Good Time (LFF)

Directors Josh and Benny Safdie clearly have very little concern for the stress levels of their audience. Their new crime thriller Good Time is an incredibly intense, full on experience that contains some of the most visually impressive action sequences in cinema. It is the breakneck tale of a heist carried out by Connie (Robert Pattinson) and his vulnerable brother Nick (Benny Safdie). When the heist falls apart and the brothers are torn apart, Connie is left to pick up the pieces and try to reach Nick.

Pattinson gives an inspired performance as Connie, one of the more dislikable protagonists I've seen in a long time. Highly explosive, cruelly exploitative and in general just pretty damn scummy, he is the absolute driving force of the film, remaining undeniably fascinating throughout all his awful antics. While I admittedly haven't seen Pattinson in many of his previous roles, though him being the only redeeming part of Cronenberg's turgid Cosmopolis does stand out, he is of course most well known for having been the moody star of the "love it or hate it" Twilight series. 

So in terms of career revivals, the actor has really pulled off a fantastic 180; his agent surely deserves a huge bonus this year. Safdie is also excellent as Nick, capturing our sympathies perfectly as he is pushed unwilling into crime by his cruel sibling. While his is a smaller role that gradually shifts into the background, the time he spends on screen shows just how brilliantly nuanced Safdie's depiction of the mentally challenged Nick is.

With Good Time, the Safdie's have crafted one of the most original and red-hot films of the last several years, utilising a range of ambitious techniques and an unrelentingly paced narrative that rarely, if ever, lets up in its intensity. It is fantastically shot, from the very first appearance of Pattison emphasised by a hard, sudden and unexpected zoom to the use of stunning aerial camerawork particularly during driving scenes. 

The heavy use of handheld cameras, particularly for character close ups, also adds much to the intensity of the proceedings with an effectiveness that I haven't seen since Paul Greengrass' Bourne films. Despite being such a high octane experience, though the film never forgets to have fun and it is actually surprisingly bitingly funny at points. Who knew Robert Pattinson had comedic chops? 

Much of the film also feels very 80s inspired and a lot of this is down to the stunning soundtrack provided by electronic artist Oneohtrix Point Never (try saying that fast ten times). Gorgeous swathes of synth chords, reminiscent of films such as Drive and even the new Blade Runner, and a dark, foreboding atmosphere are pivotal parts of the score and it plays an absolutely vital role in elevating the anxious nature of the film. 

One of the most intense, thrilling experiences to be captured on screen, the Safdie brothers have made a huge statement with Good Time. Proving to be a renaissance for Pattinson in an incredible performance and showcasing some of the best pacing in cinema period, this is an absolutely pulse-racing thrill-ride that never fails to impress. Oh, and it's another great release from A24!