Despite its insightful observations about the crushing nature of the informal economy, “Good Fortune” (2025) presents such direct sincerity that it feels like a throwback. Aziz Ansari, in his second feature directorial debut, creates a charming fusion of “It’s a Wonderful Life” and “Training Places,” which is surprisingly devoid of mischief or physical gags. Instead, Ansari finds cathartic and relatable humor in the collective obstacles that arise from class divisions. While there are times when “Good Fortune” feels clumsy in its commentary, this funny, emotional, and heartwarming film has merit.
Those familiar with Ansari’s excellent Netflix series, “Master of None,” know that he has a knack for directing, writing, producing, and starring in roles that essentially allow him to play a slightly fictionalized version of himself. Ansari stars in “Good Fortune” as Arj, whose interest in documentary filmmaking mirrors his own interest in educational arts.
Director: Aziz Ansari
Writer: Aziz Ansari
Stars: Keanu Reeves, Blanca Araceli, Aziz Ansari
Unlike the real Ansari, Arj has been forced to turn his passion into a hobby, as he's between jobs and forced to sleep in his car. Arj's luck briefly changes when he lands a job as an assistant to wealthy businessman Jeff (Seth Rogen), but it's only temporary relief that leaves him even more frustrated with his quality of life. It's when Arj is at his lowest point that divine intervention comes into play. The angel Gabriel (Keanu Reeves) decides to change his mind by swapping his life with Jeff's, forcing them to live in each other's shoes.
"Good Fortune" seems to understand how good it is from its synopsis, and Ansari does a great job of keeping it fairly simple. There are some humorous moments that showcase the hierarchy of angels (as Gabriel's sole responsibility is to prevent people from texting while driving), but "Good Fortune" immediately begins to lay out the reasons why Arj has lost hope. It's not exactly a groundbreaking revelation about the realities of post-recession America, but it doesn't claim to be. The observations about the subtle indignities Arj faces are quite poignant, even if Ansari manages to undermine every moment with a clever one-liner.
The most fascinating thing about the structure of "Good Fortune" is the way Ansari divides the story. Though it doesn't begin with any formal contrivance, "Good Fortune" shifts perspective from Arj to Jeff about halfway through, allowing the viewer to see both characters at their most vulnerable. Ansari doesn't try to suggest that their problems are equivalent; in fact, one of the central jokes lies in the misguidance of Gabriel's plan. Though he intended to show Arj that wealth and status wouldn't make him happier, he is dismayed to discover that all his problems disappear when he takes over Jeff's life.
Both protagonists are surprisingly complex, especially since Ansari and Rogen have established film personas that allow them to quickly immerse themselves in their characters. Arj's problem isn't with his work ethic or his compassion for others, but with his attitude. Given the burdens he bears daily, Arj isn't convinced that there's a legitimate possibility for change. Ansari's brusque, incredulous reactions ensure that the character never comes across as overly cynical, but Arj becomes a more interesting character thanks to the romantic bond he forges with his coworker Elena (Keke Palmer), who is trying to unionize the employees at a hardware store. It's a credit to Palmer's sincerity that he's able to deliver the film's most insightful and heartfelt lines without ever breaking the lighthearted tone.
Rogen's performance is equally impressive, as he manages to make Jeff a character guilty of ignorance, but not necessarily of malice. While it's easy to imagine that "Good Fortune" could become an "eat the rich"-style satire, the film seems to show more animosity toward the current system than toward anyone who has benefited from it. For Jeff, he's never had the opportunity to consider that his luxurious existence has been at the expense of others. Rogen is able to play the moments of wonder and revelation with humor, while also imbuing the character with emotional maturity. Perhaps the film is overly charitable in its idea that people can change, but Rogen is a good enough actor to make Jeff an exception to the rule.
The film's best performance, and perhaps its greatest asset overall, is the magnificent performance of Reeves, who has proven once again that he is a far more self-aware actor than he is given credit for. Reeves's serious, moral persona in his classic genre films may have been occasionally mocked over the years, but that is precisely why he is perfectly cast as a genuinely naive and curious creature, who is simultaneously incredibly wise and completely innocent.
Playing a character slowly adapting to humanity (while Gabriel is punished for breaking heavenly rules by being trapped in a mortal body) is no easy feat, but Reeves' performance makes Ansari's writing even sharper. It's a performance that embraces the situational comedy necessary for the different segments of the story. As hilarious as it is to watch Gabriel incompetently try to impose his knowledge on Jeff, his moments of wonder at humanity's experiences are truly hilarious.
“Good Fortune” certainly feels like a directorial debut, as it’s truly impressive how restrained and theatrical most of the scenes are. There’s no shortage of dynamic gags, but “Good Fortune” seems to eschew crowd scenes, action scenes, or significant physical shenanigans in favor of the interactions between its three main characters. Perhaps Ansari’s intention was to make something decidedly low-key after the complicated production of “Being Mortal,” the film whose production was shut down due to an on-set controversy. It’s easy to imagine that he could become a more visually ambitious filmmaker with more films under his belt, but it’s a credit to Ansari’s writing that the film never has a dull moment in its 98 minutes thanks to the entertainment value of the dialogue.
“Good Fortune” relies on a few conveniences, and some might find its conclusion not radical enough. Perhaps there’s something a little old-fashioned about Ansari’s humanism, but at the same time, a film so sincerely optimistic about people’s willingness to care for one another is radical in its own way. It's one of the best comedies of the year, and its sincere warmth is definitely a breath of fresh air.
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