Good Time

Good Time isn't an exuberant or happy-go-lucky emotional ride, rather it's the cruel irony of white privileged in even the lowest rungs of class.

Nick's character doesn't exactly develop, but we do see its innards teased gradually apart. Ben Safdie's touching performance bookends the film with enormous grace.

Pattinson is utterly convincing as the Manson-eyed Connie, a manipulative force of nature (alternately mesmerising, repugnant and pathetic) who leaves a trail of destruction in his wake.

The masterstroke of the script is how it takes a situation that, in almost any other film of this type, would be played for pathos... and instead strip-mines it for every last iota of moral ambiguity.

The urgent docu-style filming is impressive, but it's Pattinson's fearless turn that lingers.

The Safdie brothers' crime thriller Good Time is a chaotic, wildly inventive but increasingly self-indulgent affair.

Refreshingly, The Safdie brothers don’t ask viewers to see the alternatively neon and concrete world through Connie’s eyes, but to witness him inflict his will on others.

Ultimately, a strong Robert Pattinson performance is let down by this blundering thriller that’s an assault on the senses and the mind.

By exposing the falsehood of one’s presumption of power, the Safdies awaken viewers to the inescapable consequences of their actions and weaknesses, along with the vulnerability of their own fate.

Good Time is a frantic ride, but at the core of the film is the brothers' relationship. Both are desperate to get out of New York and start a new life, even if they have to borrow and steal to achieve it.