Good Fortune – Film Review
Reviewed by Harris Dang on 6th of November 2025
Studiocanal presents a film by Aziz Ansari
Written by Aziz Ansari
Produced by Aziz Ansari, Anthony Katagas, and Alan Yang
Starring Seth Rogen, Aziz Ansari, Keke Palmer, Sandra Oh, and Keanu Reeves
Cinematography Adam Newport-Berra
Edited by Daniel Haworth
Music by Carter Burwell
Rating: M
Running Time: 97 minutes
Release Date: in cinemas on the 30th of October 2025
In Good Fortune, Arj (Aziz Ansari) is a cynical, hapless gig worker living in his car, wondering where his hopes and dreams went. He works parttime at a hardware store to make ends meet and longs of becoming a documentary filmmaker. He works with Elena (Keke Palmer), a passionate, hard-working co-worker who fights to unionise the workforce for better working conditions. One day, Arj is hired for a gig by Jeff (Seth Rogen), a multi-millionaire socialite who lives a life of hedonistic wealth. The two get along swimmingly, but after upsetting Jeff over money, Arj is fired and grows depressed.
Enter Gabriel (Keanu Reeves), a well-meaning but inexperienced angel who tries convincing Arj his life is still worth cherishing. To show Arj a life of wealth and excess is not what it is cracked up to be, he has Arj and Jeff swap lives. The attempt fails miserably. Arj finds wealth has serendipitously solved his problems. Meanwhile, Jeff’s life in jeopardy and Gabriel’s meddling sees him lose his wings. Consequently, Gabriel must lead Arj down the right path before disaster strikes.
Good Fortune is the feature-length film debut from comedian Aziz Ansari. He is best known for his roles in acclaimed comedies Parks and Recreation and Master of None, which he co-created. In 2022, he tried making his directorial debut with Being Mortal, starring Bill Murray, Keke Palmer, and Seth Rogen. The film was cancelled due to a sexual harassment against Murray. Since then, Ansari has developed Good Fortune, the title of which could not be more appropriate.
The premise has well-worn tropes explored in other films dealing with social status and whimsical fantasy. 1983’s Trading Places (our two leads characters trade places, resulting in different fortunes), Wings of Desire (1987), and Heaven Can Wait (1978) are good examples. The latter two are about celestial beings being curious about human nature. Thankfully, Good Fortune is never derivative nor self-referential. It focuses on characterisations, situational humour, and identifiable emotions.
Ansari’s understated directorial approach helps immensely. He rarely telegraphs or dictates how the audience should feel. Consequently, he avoids any treacle or heavy sentimentality. The same cannot be said in terms of the film’s political leanings. As the characters face the harsh difficulties in a gig economy, Jeff expresses his feelings on the workforce.
Having a fantastic cast adds wonders to the film. They smooth over the plot inconsistencies and character flaws with innate humanity and comedic zing. Ansari is engagingly flawed and believable as the downtrodden Arj. He does a great job holding the film together. As the supposed antagonist, Rogen is a great comedic foil. He is loose and amusingly oblivious as Jeff.
Reeves is wonderful as Gabriel, the film’s catalyst and comedic spark. He conveys a hilariously unnatural physicality to the comedy that makes his reactions to new things (like trying chicken nuggets or dancing) feel childlike and innocent. His turn toward cynicism of the world provides the biggest laughs. Palmer’s warmth, empathy, and strong resolve is the film’s beating heart.
The chemistry between the actors is a blessing that makes Good Fortune take flight and be as great as it is. It successfully balances fish-out-of-water humour, politically charged social commentary, and quiet contemplation. Recommended.
Summary: Good Fortune successfully balances fish-out-of-water humour, politically charged social commentary, and quiet contemplation. Recommended.
4
Impressive
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