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Aziz Ansari's directorial debut, this fantasy film from comedian Aziz Ansari, has been struggling at the box office. Several reasons may account for its reception: The uninspired name fails to convey its movie's distinctive appeal. The screenplay can be preachy and obvious with its themes. The acting seem uninspired and presentational, like the actors are reciting dialogue directly from a script. And, it arrives during an era marked by financial uncertainty and disparity, that may render audiences less receptive to a narrative which suggests rich individuals have every advantages while the poor possess spirit.

But, here's where the movie stands out: The film is unique, bold, imaginative, frequently funny, and certainly timely. Plus, it provides an unexpectedly great Keanu Reeves hangout experience.

Keanu Reeves as an Angel: His Typical Portrayal

Personally, I've not considered Keanu Reeves a good performer. His monotonal speaking style and persistent look of slight perturbation has consistently felt limited, despite his wide range of characters he has taken on during the last 40 of his career. Astute directors have often cast Reeves in parts where that stoic nature works ideally, from My Own Private Idaho to the sci-fi classic to the action series. Yet almost all of those roles called for him to appear tough, distant, or removed.

In the film, Reeves portrays Gabriel, one low-level guardian angel tasked with watching over people that text while driving. The character's entire job involves remaining in his cars and gently making contact with their shoulders as they're close to crash, warning them in order that they brake before impact. However, while standing high above the city, looking down upon the mortal world similar to an alternative interpretation of the angel from Wim Wenders' renowned film Wings of Desire, the character becomes aspirational. Gabriel desires to be an exceptional protector and a savior of wayward souls.

A Surprising Shift: Reeves as a Human

So, Gabriel presents himself to down-and-out odd-jobber Arj (portrayed by Aziz Ansari), who's living in a vehicle and cursing his life. The angel proceeds to exchanges the man with the existence of extremely rich tech mogul a character (acted by the comedian). The point behind the experiment is for the character to understand the wealthy man's existence has significant downsides, and thankfully go back to his own circumstances, similar to the figure in It's a Wonderful Life.

Problem is, Arj right away realizes that the mogul's problems (tedious meetings, a pricey heating invoice) prove negligible and readily resolved using money. He further sees that being rich opens up limitless opportunities for pleasurable enjoyment. The character has no desire in going back to his previous life, and the angel can't compel Arj to go back. Subsequently, additional bad news arrives: For overstepping his mandate and messing with the balance of the world, the character loses his position from his angel job, and turned to a mortal.

A Revelation: The Actor Smiles

Personally, I remained not convinced by the actor playing an celestial being with big dreams and a burning wish to effect change. He delivers the same vaguely stiff acting he's been offering for at least the last three decades. Watching him in the role of angel that has recently turned mortal initially, on the other hand, proved to be a blast, due to something that truly surprised viewers at first: It's something different for Reeves. Or perhaps to be precise, an aspect from the past.

Soon into the character's confusing experience being a human, staying with the wealthy character (who Gabriel had swapped into the handyman's precarious existence and underemployed situation), the character begins tentatively experimenting with everyday activities such as chewing and swallowing food. Then the actor smiles. Authentically, hesitantly, happily beams. (This is a lot more convincing than his grin shown in the promotional image, which looks digitally altered.)

Why That Smile Matters

It really took me aback to recognize just how unexpected and refreshing the expression felt. At what point did we last we observed Keanu Reeves grin in a film where he wasn't expressing ill will, sarcasm, or bitterness? He probably tries it somewhere in the recent misbegotten Bill & Ted Face the Music, however I'm not going to revisiting the mess to find out. Reeves has been typecast with grim, murderous, broody, or simply serious roles for so long that just watching him grin seemed like observing an entirely new performer.

As the story progresses, the character finds himself having to get a kitchen job, which doesn't pay sufficient for survival, and Gabriel begins smoking heavily due to frustration. Simply the sight of Reeves in a disposable paper food-service hat, with his recent signature long hair pulled back in a plain bun, slouching on a wall and puffing on a cigarette, proves worthy of the price of admission. His dishwasher getup completely alters his appearance and posture: Suddenly, the slim, well-dressed action star of the John Wick movies is awkward, unglamorous, and a lot increasingly human.

The Joy of Viewing Keanu Loosen Up

Good Fortune is not consistently fun to view, particularly when Ansari (who additionally wrote the screenplay) has to create plausible explanations for {Ar