Aziz Ansari’s ‘Good Fortune’ merges comedy with a critique of gig work, featuring a star-studded cast and a unique premise.
‘Good Fortune’ Review: Aziz Ansari’s Directorial Debut
In his feature directing debut, Aziz Ansari combines two well-known comedy tropes: the body swap and guardian angel intervention. In “Good Fortune,” an entry-level angel (Keanu Reeves) assists a struggling gig worker, Arj (Ansari), leading to a life swap with Jeff (Seth Rogen), a wealthy venture capitalist.
Humor and Performances
The humor hits its mark as we see Arj, an unemployed documentary editor aspiring to create his own films, hustle for TaskRabbit-like jobs. He hilariously botches a cinnamon bun errand and delivers a fatalistic speech that crushes a child’s dream of becoming an archaeologist. The trio of Ansari, Rogen, and Reeves deliver delightful performances, with Reeves’ Gabriel quipping, “I was a celestial being and now I’m a chain smoker addicted to nicotine.”
Supporting Cast and Production Quality
The ensemble cast shines, particularly Sandra Oh as the lead angel. Stephen McKinley Henderson, portraying the inspiring angel Azreal, adds depth despite his limited screen time. The script is well-polished, and Ansari and Reeves refined the jokes through live readings and improvisation. Daniel Haworth’s editing is tight, making it hard to believe production halted due to the writers’ strike. The visuals of Bel Air, the pool, and Los Angeles encampments are stunning.
Critique of Societal Issues
However, the film’s glossy presentation undermines the gritty reality of gig work, making Arj’s struggles feel less impactful. The question arises: who are these jokes truly for? They resonate more with the affluent Jeffs than with the Arjs and Elenas (Keke Palmer as a union organizer and Arj’s love interest). The humor aimed at critiquing capitalism inadvertently belittles the struggles of countless workers whose issues remain unresolved by the film’s conclusion.
Community and Connection
Despite moments highlighting community, such as Jeff and Gabriel discovering the ease of surviving gig work together, “Good Fortune” ultimately commodifies genuine struggles rather than satirizing power. As someone who has experienced life on the edge, the film felt more hollow than empathetic. It portrays the harsh realities of workers yet concludes that creating art is the solution, leaving me skeptical about its impact.
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Final Thoughts
In the end, “Good Fortune” raises systemic issues but resolves them with humor that feels inadequate. The characters who resonated most were not the leads but the marginalized workers, like Felipe (Felipe Garcia Martinez), whose joy and generosity felt authentic. The film leaves viewers questioning whether those depicted with lightheartedness will feel objectified instead.
Grade: C+
“Good Fortune” premiered at the 2025 Toronto International Film Festival. Lionsgate will release the film in theaters on Friday, October 17.
