privilege, existential crises—while others will applaud its boldness. What do you think? Does comedy have a responsibility to confront societal issues, or should it stick to making us laugh? Let’s debate in the comments.
Verdict: Good Fortune is a celestial comedy of errors that blends heart and humor seamlessly. With stellar performances, a fresh perspective on modern struggles, and a narrative that’s both entertaining and insightful, it’s a must-watch. Ansari’s directorial comeback is nothing short of a 5-star delivery, proving that sometimes, the best things come to those who wait. Not yet available for streaming, so catch it on the big screen while you can!
