good times movie reviews

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors.

Now streaming on:

There’s a hum to the night of major cities. It’s the sound of unceasing traffic, neon lights buzzing, televisions on in every apartment, and more, and it creates a unique energy that you don’t find outside of places like New York City, Atlanta, Chicago, etc. It’s the kind of anxious energy that comes with a lack of sleep—paranoid and twitchy. That hum pervades the Safdie brothers’ excellent “Good Time,” a film that reminds me of great “city movies” of the ‘70s like “ Mean Streets ” and “ Dog Day Afternoon .” With a central performance from Robert Pattinson that feels like a direct descendant of Al Pacino ’s in that Lumet film, “Good Time” is a movie that can’t sit still, and I mean that in the best possible way. There’s a palpable sense of anxiety and panic that comes through in every heated frame after the film’s inciting incident. It’s one of those rare movies that makes you feel edgy, conveying its protagonist’s dilemma in ways that prey on your nerves and emotions more than just relaying a night-from-hell anecdote.

“Good Time” opens with one of its only relatively sedate scenes (although even it is filmed in such a way that it feels tense). Nick Nikas (the film’s co-director Ben Safdie ) sits uncomfortably in a court-ordered therapy session. Through the exchange with his doctor (Peter Verby), we learn that Nick was violent with his grandmother, and that he’s mentally handicapped enough to not fully understand how to control his anger or the social repercussions of his actions. Just as the therapist is getting somewhere, Nick’s brother Connie (Pattinson) bursts in and takes Nick out of the room. Connie thinks he’s doing good by protecting his brother—of course, he is not. And this will be a theme of the night ahead of Connie, one in which he’ll constantly try to fix a situation but only make it worse.

The movie proper opens with a bank robbery. Nick and Connie want $65,000 from a bank and appear to get away with it before a dye pack covers them, and their payload, in bright red dye. Nick gets nabbed by the cops, sending him to Rikers Island. Too much of the robbery money is ruined to make his bail, so Connie needs to come up with $10k as quickly as possible to get him out. He starts with his girlfriend ( Jennifer Jason Leigh ), and, well, things get crazier from there in ways that I wouldn’t dare spoil.

Working again with the great cinematographer Sean Price Williams (who shot the Safdies’ “ Heaven Knows What ,” Alex Ross Perry ’s “ Queen of Earth ,” and others), the Safdies give “Good Time” a claustrophobic energy that’s hard to fully convey in a review. It’s accomplished through intense close-ups and a style that could be called jittery but never calls too much attention to itself. It’s a visual language designed to enhance the enhance the mood of its leading man without distracting from it, and it works remarkably with an assist by a pulsing score from Daniel Lopatin .

Having said that, most of what shines so well about “Good Time” can be traced back to Robert Pattinson’s performance, the best of an already-impressive career. He is impossible to ignore from his very first scene, expressing Connie’s ability to only keep digging himself deeper and deeper into trouble. Connie makes choices instantly, and one gets the impression that it’s an instinctual ability that has helped him at times but will only prove his downfall on this particular night. “Good Time” is essentially one long chase movie—the story of a man trying to evade capture for a bank robbery and get his brother out of the predicament into which he threw him—and Pattinson perfectly conveys the nervous energy of being essentially hunted by your own bad decisions without ever feeling like he’s chewing scenery. Like Pacino in the ‘70s, there’s something in the eyes and the body language, an unease about what’s going to happen next, an inability to sit down. It is a stunning performance, and one of the best of 2017 by far.

By and large, films are passive experiences. We sit in the dark and allow stories to play out in front of us, behind the safety of the movie screen. Movies like “Good Time” that break down that comfort and make us as edgy as their protagonists are rare and should be embraced. They give us the characters that stand the test of time and, as with “Dog Day Afternoon,” people keep discussing four decades after their release. Connie Nikas is one of those characters.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

Now playing

Tomris Laffly

Nothing Can't Be Undone by a HotPot

Simon abrams.

The Beach Boys

I Saw the TV Glow

Robert daniels.

Turtles All the Way Down

Peyton robinson, film credits.

Good Time (2017)

100 minutes

Robert Pattinson as Connie Nikas

Buddy Duress as Ray

Ben Safdie as Nick Nikas

Taliah Webster as Crystal

Jennifer Jason Leigh as Corey

Barkhad Abdi as Dash

• Joshua Safdie
• Ronald Bronstein

Cinematographer

• Sean Price Williams
• Daniel Lopatin

Latest blog posts

Chi Film Fest's 60th Anniversary Cinema Soirée

The Acolyte Sends Star Wars Into a Galaxy Far, Far In the Past

Short Films in Focus: The Year of Staring at Noses

Animation Is Slow Motion: Pablo Berger on Robot Dreams

Summary After a botched bank robbery lands his younger brother in prison, Constantine Nikas (Robert Pattinson) embarks on a twisted odyssey through the city’s underworld in an increasingly desperate—and dangerous—attempt to get his brother out of jail. Over the course of one adrenalized night, Constantine finds himself on a mad descent into viol ... Read More

Directed By : Benny Safdie, Josh Safdie

Written By : Ronald Bronstein, Josh Safdie

Where to Watch

Robert Pattinson

Connie nikas, benny safdie, jennifer jason leigh, corey ellman, buddy duress, taliah webster, barkhad abdi, dash the park security guard, peter verby, peter the psychiatrist, saida mansoor, agapia nikas, gladys mathon, rose gregorio, loren ellman, eric paykert, eric the bail bondsman, astrid corrales, bail bondsman's assistant, rachel black, rachel the public defender, hirakish ranasaki, maynard nicholl, ben edelman, acid buying complainer, laurence blum, nassau county police officer a, jason harvey, nassau county police officer b, robert clohessy, 7th floor elmhurst police officer, critic reviews.

• All Reviews
• Positive Reviews
• Mixed Reviews
• Negative Reviews

User Reviews

Related movies.

The Godfather

Touch of evil, pépé le moko (re-release), the night of the hunter, rififi (re-release), the maltese falcon, 12 angry men, mean streets, pulp fiction, double indemnity, taxi driver, the irishman, the french connection, elevator to the gallows, shoplifters, the 39 steps, band of outsiders, days of being wild (re-release), related news.

2024 Movie Release Calendar

Jason dietz.

Find a schedule of release dates for every movie coming to theaters, VOD, and streaming throughout 2024 and beyond, updated daily.

June Movie Preview

Keith kimbell.

Our editors select the most noteworthy movies debuting in June 2024, including a Pixar sequel, a Quiet Place prequel, the latest from directors Yorgos Lanthimos and Jeff Nichols, and more.

DVD/Blu-ray Releases: New & Upcoming

Find a list of new movie and TV releases on DVD and Blu-ray (updated weekly) as well as a calendar of upcoming releases on home video.

Cannes Film Festival 2024: Best and Worst Films

Which films at the 77th Cannes Film Festival wowed our critics, and which ones failed to deliver? We recap the just-concluded festival with a list of award winners and review summaries for dozens of films making their world premieres in Cannes, including new titles from David Cronenberg, Yorgos Lanthimos, Andrea Arnold, Kevin Costner, Jia Zhang-Ke, Ali Abbasi, Michel Hazanavicius, Paul Schrader, and more

Every Francis Ford Coppola Movie, Ranked

We rank every movie directed by Francis Ford Coppola throughout his six-decade career including his newest film, Megalopolis.

• Cast & crew
• User reviews

After a botched bank robbery lands his younger brother in prison, Connie Nikas embarks on a twisted odyssey through New York City's underworld to get his brother Nick out of jail. After a botched bank robbery lands his younger brother in prison, Connie Nikas embarks on a twisted odyssey through New York City's underworld to get his brother Nick out of jail. After a botched bank robbery lands his younger brother in prison, Connie Nikas embarks on a twisted odyssey through New York City's underworld to get his brother Nick out of jail.

• Benny Safdie
• Josh Safdie
• Ronald Bronstein
• Robert Pattinson
• Jennifer Jason Leigh
• 406 User reviews
• 296 Critic reviews
• 80 Metascore
• 6 wins & 47 nominations

• Connie Nikas

• Corey Ellman

• (as Taliah Lennice Webster)

• Dash the Park Security Guard

• Peter the Psychiatrist
• Agapia Nikas
• Loren Ellman

• Eric the Bail Bondsman
• Bail Bondsman's Assistant
• Rachel the Public Defender

• Acid Buying Complainer

• Nassau County Police Officer A
• All cast & crew
• Production, box office & more at IMDbPro

More like this

Did you know

• Trivia All actors didn't read the script but were given a detailed backstory of their characters and were told to improvise every scene, while Robert Pattinson and Benny Safdie had scripts but were still told to react to the others as well as they could.
• Goofs When Connie drives past the Elmhurst Hospital to drop off Ray, he is actually driving past the Saint Joseph's Medical Center in Yonkers, New York.

Connie Nikas : I think something very important is happening and it's deeply connected to my purpose.

• Crazy credits Excepting the production companies and title, the opening credits begin 17 minutes into the movie.
• Connections Featured in Chris Stuckmann Movie Reviews: Good Time (2017)
• Soundtracks Tu Con El (uncredited) Written by Eduardo Franco Da Silva Performed by Frankie Ruiz

User reviews 406

• Darksidecrew
• Aug 4, 2017
• August 25, 2017 (United States)
• United States
• Official Facebook
• Official site (Japan)
• Good Time: Viviendo al límite
• Adventureland Amusement Park, Farmingdale, Long Island, New York, USA (adventureland amusement park scene)
• Elara Pictures
• Rhea Films (II)
• See more company credits at IMDbPro
• $4,500,000 (estimated)
• Aug 13, 2017

Technical specs

• Runtime 1 hour 42 minutes
• Dolby Digital

Related news

Contribute to this page.

• See more gaps
• Learn more about contributing

More to explore

Recently viewed.

Things you buy through our links may earn  Vox Media  a commission.

Good Time Is a Thrilling Turn for Robert Pattinson

Constantine Nikas (Robert Pattinson), his hair freshly bleached platinum, sits on a sofa watching Cops with the stoned 16-year-old unwittingly harboring him from law enforcement. We’ve already seen him commit a bank robbery and break a man out of the hospital, and when a suicidal woman on the screen gets tackled by the police in a violent body slam, he winces and changes the channel. “I don’t want to watch them try to justify that,” he mutters, visibly upset.

Good Time, by New York duo Josh and Benny Safdie, is at times a brutal movie, but its protagonist is not a brute. Connie’s a criminal, but not a violent one — he never wields a gun, and his bank robbery is conducted silently through passed notes under teller windows. At his side is his mentally handicapped brother, Nick (played by co-director Benny) whom Connie loves with ferocity that inevitably proves to be destructive. Connie tears Nick away from his therapy sessions, preferring to build up his brother through a not-so-honest day’s work. It’s clear Nick doesn’t really do much, but Connie insists that he needs him, and that his presence is vital and necessary, and he might not be wrong. When the cops catch up to them and Nick winds up in Rikers Island, Connie embarks on a mission to bail him out that grows more desperate and irrational the longer it bulldozes forward into the night.

Good Time is a more propulsive, violent thriller than the Safdies’ last film, the poetic and raw Heaven Knows What, but the heart at its center is every bit as humane. It takes its time to establish the dysfunctional love between the brothers before diving into neon-hued squealing electronic chaos. Most of this is on the shoulders of Pattinson, doing some of the best work of his post-franchise-journeyman career . His Connie is both capable and foolhardy, empathetic and scuzzy in the extreme. He believes he was a dog in a former life, and so do I: There’s a loyalty and tenderness to him fighting with his instinct for self-preservation. The more people he has to justify screwing over, the more Pattinson’s face hardens; on some level he knows the spiritual hole he’s dug for himself, but he’s unable to change course.

The directors and their cinematographer Sean Price Williams never met a neon tube they didn’t love, and they light up Pattinson in every shade of pink, blue, and black light, and TV-static glow. Under orange street lights and in vacant amusement parks, the film’s vivid nighttime bleeds luridly across the screen, amplifying the hallucinatory quality of events that feel like they could tip over into the fantastical at any moment. It’s perfectly matched with the score provided by Oneohtrix Point Never’s Daniel Lopatin, which nods to Tangerine Dream–style VHS thriller soundtracks of yore while going someplace far more inventive and expressive than most current imitators. Lopatin’s anxious squiggles of melodies and sonic assaults give us as good a sense as any of what it feels like inside Connie’s head.

Jennifer Jason Leigh and Barkhad Abdi pop up in brief roles — Abdi’s appearance seems especially truncated, and bizarrely anonymous for a very recognizable Oscar nominee. But it’s Taliah Webster as Connie’s teen-girl ally who stands out with her seen-it-all unflappability, as does Buddy Duress as a fellow criminal Connie stumbles into a partnership with. And Benny Safdie’s performance as Nick is a tightrope walked successfully, dodging every cringe-y pitfall of actors portraying the disabled and bringing down an emotional hammer that bookends the film. For all its throttling thrills, Good Time is a film about a destructive love — and loving someone despite not having the right kind of love to give them. Ignore the deceptively convivial title: This is the kind of thrill that sticks.

This review originally ran during the Cannes Film Festival.

• movie review
• robert pattinson
• josh safdie

Most Viewed Stories

• Cinematrix No. 72: June 4, 2024
• Firing Jeff Probst Isn’t Enough
• The Love Machine  
• Andy Cohen Vs. the Housewives  
• I Saw the TV Glow’ s Ending Is Full of Hope, If You Want It to Be

Editor’s Picks

Most Popular

What is your email.

This email will be used to sign into all New York sites. By submitting your email, you agree to our Terms and Privacy Policy and to receive email correspondence from us.

Sign In To Continue Reading

Create your free account.

Password must be at least 8 characters and contain:

• Lower case letters (a-z)
• Upper case letters (A-Z)
• Numbers (0-9)
• Special Characters (!@#$%^&*)

As part of your account, you’ll receive occasional updates and offers from New York , which you can opt out of anytime.

The Definitive Voice of Entertainment News

Subscribe for full access to The Hollywood Reporter

site categories

‘good time’: film review | cannes 2017.

Robert Pattinson stars as a small-time criminal on a nocturnal odyssey to break his brother out of custody in 'Good Time,' New York guerilla-filmmaking siblings Josh and Benny Safdie's upgrade to the Cannes competition.

By David Rooney

David Rooney

Chief Film Critic

• Share on Facebook
• Share to Flipboard
• Send an Email
• Show additional share options
• Share on LinkedIn
• Share on Pinterest
• Share on Reddit
• Share on Tumblr
• Share on Whats App
• Print the Article
• Post a Comment

If the Safdie Brothers’ last feature, Heaven Knows What , evoked The Panic in Needle Park with its cinema verite observation of the New York City heroin subculture, their impressive follow-up, Good Time , sees them continuing to draw inspiration from the gritty American movies of the 1970s , albeit with their own distinctive street edge. Led by Robert Pattinson , giving arguably his most commanding performance to date as a desperate bank robber cut from the same cloth as Al Pacino’s Sonny Wortzik in Dog Day Afternoon , this is a richly textured genre piece that packs a visceral charge in its restless widescreen visuals and adrenalizing music, which recalls the great mood-shaping movie scores of Tangerine Dream.

Related Stories

After cannes' viral red carpet mishaps, will anything change, kevin costner, barry keoghan, hunter schafer, bella hadid, jesse plemons and more in the hollywood reporter's cannes film festival photo portfolio.

The authority demonstrated here in the use of locations, lighting, sound, an anxiety-inducing shooting style and agitated editing — not to mention acting that is as invigoratingly in-the-moment as the breathless storytelling — more than justifies the elevation of co-directors Josh and Benny Safdie to the main competition in Cannes. The movie continues a trend of superior genre entries landing a slot in the premier global film showcase, though unlike, say, Drive , to name an entertaining recent example, Good Time never sacrifices its raw urgency to slickness. Those qualities, plus the head-turning work of Pattinson , should serve A24 well in a domestic release set for Aug. 11.

Release date: Aug 11, 2017

The opening scene pulls us instantly into a high-stakes emotional world. A social-services shrink (Peter Verby ) attempts to guide nervous patient Nick Nikas (Benny Safdie ) through some basic response tests, such as sentence interpretation and word comparison, while Sean Price Williams’ camera crowds in on him, forcing us to share directly in Nick’s trauma. Fragments of information expanded only minimally later on reveal there’s been violence at home with Nick’s Greek grandmother, and the silent tears that pool in his eyes inform us right off the bat that this is going to be a wrenching experience.

The painful intimacy of that scene explodes when Nick’s brother Connie ( Pattinson ) storms into the room and hauls him out of there, screaming that he doesn’t belong in a place only subsequently revealed to be a psychiatric treatment facility.

The action then shifts without a moment’s pause to a bank robbery in Queens, with a sly racial commentary inferred by having Connie and Nick hold up an African-American cashier while wearing masks, sunglasses and hoodies that give them the appearance of black men.

The scene is almost unbearably tense, though the robbery seems to go without any major hitches. A brief exchange of dialogue that immediately follows conveys not only that Connie is fiercely protective of his hearing-impaired, intellectually disabled brother, but he also pushes him to overcome his handicap attitudinally. “You’re incredible, do you understand?” Connie asks him rhetorically, establishing their George-and-Lennie bond. “I’m serious, do you think I could have done that without you standing next to me, being strong?” But unforeseen complications ensue, and Nick is apprehended during a panicked chase by cops.

That all this and more happens prior to and during the delayed opening credits is indicative of the film’s relentless pacing, and given the extreme vulnerability of Nick in particular, some audiences may find it distressing to watch.

A different kind of tension that’s no less electric pulsates through the scenes that follow. Connie manipulates his flaky girlfriend ( Jennifer Jason Leigh ) into paying Nick’s bail, only to discover that her mother is sufficiently onto him to have blocked her credit cards, and that Nick has been removed from the volatile holding pen at Rikers to Elmhurst Hospital. A night of escalating chaos and violence follows as Connie goes to increasingly desperate lengths to save his brother from a fate he knows he won’t survive.

That odyssey leads to various figures unwittingly being drawn into Connie’s mayhem, notably Crystal ( Taliah Webster, an understated natural), the self-possessed 16-year-old granddaughter of a Haitian woman (Gladys Mathon ) who helps him out against her better judgment; and Ray ( Heaven Knows What discovery Buddy Duress), a newly paroled, motormouth Ratso Rizzo-type with access to a stash of liquid LSD that might help them raise the cash to bail out Nick.

It’s a testament to the propulsive power of the Safdies ‘ direction and the perceptive character detailing of the script by Josh Safdie and regular collaborator Ronald Bronstein that Nick’s disappearance for much of the action, while it’s inevitably felt, brings no fatal loss of momentum. Instead, it’s replaced by a different, energized dynamic between Connie and Ray. Their hastily improvised solution leads them on a careening caper where they break into Adventureland , a run-down theme park, encountering resistance from a determined security guard ( Barkhad Abdi , from Captain Phillips ).

The milieu and character insight here are consistent with the strung-out, generally luckless outsiders, constantly winging it in existences unfurling without a plan; and with the street-life situations that have defined the Safdie Brothers’ films since their debut, Daddy Longlegs . While their latest feature is more conventionally structured, it’s still loose, unpredictable and exciting in its cold-plunge immersion into desperate lives and sharply drawn relationships. That means even the accidental nobility of Connie and the subdued note of sentiment in the conclusion feel honest and quite affecting.

It’s easy to see what draws actors to work with the directing team, who clearly encourage a freedom to experiment that allows someone like Leigh to make a vivid impression even in limited screen time. There’s almost invariably a sense of deep-dish backstories , even of characters we meet only for the briefest time, and the interplay between experienced actors and nonprofessionals adds authenticity.

Duress delivers on the promise of his live-wire work in Heaven Knows What , with a lowlife portrait both funny and infuriating, and Benny Safdie makes Nick a hulking figure of heartbreaking pathos, with never a false moment. But the magnetic center is Pattinson , playing a driven man whose ethics may be questionable even if his motivation at all times is rooted in fraternal devotion. It’s a performance of can’t-look-away intensity without an ounce of movie-star vanity.

Good Time looks terrific, bringing a scrappy sheen to the Safdies ‘ native borough. But more essential to its tight clench is the knockout underscoring, an almost nonstop blitz of intoxicating electronica from Brooklyn-based experimental composer Daniel Lopatin , who records as Oneohtrix Point Never. Lopatin also collaborated with Iggy Pop on an original closing-credits song, aptly titled “The Pure and the Damned.” Throughout, the prog-rock synth sounds conjure echoes of the vintage films of William Friedkin , Michael Mann and perhaps a hint of Assault on Precinct 13 John Carpenter, and yet the sonic carpeting never feels derivative.

The movie is bracing stuff — lean and punchy — that heightens expectations for the Safdies ‘ next project, the Martin Scorsese-produced Diamond District thriller Uncut Gems.

Production companies: Elara Pictures, in association with Rhea Films Distributor: A24 Cast: Robert Pattinson , Benny Safdie , Jennifer Jason Leigh, Barkhad Abdi , Buddy Duress, Taliah Webster, Peter Verby , Gladys Mathon , Necro Directors: Josh Safdie , Benny Safdie Screenwriters: Ronald Bronstein , Josh Safdie Producers: Sebastian Bear-McClard , Oscar Boyson , Jean-Luc de Fanti , Terry Douglas, Paris Kasidokostas Latsis Director of photography: Sean Price Williams Production designer: Samuel Lisenco Costume designer: Mordechai Rubinstein Music: Oneohtrix Point Never Editors: Benny Safdie , Ronald Bronstein Visual effects supervisor: Adam Teninbaum Casting: Jennifer Venditti , Eleonore Hendricks Venue: Cannes Film Festival (Competition) Sales: Memento Films 100 minutes

THR Newsletters

Sign up for THR news straight to your inbox every day

More from The Hollywood Reporter

Martin lawrence addresses viral clip from ‘bad boys 4’ premiere, shoots down health concerns: “i’m healthy as hell. stop the rumors”, capturing austin butler, tom hardy and jodie comer on the set of ‘the bikeriders’ (exclusive photos), michael rosenbaum says marvel “cut a lot out” from his ‘guardians of the galaxy’ role, marvel eyes shawn levy to direct next ‘avengers’ movie, chloë sevigny joins julia roberts in luca guadagnino thriller ‘after the hunt’ (exclusive), ‘bad boys: ride or die’ review: fourth time around, will smith and martin lawrence can’t hide the strain.

Letterboxd — Your life in film

Forgotten username or password ?

• Start a new list…
• Add all films to a list…
• Add all films to watchlist

Add to your films…

Press Tab to complete, Enter to create

A moderator has locked this field.

Add to lists

Where to watch

Directed by Josh Safdie , Benny Safdie

Are you ready for a Good Time?

After a botched bank robbery lands his younger brother in prison, Connie Nikas embarks on a twisted odyssey through New York City's underworld to get his brother Nick out of jail.

Robert Pattinson Benny Safdie Buddy Duress Taliah Webster Jennifer Jason Leigh Barkhad Abdi Necro Peter Verby Saida Mansoor Gladys Mathon Rose Gregorio Eric Paykert Astrid Corrales Rachel Black Hirakish Ranasaki Maynard Nicholl Ben Edelman Laurence Blum Jason Harvey Robert Clohessy Michael Kaufman Goran Spadina Michael McClard Eloisa Santos Bryan Seslow Craig muMs Grant George Lee Miles Kate Halpern Christopher Kirk Show All… Leticia Ortega Souléymane Sy Savané Mahadeo Shivraj Dorothi Fox Ratnesh Dubey Tessa O'Conner Jim Handley Cliff Moylan Peter Linari Chris Breslin Evonne Walton Lewis Dodley Tara Lynn Wagner Jim Dzurenda Roy James Wilson Brendan M. Burke Jordan Valdez Laura Sledge Jerome Frazier Javaughn Swindell Dion McBean Sean Miller Benny DeVincenzi Joey McDevitt Daniel Chung A-F-R-O Michael Shershenovich Azul Rodriguez Mr Green Jarvis Roi Cydulkin Mavrin Kirill Scrooge KJ Rottweiler Terrance Williams Kim Carter Gianluca Cirafici Megan Dodd Samantha Elisafon Melissa Gonzalez Rodney Hankins Carol Hoverman Andrew Kader Marissa Lelogeais Michael Lorch Michael Melendez Christian Patane Ari Sloan Bakari Williams Aubrie Therrien Sebastian Bear-McClard Phil Cappadora Lucas Elliot Eberl Marcos A. Gonzalez Edgar Morais Shaun Rey Sacco Sarkis Luca De Massis

Directors Directors

Josh Safdie Benny Safdie

Producers Producers

Paris Kasidokostas Latsis Brendan McHugh Oscar Boyson Sebastian Bear-McClard Terry Dougas

Writers Writers

Josh Safdie Ronald Bronstein

Casting Casting

Jennifer Venditti Geraldine Barón

Editors Editors

Ronald Bronstein Benny Safdie

Cinematography Cinematography

Sean Price Williams

Assistant Directors Asst. Directors

Jae Matthews Duccio Fabbri

Executive Producers Exec. Producers

Stephanie Meurer Alexis Varouxakis Jean-Luc De Fanti

Lighting Lighting

Jack McDonald Daniel April

Camera Operators Camera Operators

Peter Buntaine Aaron Brown Christopher Messina

Additional Photography Add. Photography

Hunter Zimny

Production Design Production Design

Sam Lisenco

Art Direction Art Direction

Patrick Duncan

Set Decoration Set Decoration

Audrey Turner Blake LaRue

Visual Effects Visual Effects

Adam Teninbaum Michael Glen

Stunts Stunts

Bryce Biederman Dean Neistat Peter Wallack Jason Mello Greg Wattkis Jeremy Sample

Composer Composer

Daniel Lopatin

Sound Sound

Evan Mangiamele Ryan Price Nick Seaman Ryan Collison Joanna Fang Patrick Southern Leslie Bloome Benny Safdie

Costume Design Costume Design

Miyako Bellizzi Mordechai Rubinstein

Makeup Makeup

Anouck Sullivan Toby Sells Jessica Jade Jacob Ashley K. Thomas Daniel DeVore

Elara Pictures Rhea Films

Releases by Date

25 may 2017, 27 aug 2017, 05 oct 2017, theatrical limited, 11 aug 2017, 17 aug 2017, 08 sep 2017, 13 sep 2017, 28 sep 2017, 12 oct 2017, 13 oct 2017, 19 oct 2017, 26 oct 2017, 02 nov 2017, 17 nov 2017, 23 nov 2017, 28 dec 2017, 04 jan 2018, 21 nov 2017, 13 sep 2020, 01 sep 2022, 19 jan 2018, releases by country.

• Theatrical MA15+
• Theatrical 16
• Premiere Fantasia International Film Festival
• Theatrical K-16
• Premiere Cannes Film Festival
• Theatrical 12
• Digital Netflix
• Digital 12 Prime Video
• Theatrical IIB
• Theatrical 15A
• Theatrical T
• Theatrical B-15

Netherlands

• Physical 16 DVD, Blu ray
• Theatrical M/16

South Africa

South korea.

• Premiere 15 BFI London Film Festival
• Theatrical limited R

102 mins   More at IMDb TMDb Report this page

Popular reviews

Review by #1 gizmo fan ★★★★★ 20

Imagine your worst panic attack.

Times it by 100.

Review by Peter Labuza ★★★★ 32

A green Sprite bottle, given almost a mythical introduction in a frenetic monologue, slips out of the hand of a character and roles into a puddle of water. The camera, finally imparted from its intense close-ups to a God's eye long shot, lingers just for a second as it rolls into a puddle where it could be misconceived as trash. An object of everyday life that has been signified with narrative agency (A MacGuffin up there with the Arc of the Covenant) once again resembles its indexical reality. No neon lights or close-ups to enlarge its importance, just a piece of misplaced trash left by some dirtbag scum .

This movie is what happens when we observe the trash we avert our eyes to— what we're taught to ignore —and really look at what's inside.

Review by amaya ★★★★★ 3

This review may contain spoilers. I can handle the truth.

when robert pattinson dyes his hair blond and runs around erratically he's a good actor but when i do it i'm "hysterical" and "scaring the children"

Review by Neil Bahadur ★★★½ 34

"I got beat up. I'm the victim here." -- "Cross the room if you've ever been blamed for something you didn't do."

Many months before the films North American release, I joked that Good Time looked like "a modern-day Phil Karlson picture" so I was doubly pleasantly surprised when I found that this film approximated that feeling. In his annual love-letter to Cannes, Mark Peranson called the film "a kind of Dionysian New York Gesamtkunstwerk....immersion without identification." Where Good Time might confuse is that the film is outside of its narrative, it is not asking us to identify with its character(s), yet it revels in capturing the leads (Robert Pattinson's) energy - but it's for this same reason I believe…

Review by Lucy ★★★½ 7

i'm never drinking sprite again

Review by demi adejuyigbe ★★★½ 39

This movie is really good, but incredibly stressful and incredibly upsetting for two specific scenes: one where something awful happens to Barkhad Abdi that made me really sad, and one where Robert Pattinson has an extremely terrible-to-watch interaction with a 16 year-old that somehow I have not seen ONE person mention in the months since this movie was released while everyone was crowing about how good it was. I can't stop thinking about that one scene and it really put a damper on the entire movie for me. Oof.

Review by mia 🦇 ★★★½ 2

why_are_u_running_vine.mp4

Review by Jay ★★★★ 10

when benny safdie sheds a single tear when his therapist says ”the beach” he was thinking of moonlight

Review by David Sims ★★★★ 4

I'm never drinking a bottle of Sprite that I found in an abandoned amusement park again

Review by maria ★★★★½ 7

owl city and carly rae jepsen's iconic 2012 BOP good time isn't in this movie, totally false advertising, 0/10

Review by gal pacino ★★★★½ 15

in that infamous robert pattinson reddit ama , he claims his favorite line he’s said on film is, “don’t be confused, it’s just gonna make it worse for me.” didn’t notice that line on first watch, but on rewatch its gravity was unmistakable, completely centering and solidifying Connie's egocentric perspective.

Connie Nikas is, to me, a 21st century Nicky Godelin from Elaine May’s Mikey & Nicky , especially considering the Safdies have cited that film as a major influence . he’s so cool, so arresting that you’re forced to do whatever he says, even if you don’t know why you’re doing it. i’ve said it before and i’ll say it again: hot people make us STUPID!!

i think the Mikey & Nicky comparison is especially…

Review by davidehrlich ★★★½ 12

like a remake of ENTER THE VOID as directed by the ghost of Sidney Lumet. some questionable details and it doesn't sink under the skin quite like Heaven Knows What, but Robert Pattinson is truly next-level in this thing.

feel like i've said this before, but now it's *really* time to recognize him as one of the best actors of his generation. between him and Kristen Stewart, i'm willing to officially move TWILIGHT into the "win" column, so far as its cultural contributions are concerned.

Similar Films

Mentioned by

Select your preferred poster

Upgrade to remove ads.

Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account —for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages ( example ), the ability to select (and filter by) your favorite streaming services, and no ads!

Good Time (United States, 2017)

Every aspect of Good Time ’s production was selected with the goal of keeping the audience in a state of escalating suspense. This isn’t conventional Hollywood-horror/thriller “suspense” but something more primal. Co-directors Ben & Josh Safdie often employ hand-held shots to provide a more intense, less polished perspective. Although it’s possible to argue that the technique is overused, this isn’t an all shaky-cam film – there are numerous helicopter shots, static ground-level shots, and conventional close-ups. Queens, New York, although shown primarily after sunset, comes alive in all of its sometimes-ominous, sometimes-neon glory. The cacophonous score, credited to Daniel Lopatin (a.k.a. Oneohtrix Point Never), is loud and unnerving and enhances the unease that the filmmakers strive to craft.

Good Time ’s main storyline involves a poorly-executed bank robbery committed by the brotherly team of Connie and Nick. The former is the “mastermind” while the latter, who is severely mentally handicapped, is along for support. After things go wrong, Connie and Nick become separated. Nick is captured and taken to Rikers Island while Connie escapes. He immediately begins scheming how to get Nick out; his primary objective is to raise enough money for bail. At first, he tries to bilk his girlfriend, Corey (Jennifer Jason Leigh), out of it. When Connie learns that Nick is being held in a hospital following injuries suffered in an altercation, he decides to “rescue” him – a scheme that is surprisingly successful until he discovers that the man he liberates is a complete stranger.

Most movies about dumb criminals committing poorly-conceived crimes are turned into comedies or at least quasi-comedies. There’s nothing funny about Good Time nor are we encouraged to laugh. The movie is as dark as the nighttime setting. Although not designed as a social commentary, the story has some sad things to say about the human condition. The events chronicled in the film seem plausible and that’s a reason why, alongside the intensity of the experience and the performance of Pattinson, it’s effective. Good Time may not offer what the title hints at but the experience it provides is nevertheless worthwhile.

Comments Add Comment

• Rear Window (1954)
• Sleuth (1969)
• Bonnie and Clyde (1967)
• Neon Demon, The (2016)
• Left Behind (2014)
• Jade (1995)
• Lighthouse, The (2019)
• Tenet (2020)
• Batman, The (2022)
• Cosmopolis (2012)
• Twilight: New Moon (2009)
• Remember Me (2010)
• (There are no more better movies of Ben Safdie)
• (There are no more worst movies of Ben Safdie)
• (There are no more better movies of Buddy Duress)
• (There are no more worst movies of Buddy Duress)

'Good Time' Ending Explained: How the Wild Night Ends

Your changes have been saved

Email Is sent

Please verify your email address.

You’ve reached your account maximum for followed topics.

‘Harry Potter and the Prisoner of Azkaban’ Is Where the Wizarding World Finally Found Its Magic

This underseen 2024 crime comedy has a 100% on rotten tomatoes, the bonkers ‘80s action flick that’s everything you ever wanted in a g.i. joe movie.

Josh Safdie and Benny Safdies ’ excellent heist thriller Good Time is one of the best films of the 21st Century. The breathless caper film looks at 24 hours in the stressful life of the robber Connie Nickas ( Robert Pattinson ). If there were any doubts about Pattinson’s acting abilities, his amazing performance in Good Time silenced all the doubters. The Safdies subverted the typical heist movie formula by showing the aftermath of the crime; Nickas is forced to pay the consequences for his doomed heist.

Good Time takes place in modern day New York City, and is set within the criminal underworld. Connie is desperate for cash, and decides to plan a bank robbery worth $65,000. Connie is a completely unlikable protagonist; he is cruel to his mentally handicapped brother, Nick (Benny Safdie himself). Nick has cognitive issues, and is in court-ordered therapy for anger management. Nick was involved with a violent incident with his grandmother, and Connie is hardly a supporting brother.

RELATED: 10 Underrated, Quirky Crime Films to Watch on Netflix

Despite his sibling’s obvious disadvantage, Connie ropes Nick into his scheme. The heist goes terribly wrong. After they steal the cash, Nick gets nervous and begins running from a police car. He’s quickly apprehended and imprisoned. Although Connie makes an attempt to break into the hospital first, he ends up taking home the wrong victim. Connie doesn’t have the funds to pay Nick’s bail bond, so he’s forced to come up with $10,000 by the end of the night. His wild adventure to do so is where Good Time derives its pulpy thrills.

It’s hard to hold your breath for 101 minutes, but the ending of Good Time might be slightly confusing for first time viewers. They may still be recovering from the anxiety-inducing events that proceeded. If you still need some clarity on what the final implications are, here is the ending of Good Time, explained in full spoiler detail. The film concludes with a gripping chase sequence where Connie is eluding the criminals Ray ( Buddy Duress ) and Caliph ( Necro ) in an apartment high-rise. Connie had attempted to exchange stolen LSD for $15,000, which would cover the last portion of Nick’s bail. As Connie escapes, the police arrive and arrest him. Ray attempts to escape, but falls out of the balcony window. Connie is left to reflect on all that transpired as he sits in the back of the police car.

The film ends with a beautiful sequence set to “The Pure And The Damned,” an original composition by Iggy Pop and Oneohtrix Point Never that was composed for the film. As Connie sits silently in the back of the police car, Nick attends a group therapy session, and for the first time he appears to be having a positive relationship with other characters. Nick and the other patients walk back and forth in an exercise; the clear, concise directions are exactly what Nick needed as an alternative to Connie’s unpredictable lifestyle.

At the end of the sequence, the same therapist ( Peter Verby ) who appeared in the opening scenes returns to talk to Nick again. The therapist tells Nick that upon his arrest, Connie confessed and apologized for his crimes. Could the therapist be lying to deceive Nick? It’s possible, but it seems unlikely that the therapist would disguise the truth from Nick. He seems to genuinely care about him. As Nick grows more engaged in the activity, the therapist ensures the participants that they will have a “good time.”

In any “one wild night” film, there’s an inciting incident that sets off an unpredictable series of events. All the chaos that follows is tied to one simple goal that the protagonist has. In Connie’s case, he has to save Nick after abandoning him. Although Connie does a number of horrible things, ruining many people’s lives, it’s all seemingly out of love for his brother. It’s unclear if Connie actually feels any guilt. He may have just become addicted to adrenaline over the course of the hectic evening.

In the end, it’s clear that none of this effort amounted to anything. Ultimately, the only way for Nick to deal with his issues is to be separated from his brother. The separation is also important for Connie. Connie has tried to justify all of his misdeeds by claiming that they’re out of “love” for his brother. In order to take responsibility, he can’t have this excuse anymore. Both brothers had been using each other as a crutch.

The lyrics to “The Pure And The Damned” that score this sequence are “the pure always act from love; the damned always act from love.” Nick is the pure, and Connie is the damned. All of their actions are seemingly out of dedication to each other. The final line of the chorus, “the truth is an act of love,” implies that the painful detachment is “the truth.” It’s going to be a challenge for both brothers, but they need time to process things on their own. Whether or not they are successful is something that the Safdies choose to leave ambiguous.

• Movie Features

Common Sense Media

Movie & TV reviews for parents

• For Parents
• For Educators
• Our Work and Impact

Or browse by category:

• Get the app
• Movie Reviews
• Best Movie Lists
• Best Movies on Netflix, Disney+, and More

Common Sense Selections for Movies

50 Modern Movies All Kids Should Watch Before They're 12

• Best TV Lists
• Best TV Shows on Netflix, Disney+, and More
• Common Sense Selections for TV
• Video Reviews of TV Shows

Best Kids' Shows on Disney+

Best Kids' TV Shows on Netflix

• Book Reviews
• Best Book Lists
• Common Sense Selections for Books

8 Tips for Getting Kids Hooked on Books

50 Books All Kids Should Read Before They're 12

• Game Reviews
• Best Game Lists

Common Sense Selections for Games

• Video Reviews of Games

Nintendo Switch Games for Family Fun

• Podcast Reviews
• Best Podcast Lists

Common Sense Selections for Podcasts

Parents' Guide to Podcasts

• App Reviews
• Best App Lists

Social Networking for Teens

Gun-Free Action Game Apps

Reviews for AI Apps and Tools

• YouTube Channel Reviews
• YouTube Kids Channels by Topic

Parents' Ultimate Guide to YouTube Kids

YouTube Kids Channels for Gamers

• Preschoolers (2-4)
• Little Kids (5-7)
• Big Kids (8-9)
• Pre-Teens (10-12)
• Teens (13+)
• Screen Time
• Social Media
• Online Safety
• Identity and Community

Real-Life Heroes on YouTube for Tweens and Teens

• Family Tech Planners
• Digital Skills
• All Articles
• Latino Culture
• Black Voices
• Asian Stories
• Native Narratives
• LGBTQ+ Pride
• Best of Diverse Representation List

Celebrating Black History Month

Movies and TV Shows with Arab Leads

Celebrate Hip-Hop's 50th Anniversary

Common sense media reviewers.

Vivid but violent crime movie about wounded souls.

A Lot or a Little?

What you will—and won't—find in this movie.

The movie takes a fairly pessimistic attitude of "

The characters are mainly criminals or are at leas

Brutal prison fight with punching, pummeling, and

Brief but graphic sex scene (thrusting, woman on h

Frequent language includes "f--k," "s--t," the "N"

Sprite soda bottle used to hold drugs/acid.

A secondary character has a drinking problem and d

Parents need to know that Good Time is a crime thriller starring Robert Pattinson, but it's definitely not for younger Twilight fans. Expect heavy violence, with scenes of fighting and pummeling and lots of blood, as well as a bank robbery, guns, and more. A secondary character drinks to excess, and…

Positive Messages

The movie takes a fairly pessimistic attitude of "us against the world." The desire to protect/save is countered by a "whatever it takes" approach that includes illegal, unethical actions.

Positive Role Models

The characters are mainly criminals or are at least on that path. Redemption seems unlikely for most of them.

Violence & Scariness

Brutal prison fight with punching, pummeling, and blood. A man crashes through a glass window. Pool of blood. More beating, fighting, blood. Bank robbery. Guns shown. Tear gas. Violent images from Cops seen on TV (woman stabbed with knife). Shard of glass used as weapon. Fall from height. Dogs fight.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Brief but graphic sex scene (thrusting, woman on hands and knees). A man kisses a teen girl to distract her; he then takes her to a bedroom, and they continue kissing, with some fondling. Sexy images in a carnival ride.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Frequent language includes "f--k," "s--t," the "N" word, "goddamn," "balls," and "f--got," plus uses of "God" and "Jesus Christ" (as exclamations).

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

A secondary character has a drinking problem and drinks to excess. A hidden bottle of liquid acid is part of the story. Characters on acid ("tripping balls"). Flashback with drug dealers, Xanax. A teen girl smokes pot; she says her boyfriend (never seen) is a dealer. Cigarette smoking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Good Time is a crime thriller starring Robert Pattinson , but it's definitely not for younger Twilight fans. Expect heavy violence, with scenes of fighting and pummeling and lots of blood, as well as a bank robbery, guns, and more. A secondary character drinks to excess, and there are mentions/subplots about drug dealers and a lost Sprite bottle full of acid. Characters are on acid, and a teen girl smokes pot. Cigarette smoking is also shown. Language is strong and frequent, with many uses of "f--k" and "s--t." There's a brief but graphic sex scene and other sexual material, including a scene of a man making out with a teen girl on her bed. But for mature viewers, this is a smart, emotional, and extremely well-made film. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (7)
• Kids say (7)

Based on 7 parent reviews

Really Great Film, CSM and IMDb are over doing it

Amazing film, a must watch, what's the story.

In GOOD TIME, Nick (Ben Safdie) is being interviewed by a therapist, attempting to get to the bottom of his cognitive disability, when his brother, Connie ( Robert Pattinson ), bursts in and takes him away. They've planned a bank robbery, and it's time to go. The robbery seems to go well, and they walk out with a bag of money, but then the dye packs go off, staining their clothes and faces. As the brothers attempt to escape, Nick crashes through a glass door. He's arrested and sent to the hospital. Connie tries to raise the money to bail him out, but the dyed cash is no good, and his girlfriend's credit card doesn't work, so he plans to break his brother out. Over the course of a long, complex New York night, Connie meets several strange people, concocts a plan to retrieve hidden acid and sell it, and tries to stay a step ahead of the law.

Is It Any Good?

Directing brothers Ben Safdie and Joshua Safdie have created an ode to intense 1970s New York crime cinema, but with their own vivid, confined close-up take, bathed in artificial, carnival colors. More than just an homage, Good Time feels bracingly fresh, rooted in honest-to-goodness desperation. (The brothers share a wounded past that's unspoken but powerful.) Good Time doesn't necessarily transcend its genre limitations, but within those limitations, it's superb. The movie's unexpected backgrounds, such as a shut-down amusement park at night, or a stranger's apartment, spring up as a result of the characters, rather than as empty decoration. And the film's great, ominous, wailing score adds more unspoken tension.

Better still, the characters -- including a whacked-out, drunken, would-be drug dealer, a young girl staying up too late, and a frazzled security guard (Oscar-nominee Barkhad Abdi ) -- feel like they actually live in the corners of the story; they seem to have been there long before it began. Jennifer Jason Leigh is great in a small role as Connie's harried, distracted girlfriend, and Ben Safdie is astounding as Nick. But it's Pattinson, shaking off the last of his Twilight -drenched past, who gives a Pacino-worthy performance full of street smarts and fast talk, but with a human soul. Iggy Pop's shockingly gorgeous closing song sums it all up perfectly.

Talk to Your Kids About ...

Families can talk about Good Time 's violence . How intense does it feel? How do the filmmakers achieve this effect? What's the impact of media violence on kids?

How are drugs portrayed in this movie? Are they glamorized ? Are there realistic consequences? Why does that matter?

How is sex portrayed in this movie? Are women objectified? Are the women too young?

Why is Connie such an interesting character, when he makes so many bad decisions? How does Connie compare to Pattinson's character in the Twilight movies?

How does the movie treat its character with a cognitive disability? Is it compassionate? Understanding?

Movie Details

• In theaters : August 11, 2017
• On DVD or streaming : November 21, 2017
• Cast : Robert Pattinson , Jennifer Jason Leigh , Ben Safdie
• Directors : Joshua Safdie , Ben Safdie
• Inclusion Information : Female actors
• Studio : A24
• Genre : Thriller
• Topics : Brothers and Sisters
• Run time : 100 minutes
• MPAA rating : R
• MPAA explanation : language throughout, violence, drug use and sexual content
• Last updated : June 21, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

Our editors recommend.

Taxi Driver

Brooklyn's Finest

Run All Night

Thriller movies, thriller books for teens, related topics.

• Brothers and Sisters

Want suggestions based on your streaming services? Get personalized recommendations

Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

• Skip to main content
• Keyboard shortcuts for audio player

Netflix's 'Good Times': An explicit revival which feels calculated to offend

Eric Deggans

The Evans family in Netflix's Good Times: Jay Pharoah as Junior, Marsai Martin as Grey, Yvette Nicole Brown as Beverly, Gerald Anthony "Slink" Johnson as Dalvin and J.B. Smoove as Reggie. Netflix hide caption

The Evans family in Netflix's Good Times: Jay Pharoah as Junior, Marsai Martin as Grey, Yvette Nicole Brown as Beverly, Gerald Anthony "Slink" Johnson as Dalvin and J.B. Smoove as Reggie.

Netflix's animated series revival of Good Times seems almost genetically engineered to snark off critics like me.

With an opening image that reads Good Times (Black again) , it's packed with the kind of stereotypical characters and imagery which seems sure to anger fans of the original series, which was a groundbreaking, '70s-era sitcom revered for the way it challenged presumptions about a poor Black family "scratchin' and survivin'" in a Chicago housing project.

Described by Netflix as a "spiritual sequel," the animated Good Times features the fourth generation of the original series' Evans family living in a Chicago housing project.

This new show opens with the patriarch, a bombastic, not-too-smart cabbie named Reggie Evans, singing part of the original Good Times theme in a duet with a cockroach (he's such a soft touch, he has trouble earning a living because fares keep stiffing him). Matriarch Beverly Evans can tell when her baby is around because her breasts lactate and leak through her shirt.

The baby, Dalvin, has been kicked out of the house because he's a pistol-packing drug dealer with studs in his ears. And when his militant older sister Grey decides to go on a hunger strike in protest, she gets emaciated and has flies swarming around her face like a child suffering in an African famine.

It's a universe where, when Reggie takes his artistic son Junior to a broken-down medical center for a prescription to help him focus in school, a gunfight breaks out. And when baby Dalvin leaves their apartment after a visit, Beverly makes sure he doesn't forget his handgun. Sigh.

Edgy content brings criticism

Yvette Nicole Brown voices Beverly in Good Times. Netflix hide caption

Much of it plays like one of the most jacked-up editions of Adult Swim I've ever seen, littered with images that sometimes feel like stereotypical cartoons exhumed from the worst online Reddit conversations. Taking advantage of the freedom provided by animation, the show provides trippy scenes that sometimes verge on the fantastical — sometimes this works, and sometimes it just feels oddly creepy. There's even one chunk of dialogue cheekily cloned straight from the pilot episode of The Cosby Show .

Already, the show's trailer has drawn criticism from the NAACP. Kyle Bowser, senior vice president of the civil rights organization's Hollywood bureau, wrote in a guest column for The Hollywood Reporter that it's clear Netflix made a choice "to market the show based on an interpretation of Black life as an 'otherized' experience, replete with abhorrent beliefs and behaviors." A Change.org petition urging viewers to boycott the show has more than 3,700 signatures.

But I'm wary of delivering the expected critique of such jarring imagery — in part, because there are interesting messages buried beneath them. In the episode where he and his dad visit a run-down clinic, Junior struggles over why he needs to take medication to build up his mental focus in school at the expense of his creativity – not sure why he has to choose between the two – and Grey learns to shake off the shame she feels after having her first menstrual period, finding liberation from patriarchy in the process.

Norman Lear's TV shows pioneered depictions of Black families, but it's complicated

Part of the issue here is the connection to the original Good Times — celebrating its 50th anniversary this year — which was considered the first TV show centered on a two-parent Black family, humanizing folks who live in poor, Black neighborhoods. As a kid watching the show who didn't have a father in the house, I found it inspirational to see John Amos' character James Evans as a stern but loving paternal presence in a home with Esther Rolle's quick-witted matriarch Florida, BernNadette Stanis' earnest daughter Thelma, Ralph Carter's studious son Michael and Jimmie Walker's borderline-stereotypical artist son J.J.

Yvette Nicole Brown plays Beverly and JB Smoove voices Reggie in Good Times. NETFLIX hide caption

Yvette Nicole Brown plays Beverly and JB Smoove voices Reggie in Good Times.

After a multitude of references to the original in the first episode, the new show doesn't seem particularly tethered to that old template, which can make watching it a tough experience for longtime fans. And it doesn't have the same mission as the old series, though it eventually depicts a family that loves each other through all of the craziness. (It also bleeps out usage of the n-word, but doesn't bleep profanities like s*** or f***. Hmmm.)

In a way, it would have been better to just craft this as an original series without all the baggage and expectations of reinventing a TV classic – but then, Netflix wouldn't have gotten all the headlines and attention from the shocked reactions.

This is a project with a pedigree. Family Guy creator Seth MacFarlane and basketball star Steph Curry are executive producers, alongside original Good Times executive producer Norman Lear, who worked on the show before his death in December at age 101. Ace talent like J.B. Smoove, Jay Pharoah, Yvette Nicole Brown and Wanda Sykes voice characters.

Still, for this longtime Good Times fan, the new show feels too much like a different program twisted into something vaguely resembling the old show, but without the sense of mission and pride that made the original series such a television landmark.

Story edited by Jennifer Vanasco .

The 'Good Times' Reboot Is Absolutely Terrible

Senior Culture Editor, HuffPost

Senior Culture Reporter

Black Voices Editor, HuffPost

Fifty years ago, “Good Times” premiered on CBS. The series — starring Esther Rolle, John Amos, Jimmie Walker, Bern Nadette Stanis, Ralph Carter and Ja’Net DuBois — was set in 1970s Chicago in the public housing projects in a poor Black neighborhood. The spinoff of “Maude,” the first series to feature a two-parent Black family on television, was created by Eric Monte and Mike Evans, and developed by the late TV legend Norman Lear .

The sitcom was a historic moment for representation of a Black family on screen, featuring the Evanses trying to keep “their head above water” — and “making a wave” when they can, as it is sung in the iconic theme song.

Fast forward to 2024, and we are now being tortured with a reboot of the sitcom, which premiered Friday on Netflix . The animated series is 10 episodes long and stars J.B. Smoove, Yvette Nicole Brown, Jay Pharoah, Marsai Martin and Gerald Anthony “Slink” Johnson as a new generation of Evanses. (Smoove’s character, Reggie, is James Evans Sr.’s grandson. James was portrayed by Amos in the original series.)

When the trailer was first released, Netflix and creators of the series received a lot of backlash online for producing the show. At the time, audiences could only assume that the series would be just as terrible as its teaser.

On Friday morning, Erin E. Evans, Candice Frederick and Taryn Finley watched the first and second episodes of the new TV series so you don’t have to. Here’s our conversation below:

Let’s start with the trailer and the backlash that quickly followed.

I’ll start by saying this: The “Good Times” trailer is the worst trailer I have ever seen in my entire life. It’s just a bunch of animated characters in vignettes that are not funny and don’t make sense. I have never been more turned off by a concept, perhaps, ever? I knew there had been talk of a “Good Times” reboot, but I also assumed that it was dead in the water since the first announcement about it was in September 2020. This was amid all these (what mostly seems to be false) promises from several industries to invest in diversity and equity. Then Netflix decides to give us ... this. Three and a half years later, I thought I had prayed this reboot away. Clearly not! — Erin

I was among, apparently, many people who had no idea this show was even about to happen until Netflix dropped that cursed trailer on social media. And folks devoured it whole, like the fungus that it is. Gratuitous drug use, big boobs and big asses — the kind of clip that seemed to have resulted from an AI search of “stereotypical Black shit” all rolled into one. It was abominable. The original “Good Times” was an earnest, Black family sitcom. If they wanted to, I guess, bring something like that to today’s audience, why not detach it from the original and just allow it to be its own funky idea about a Black family? Not allowing it to exist on its own is more proof that it wouldn’t have garnered any audience had it not. And that’s also disgusting. — Candice

Like so many other reboots or “reimaginations,” my immediate thoughts were that we don’t need another “Good Times.” And after watching the trailer, I doubled down on that. I saw the trailer before seeing the discourse around it and knew immediately that it’d get backlash. I didn’t expect for most of the folks on my timeline to all feel the same way about it. It was so horribly offensive that I wouldn’t have been surprised if Netflix pulled it all together like nothing happened. After watching the first episode, I don’t think we’re all overreacting. They should’ve canned this mess. — Taryn

There was a Change.org petition to stop the series from airing, right, Candice? — Erin

YES! Interestingly, though, I only heard about it two days before the show was slated to drop on Netflix, which is weird. But it was started on March 27 and, for what it’s worth, has over 3,700 signatures as of right now. Obviously it was ineffective since the show actually happened. But the fact that folks went out of their way to try to put a stop to it says a lot. — Candice

The reboot does make nods to the original series.

So the first episode, which is all I watched, does gesture at a few storylines from the first season of the original “Good Times” series. (I have seen the original series so many times, partly because my last name is Evans and I felt connected through that, but also because it was seemingly always on cable in the early 2000s.) They are in apartment 17C, just like the original Evans family. And Reggie is James Evans’ grandson.

In Season 1, Episode 2, Michael hangs up J.J.’s painting of Black Jesus, and Florida has a fit over it while the rest of the family is happy that it seems to bring them good luck. On the reboot, Beverly prays to Black Jesus after the painting of white Jesus falls and breaks. In Episode 3, the Evans family is about to be evicted, and James has to go to the pool house to win some money (despite Florida’s protest). In the new series, we actually see Reggie go to play pool with Junior so he can pay the heating bill; unfortunately, he’s not as good a pool player as his grandfather. Then, Episode 10 is titled “Springtime in the Ghetto,” where Florida wants to win the prize for nicest apartment in the projects. This pilot introduces a “beautification competition” that Beverly is dying to win.

Whew. I’m sure there are more correlations, but I realized I was spending too much time trying to find them. It also reminded me that I wished they would have just left us alone and let us rewatch the original on our own time. — Erin

I’ll admit, I came in with the bar in hell for this show, but when the first scene of Episode 1 showed Reggie singing the “Good Times” theme song in the shower, I rolled my eyes and sighed. Every moment they spend trying to connect this series with the original feels like it’s trying really hard. Too hard, especially considering all the stereotypes driving this show. The first episode is packed with callbacks and gives a great deal of reverence to the O.G. Evans family. They make it clear at the end of the episode, however, that they are a new generation of Evanses and they do things differently. Another eye-roll moment.

Forced references aside, nothing about this show feels like it’s connected to the original. I know it’s hard to sell shows to studios these days, so leaning on existing IP is the way to get a greenlight, but this ain’t it. They besmirched the Evans name. (I’m so sorry, Erin.) — Taryn

Full disclosure: I watched the first two episodes while on the StairMaster this morning. And I almost leapt off that machine multiple times because my eyes rolled so hard they almost got stuck to the back of my head. I kept cringing at the random insertions of excerpts from the original theme song. In my head, I was like, “Stop doing that!”

And I believe it is at the end of the first episode that Reggie screams, “Damn! Damn! Damn!” Like you, Taryn, every reference to the original felt very try hard. As if to say, “If you like the original, you’ll definitely like this.” No, wrong. The new show and its characters give a lot of “not your mama’s ‘Good Times,’” which could only work if there was something actually left to be desired from the original series. It’s just another reminder that, no, it’s not — and what a shame that is. — Candice

So, who is in this reboot, and who created it?

Reggie (J.B. Smoove), the head of the household, Uber s across town to support his family. Beverly (Yvette Nicole Brown) is trying desperately to win this beautification competition to bring some honor back to the Evans family, apparently. (They’re the first Evans household to not win it.) Jay Pharoah — who portrayed J.J. Evans in the live production of “Good Times” — is Junior, the eldest son who is a not-so-smart artist. Grey (Marsai Martin) is the middle child and seems to be most similar to youngest sibling, Michael, from the original “Good Times.” She is a protest warrior and is refusing to eat during the first episode. — Erin

The show is bad, but Dalvin, the drug-dealing baby, is probably the worst thing about it. We meet Dalvin, voiced by Gerald Anthony “Slink” Johnson, selling drugs and drooling over a woman’s breasts. Cartoon versions of Da Baby, Lil Baby and Birdman Baby threaten him to give up his corner or get dealt with. This leads him to return to his family’s apartment, which Reggie banished him from. The Evans’ neighbors make it known that they think he’s a stain on the community who can’t be saved (as many of them noted at his attempted baptism ceremony). His character uses the formula that executive producer Seth MacFarlane used to create Stewie of “Family Guy” and Rallo Tubbs of “The Cleveland Show.” That barely worked for Rallo, who was supposed to be the Black version of Stewie, and it’s not working here. The defiant, trouble-seeking baby archetype was already tired in the 2010s. So I’m struggling to find the purpose of making Dalvin a caricature. — Taryn

Having just watched “Curb Your Enthusiasm,” J.B. Smoove’s voice as Reggie jumped at me immediately. I kept calling him Leon (his character on “Curb”). I think he’s… fine as Reggie, I guess. But all the characters are so thinly drawn that it’s hard to identify actually good voice performances here. Yvette Nicole Brown, Wanda Sykes and Jay Pharaoh all contribute their voices here, too. (And, for reference, Brown was none too happy with folks criticizing her for being a part of this project and defended her choice last month).

Also: Carl Jones, who’s credited as a co-creator of this “Good Times,” jumped on social media quick last month to say he actually left the project early “ due to creative differences .” I bring up both these things because it’s very telling that two big names behind this project have very different reactions to the very same issue folks have pointed out about the series: that it’s a bad look. Oh, I also find it interesting that Ranada Shepard, also a co-creator, is a virtual unknown (though, she has a few lesser-known projects listed on IMDb). I wonder how she came on board.

And lastly: I just want to bring some attention to the fact that basketball star Steph Curry is listed as a producer on this show. I see he’s produced a number of sports-related shows, but I’m curious how he got this project. And I hope this isn’t a case of “any Black name will do” in order to validate a project that should absolutely be DOA. How influential were these Black names to the creative choices in this very stereotypical nightmare, actually? — Candice

I also immediately recognized Tisha Campbell as the voice of Delphine, the building manager and beautification contest leader. She was the only character to kinda make me chuckle at one small moment. It’s also worth mentioning that in the credits for the first episode, Bern Nadette Stanis and Jimmie Walker, who starred as Thelma and J.J. Evans in the original series, are credited as voices on the episode. Stanis recently criticized the direction of the Netflix series, saying that originally she and Walker had pitched a “Good Times” cartoon but shortly after found out that there were other folks behind it, she told TMZ . I’m very curious to see her reaction now that the reboot is out. — Erin

The absolute worst parts of the ‘Good Times’ reboot.

I really, really cannot get past the fact that someone decided it would be a good idea to make the baby Evans, Dalvin, a drug dealer??????? He’s still nursing, and he is a drug dealer. He has a pacifier, and he is a drug dealer. HE IS IN A STROLLER DEALING DRUGS. Why?????? He’s also been kicked out of the house by his father. So we just got babies on the street? I can’t believe this was allowed to happen. — Erin

Erin, it took me a second to realize that baby Evans was actually a baby and not just a small drug-dealing man. It’s like my brain didn’t want to process that! WHY was that even necessary??? Again, the AI machine was working overtime on this one.

I’m very, very bothered by the many close-ups of women’s asses in pants or women’s big boobs. What is that even about? And there was something just… weird, to me, about (and this might have been Episode 2) seeing Beverly’s dramatically tiny hand on Reggie’s large body when they’re in bed together. This is a nitpick, but also it feels quite body shame-y. Is that for comedic purposes? Was I supposed to laugh? Can this show be funny, sometimes?

OK, then there are just the very random shoutouts to Black shit. Like the high school where the teenage siblings go is Twista High School (you know, like the rapper Twista?) and (again, from Episode 2) the thinly coded drug spot where the parents take their son to help him do better in class (don’t ask) is called So So Med Center. You know, like the recording label, So So Def. Just why?

I can actually tolerate the little sister, who gives me very Diane Johnson from “Black-ish” vibes (to note: Marsai Martin, who played Diane, is in this role, too). She is smarter than everyone else in the house and stands on business every day, all day. Love that for her. I don’t know what anyone else is doing here. — Candice

Oh, also, I hate that Reggie was singing the theme song WITH A ROACH in the opening scene. Also, I have a nitpicky thing to complain about, too. The booty hair they squiggled onto Reggie in that same scene. WHYYYYY. — Erin

All of what you two said, but also it’s just not funny. I love adult animation when it’s funny, smart and allows for some escapism. This show is none of that. — Taryn

TL;DR — Here’s why the show does not work.

The “Good Times” reboot is another example of Hollywood executives’ laziness and sheer lack of innovation when it comes to creating art for and by Black folks. That this series was greenlighted and attached to the legacy of the original series is a damn, damn, damn shame. — Erin

It’s a series that relies on stereotypical Black images and text because it has no merit or awareness of authentic Black humanity. Its weaknesses are immediate and frequently exhibited. — Candice

This show doesn’t belong in this era, and it damn sure doesn’t belong under the name “Good Times.” Animation is too expensive to waste on lazy, offensive depictions of Black life, especially when there are so many good stories that deserve to be seen and elevated. — Taryn

Popular in the Community

From our partner, more in culture & arts.

• Forgot your password?

The Movie Blog The Home Of The Correct Opinion

Prime video scores big with “criminal”: charlie hunnam cracks the case, national treasure 3: cage, history buffs, and a villain, 300: from epic film to epic tv series, g.i. joe, transformers crossover on the horizon, star wars and the trouble with toxic fans, bad boys: ride or die – chicago – advance screening, dune: part two home release & giveaway, kingdom of the planet of the apes – chicago – advance screening, rebel moon: part two – chicago – advance screening giveaway, the fall guy- chicago- advance screening giveaway, director randeep hooda discusses swatantrya veer savarkar, phyllis macbryde: independent filmmaking and social change, uncomfortable truths: deborah ayorinde on them: the scare, we grown now: director minhal baig gets real, silo season 2: common droppin’ knowledge about the importance of truth, review – bad boys: ride or die, star trek: discovery season 5 review: a hopeful ending that lives up to the spirit of trek , dark matter season 1 episode 5: wordless got us speechless (almost), anyone but you reignites excitement for rom coms again, kartam bhugtam: an extraordinary thriller lacking visual execution, alien: romulus – a new generation faces the classic terror, luv ki arrange marriage: a delightful chaos of love and laughter, moana 2 trailer and poster debut, beverly hills cop 4 trailer debuts: eddie murphy returns, beetlejuice beetlejuice debuts new trailer and poster.

Netflix’s “Good Times” Reboot: Who Is This For?

You might have seen the trailer for Netflix’s upcoming animated series called “Good Times.” It’s a reboot of the classic 70s sitcom of the same name, but this time it’s animated. The original series followed the Evans family, a Black family living in a Chicago housing project. They dealt with everyday struggles of poverty, unemployment, and trying to make ends meet, but they also had a lot of love and humor in their lives.

This new animated reboot of the Norman Lear series finds the latest generation of the Evans family, cab driver Reggie and his wife, the ever-aspirational Beverly, scratching and surviving in one of the last remaining housing projects in Chicago along with their teenage artist son, Junior, activist daughter Grey, and drug dealing infant son, Dalvin. It turns out the more things change the more they stay the same and keeping your head above water in a system with its knee on your neck is as challenging as ever. The only thing tougher than life is love, but in this family, there’s more than enough to go around. Norman Lear’s Act III Productions, Steph Curry’s Unanimous Media, Seth MacFarlane’s Fuzzy Door, and Sony Pictures Television developed the project, with Ranada Shepard serving as executive producer and showrunner.

Good Times Trailer Reaction:

Cringeworthy at First Sight

Upon watching the trailer, I have to admit that it left me with a rather awkward feeling. It was just uncomfortable to watch. It wasn’t funny, and instead of showing the characters overcoming challenges, it appeared to be focused on poverty, negative stereotypes, and situations that just made me cringe. I did see a few moments where it looked like the show would address deeper issues such as the systemic realities that affect Black neighborhoods such as how guns are brought into the communities and gun violence. However, the balance of positive to negative imagery seemed rather off. 

Within 6 days of this posting, this trailer did not bode well with audiences. It currently holds over 4K positive Likes and an overwhelmingly 30K dislikes.

Who’s This For?

The reason why I have a problem with the Good Times trailer is mainly because of one I don’t know who it’s for. I don’t know how it benefits Black people who may watch this series. So, if it doesn’t seem beneficial for black people, my question is, “Who else is going to watch this?”. The answer to that will be non-black people.

That is where my other concern comes in. When you look at people who are not black, watching shows like this that portray Black stereotypes, I get worried. It’s not because of what the non-Black people see, but rather what they don’t know. These are the types of images that reinforce the stereotypes that they already have. It becomes problematic because many of the non-black viewers more than likely do not have close proximity to black people to counteract those stereotypes. This is also evident on an international scale. Going to other countries, you hear about how they view African Americans in a particular way and it’s primarily based on what they see on TV, in film, and in hip-hop/rap music. What we see on TV and in movies shapes how we view the world. For many people around the world, these shows are their only window into Black culture. The problem is, when these portrayals are filled with stereotypes, they make things worse, not better.

A Bigger Issue

Good Times. Yvette Nicole Brown as Beverly in Good Times. Cr. COURTESY OF NETFLIX © 2024

Nevertheless, in America, reinforcing these types of depictions to non-Black viewers is even problematic. When those viewers don’t have a real-life counter to the stereotypes, it finds a way to negatively impact Black people. Those non-Black viewers can have their opinions and views skewed. That can then impact how they vote. It could impact which politicians they support. This could also lead to rights being taken away, resources becoming limited, or laws getting passed.

Is There Any Hope?

Maybe. There’s a chance the show might have some positive moments sprinkled in, highlighting the love and humor that were hallmarks of the original series. There’s also a chance that this series could have some real honest criticisms similar to how The Boondocks handled its own depictions of Black culture.  However, will those positives be enough to outweigh all the negativity? Honestly, I don’t know.

Good Times. Marsai Martin as Grey in Good Times. Cr. COURTESY OF NETFLIX © 2024

Furthermore, for those who may be under the impression that this early reaction is premature without seeing the show, let me remind you of this critical fact. The purpose of a trailer is to market and advertise to audiences in a manner that will entice them to watch the content. If the animated series is actually a subversive way to uplift the Black community, then the trailer is not doing it any favors.

Will this Good Times series bring down the Black community? Is it going to be the downfall of Black folks in America? I highly doubt that. However, it does make me question how does it help and who does it help?

Showrunner: Ranada Shepard Exectutive Producers: Seth MacFarlane, Stephen Curry, Norman Lear, Ranada Shepard Stars: Yvette Nicole Brown, J.B. Smoove, Wanda Sykes, Jay Pharoah, Slink Johnson, Marsai Martin Good Times will stream on Netflix on April 12, 2024. Be sure to follow E-Man’s Movie Reviews on Facebook, Subscribe on YouTube , or follow me on Twitter/IG @EmansReviews for even more movie news and reviews!

About Emmanuel "E-Man" Noisette

• Related Articles
• More By Emmanuel "E-Man" Noisette
• More In Features

The Real Reasons Why Movie Theaters Are Struggling

X-Men ’97 Created A New Challenge For Marvel’s Future

Paramount+ Announces Premiere of Docuseries “HOW MUSIC GOT FREE”

Tickets Now On Sale for A Quiet Place: Day One!

X-MEN ‘97 Season 1 Finale Ending Explained: Who Is Mother Askani?

X-Men 97: Did Marvel Create A Black Panther Plot Hole?

Glen Powell Plays A Pretend Hit Man in “Hit Man”

Vicky Kaushal: Top 4 Performances on ZEE5 Global!

Kevin Feige Advising Hugh Jackman Bolstered a Marvel Myth

7 Movies To Watch If You Loved “The Idea of You”

This summer, the world’s favorite Bad Boys are ...

Related Posts

Tickets for “Deadpool and Wolverine” Now on Sale!

• Betsquare.com
• CasinoSenpai.com
• FilmSchoolRejects
• First Showing
• MTV Movies Blog
• OnlineCasinosSpelen
• Weekly Wilson

• Entertainment

‘Young Woman and the Sea’ review: Daisy Ridley charms in unimpressive biopic

Movie review.

If life were fair, every astonishing human feat in history would be commemorated by the astonishingly good movie it deserved. Alas, life isn’t fair, and so here we have “Young Woman and the Sea,” which is not a terrible movie about legendary swimmer Gertrude Ederle — but it’s not a terribly good one either. Ederle (Daisy Ridley), the daughter of German immigrants in New York City, was just 20 years old when she became the first woman to swim the English Channel in 1926, in an athletic feat so astonishing she beat the previous record (set, of course, by a man) by a full two hours. You wonder what would drive a young woman of that time to summon the necessary stamina, discipline, resilience and courage to tackle a 14-hour swim through icy, jellyfish-infested waters, and you leave “Young Woman and the Sea” still wondering. What we learn here is that she really, really liked to swim and she hummed “Ain’t We Got Fun” a lot. (You will also leave this movie with an abiding hatred for that tune, which is reprised endlessly throughout.)

Related MOVIE REVIEWS

• ‘Babes’ review: The hilarious ups and down of friendship (and pregnancy)
• ‘The Garfield Movie’ review: A bizarre animated tale far from purr-fect
• ‘Evil Does Not Exist’ review: An enchanting melody by Ryusuke Hamaguchi

Though Ridley is vivid, charming and entirely believable as Trudy, part of the problem here is that director Joachim Rønning seems to have not decided what movie he’s making. Is it a movie for kids, as the Disney intro and simplistic view of Ederle’s family relationships might indicate? If so, it’s too long and too deliberate for all but the most swim-obsessed of young viewers. But if it’s for grown-up audiences, we need to know a little more about what drove this young woman, who seems to magically progress from laps in a pool to 22-mile swims up the New Jersey coast in the blink of a waterlogged eye. We need to know why her extremely strong-minded mother (Jeanette Hain) is directed as if she’s performing in an opera that only she can hear; we need to know why her father (Kim Bodnia) swings wildly between forbidding swimming and cheering Trudy on; and maybe we need a bit less of her saintly sister Meg (Tilda Cobham-Hervey), whose rote plotline just feels like a distraction.

But despite all of this, I found myself quite caught up in “Young Woman and the Sea” in its final act, when it’s just Ridley and dark water and two nations desperately wondering if the young heroine would emerge on that nighttime shore. This may not be quite the movie that Ederle deserves, but it’s the one that we’ve got, and it’s definitely a story worth telling.

With Daisy Ridley, Tilda Cobham-Hervey, Stephen Graham, Kim Bodnia, Christopher Eccleston, Jeanette Hain. Directed by Joachim Rønning, from a screenplay by Jeff Nathanson, based on the book “Young Woman and the Sea: How Trudy Ederle Conquered the English Channel and Inspired the World” by Glenn Stout. 129 minutes. Rated PG for thematic elements, some language and partial nudity. Opens May 30 at multiple theaters.

Most Read Entertainment Stories

• 'The Acolyte' review: Latest live-action 'Star Wars' is no 'Mandalorian' WATCH
• Janis Paige, star of Hollywood and Broadway, dies at 101
• A new filmmakers hub emerges at Seattle Center
• Former frontman of The Fray opens Vashon Island's only record store
• 'Hit Man' review: Richard Linklater's sexy caper is irresistible fun WATCH

The opinions expressed in reader comments are those of the author only and do not reflect the opinions of The Seattle Times.

Advertisement

Supported by

‘The Acolyte’ Review: ‘Star Wars’ an Even Longer Time Ago

The franchise’s latest series on Disney+ is set before there was even an empire to strike back.

• Share full article

By Mike Hale

“The Acolyte,” the latest product off the Lucasfilm assembly line (it premieres Tuesday night on Disney+), enters territory unfamiliar to the casual follower of “Star Wars.” It is set during a prehistorical period known as the High Republic, until now depicted primarily in short stories, novels and comic books read only by serious fans. (The High Republic stories are to George Lucas’s central works somewhat as “The Silmarillion” is to “The Hobbit” and “The Lord of the Rings.”)

Moving a “Star Wars” story out of the main time stream — no Empire, no R2-D2, a century before Luke Skywalker — has not liberated it from the franchise’s oldest conventions and clichés, however. “The Acolyte” tweaks the formulas here and there, but, to a greater degree than other Disney+ shows like “The Mandalorian” and “Andor,” it falls back on signature moves: the electronic whoosh of the light saber; the outstretched hand summoning the Force; lovable droids and fuzzy holograms; dark masters and chosen children.

Created by a newcomer to the franchise, the writer and director Leslye Headland (“Russian Doll”), the show is focused on twin sisters in their mid-20s, Osha and Mae, both played by Amandla Stenberg. They share a tragedy in their childhoods that has left them with very different feelings about the Jedi knights, who in the High Republic time frame are comfortably ascendant across the galaxy, before their later tribulations in the “Star Wars” films.

That critical moment, revealed in the season’s first half (four of eight episodes were available for review), involves one of Headland’s more noticeable creations: a coven of witches who tap into the Force with a holistic, communitarian ethos. (They feel borrowed from an early episode of “Star Trek,” with a swerve into unintentionally hilarious musical theater when they perform one of their ceremonies.) The nature-principle witches and the power-principle Jedi converge, spawning a vendetta plot centered on the grown twins that allows for plenty of planet hopping action. The fights are copious, and in another new twist for “Star Wars,” many of them take the form of balletic martial arts face-offs.

But the storytelling force is not strong. Putting more female characters, and a stronger female point of view (even if it is sometimes redolent of 1960s earth mother), into an otherwise traditional “Star Wars” framework is worth the attempt. “The Acolyte” doesn’t bring enough energy or invention to the task, though.

It goes through its space-opera paces, offering some blandly pretty forest planets and the occasional impressive landscape. (Location shooting was done in Wales and Portugal.) The “Star Wars” penchant for paying homage to the backlot bazaars and gin joints of classic Hollywood is frequently indulged.

Beneath the familiar trappings, the visceral pull that “Star Wars” can summon in its best moments — “The Empire Strikes Back,” “The Last Jedi,” parts of “Andor” and “The Mandalorian” — doesn’t manifest itself. Characters speak in platitudes about loss, grief, loyalty and revenge, and the cast mostly works down to the level of the dialogue.

Stenberg is capable and charming but can’t make either twin very interesting; Lee Jung-jae of “Squid Game,” who plays a sympathetic Jedi, doesn’t make much of an impact in his first English-language role. The most winning performances of the early episodes are given by Lauren and Leah Brady as the 8-year-old Osha and Mae — the most winning performances by humans, anyway. In the “Star Wars” universe, robots tend to have as much personality as their flesh-and-blood co-stars, if not more, and Osha’s pocket-size droid, Pip, is a trouper. With proper maintenance, he might outlast the High Republic.

Mike Hale is a television critic for The Times. He also writes about online video, film and media. More about Mike Hale

Explore More in TV and Movies

Not sure what to watch next we can help..

Leslye Headland’s new “Star Wars” show, The Acolyte,” is a dream come true, but she knows it carries enormous expectations .

Once relegated to supporting roles, the comedian Michelle Buteau  is a star of the film “Babes” and is moving to a bigger stage, Radio City Music Hall, for her new special.

American audiences used to balk at subtitles. But recent hits like “Shogun” and “Everything Everywhere All at Once” show how much that has changed .

If you are overwhelmed by the endless options, don’t despair — we put together the best offerings   on Netflix , Max , Disney+ , Amazon Prime  and Hulu  to make choosing your next binge a little easier.

Sign up for our Watching newsletter  to get recommendations on the best films and TV shows to stream and watch, delivered to your inbox.

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Trivia & Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Fandango at Home
• Netflix streaming
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• Furiosa: A Mad Max Saga Link to Furiosa: A Mad Max Saga
• Young Woman and the Sea Link to Young Woman and the Sea
• Jim Henson Idea Man Link to Jim Henson Idea Man

New TV Tonight

• Ren Faire: Season 1
• Star Wars: The Acolyte: Season 1
• Clipped: Season 1
• Queenie: Season 1
• Sweet Tooth: Season 3
• Mayor of Kingstown: Season 3
• Criminal Minds: Season 17
• Becoming Karl Lagerfeld: Season 1
• Power Book II: Ghost: Season 4
• Erased: WW2's Heroes of Color: Season 1

Most Popular TV on RT

• Eric: Season 1
• Evil: Season 4
• Dark Matter: Season 1
• Tires: Season 1
• Outer Range: Season 2
• Fallout: Season 1
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• Outer Range: Season 2 Link to Outer Range: Season 2
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

All Harry Potter (and Fantastic Beasts ) Movies Ranked

All George Miller Movies Ranked by Tomatometer

What to Watch: In Theaters and On Streaming

Pride Month Programming Calendar 2024: TV and Streaming Shows and Movies Celebrating LGBTQ+ Voices

Movie Re-Release Calendar 2024: Your Guide to Movies Back In Theaters

• Trending on RT
• Vote: 1999 Movie Showdown
• 100 Best Movies on Netflix
• Star Wars: The Acolyte
• Superman: Everything We Know

Critics Reviews

Audience reviews, cast & crew.

William Friedkin

George Sanders

Mr. Mordicus

Norman Alden

Larry Duran

More Like This

Related movie news.

From 'Atlas' to 'Dune 2,' here are 10 movies you need to stream right now

If you plan on reusing your "Dune: Part Two" popcorn bucket for your Memorial Day food festivities this long holiday weekend, then we know what you'll probably be streaming.

The super-cool sci-fi sequel is one of several new movies available on your favorite services: Netflix, Amazon's Prime Video, Max, Hulu and Disney+ have a bunch of good stuff to watch from your couch. There's original fare like a Jennifer Lopez sci-fi action extravaganza and documentaries on the Beach Boys and the Blue Angels, plus theatrical releases arriving on streaming, such as Michael Mann's Enzo Ferrari biopic and a Dakota Johnson superhero flick.

Here are 10 notable new movies you can stream right now that nicely pair with burgers and hot dogs:

Join our Watch Party! Sign up to receive USA TODAY's movie and TV recommendations right in your inbox

'American Fiction'

Amazon is finally streaming one of last year's best movies ! Better late than never to see Oscar nominee Jeffrey Wright at the absolute top of his game as a curmudgeonly academic who writes a book with stereotypically Black tropes as a joke and is shocked when it becomes a hit in this tremendously funny and thoughtful film.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

Where to watch: Prime Video

The futuristic sci-fi thriller casts Jennifer Lopez as a counterterrorism expert out to take down a robot (Simu Liu) bent on wiping out most of mankind. What's better than rom-com J.Lo ? Action-hero J.Lo making friends with an AI and taking on villainous machines in mechanized armor.

Where to watch: Netflix

'The Beach Boys'

You guessed it, this documentary chronicles the musical legacy of the Beach Boys . With interviews and archival footage, the film digs into the origins behind their signature harmonies, the genius of Brian Wilson , a rivalry with The Beatles in the 1960s and the game-changing influence of their "Pet Sounds" album.

Where to watch: Disney+

'Biosphere'

Sterling K. Brown and Mark Duplass play best buds living in a biosphere, the last two dudes on Earth after an apocalyptic situation, when evolution throws them a curve ball. That's all you should know going into this clever character study about sexuality, masculinity and friendship, because it's got quite the twist.

Where to watch: Hulu

'The Blue Angels'

"Top Gun: Maverick" star Glen Powell and J.J. Abrams produce this documentary taking viewers behind the scenes of the Navy's Flight Demonstration Squadron. The movie chronicles a year in the lives of these elite pilots, with veterans helping rookies get up to speed for a thrilling and dangerous show season.

'Dune: Part Two'

Timothée Chalamet 's Paul Atreides gets to know love interest Chani (Zendaya) better and might even be a messiah in Denis Villeneuve's sci-fi sequel, which boasts plenty of staggering visuals, all the gigantic sandworms you’d ever want, and deep thematic exploration of power, colonialism and religion.

Where to watch: Max

Adam Driver stars in Michael Mann's drama as Italian automaker Enzo Ferrari, who enters his racing team in a dangerous event to save his empire. Come for the domestic drama – with Penelope Cruz as Ferrari's wife and Shailene Woodley as his mistress – but stay for four-wheeled scenes that show the sport's beauty and brutality.

'Madame Web'

In this clunker of a "Spider-Man" spinoff , Dakota Johnson at least exudes sassy scrappiness as a suddenly psychic paramedic who has to protect a trio of potential future crimefighters. Unfortunately, everybody in this thing gets stuck in its web of nonsense, which boasts bad dialogue and rampant B-movie silliness.

'The Sweet East'

For those needing a road trip – and not wanting to actually go on one – this whimsical satire centers on a high school senior (Talia Ryder) who ditches her classmates on a D.C. field trip. She sets off on a surrealist odyssey where she meets a white-supremacist professor (Simon Rex), an excitable director (Ayo Edebiri) and an A-list actor (Jacob Elordi).

'Thelma the Unicorn'

The "Napoleon Dynamite" filmmakers are behind this engaging animated comedy featuring musical animals and nifty songs. Farm pony Thelma (voiced by Grammy winner Brittany Howard) becomes a viral singing sensation after she's accidentally covered in pink paint and glitter, but finds out being famous has its drawbacks.

Looking for reliable options to stream the latest movies? Check out USA TODAY Home Internet for  broadband service plans  in your area.

Jeremy Renner joins ‘Knives Out 3’ in first film since near-fatal accident

• Show more sharing options
• Copy Link URL Copied!

Jeremy Renner has found his first movie role since his nearly fatal snowplow accident. Renner is the latest star to join Rian Johnson’s new “Knives Out” film, “Wake Up Dead Man: A Knives Out Mystery,” a Netflix representative confirmed Thursday to The Times.

The Hawkeye actor joins an already star-studded cast featuring Mila Kunis, Kerry Washington, Glenn Close and the returning Daniel Craig. “Challengers” lead Josh O’Connor, “Priscilla” star Cailee Spaeny and “Fleabag” actor Andrew Scott also appear in the whodunit murder mystery. Johnson returns as writer and director.

“Wake Up Dead Man” is the final movie in Netflix’s $450-million, two-movie purchase. “Glass Onion: A Knives Out Mystery” (2022) is the streaming giant’s ninth most watched English-language movie of all time with more than 136 million views. The first film was distributed by Lionsgate and made about $313 million at the global box office.

‘I relive it every night’: Jeremy Renner reflects on the day he almost died, and why he’s alive

Jeremy Renner’s return to “Mayor of Kingstown” after his near-deadly accident was not a forgone conclusion, but he says thanks to a collective of people, he’s back for Season 3.

May 17, 2024

Renner was run over by a 7-ton snowplow on New Year’s Day 2023. He was thrown off the machine while clearing his driveway. When Renner attempted to stop the snowplow as it moved downhill toward his nephew, he was caught in the machine’s path, ultimately leaving him in critical condition. The accident left him with 38 broken bones and a collapsed lung, along with significant chest trauma.

“I relive it every night,” Renner told The Times in May. “It’s in my visions. It’s in my dreams and my waking thoughts.”

Doctors originally said it would take him years to walk, Renner told The Times. Due to his self-proclaimed stubbornness, he was walking with a cane in three months.

He told The Times that recovery is a “one-way street,” saying, “It’s not even [like] a piece of Ikea furniture — there are no directions. You go one direction: You get better. How easy is that? Just remember what you did yesterday, or couldn’t do, and then try to do it today.”

Review: Ingenious and irresistible, ‘Knives Out’ is a criminally good time

Ana de Armas, Daniel Craig and Christopher Plummer lead an all-star cast in Rian Johnson’s deliriously entertaining detective story.

Nov. 22, 2019

Renner returned to acting in January, shooting Season 3 of the Paramount+ show “Mayor of Kingstown,” which premieres on Sunday.

“To try to create some truth and then get the audience to believe it, while I’m just trying to learn to walk again, to put one foot in front of the other and not get up in agony. I’m doing all these things to find my footing on the planet again,” Renner said.

Season 2 of “Mayor of Kingstown” premiered just two weeks after Renner’s accident. The show, created by Taylor Sheridan and Hugh Dillon, is set in a prison town in which Renner plays the titular mayor. It explores themes of racism and corruption within the American for-profit prison industry.

More to Read

After scandal, movie producer Randall Emmett is flying under the radar with a new name

April 26, 2024

Review: ‘Blackout,’ a new take on one of horror’s oldest myths, is claws for celebration

April 12, 2024

Crew member dies after fall on the set of Marvel TV series ‘Wonder Man’

Feb. 6, 2024

Company Town

‘Argylle’ tops box office, but fails to pack any sock

Feb. 4, 2024

Following ‘Scream’ departure, Melissa Barrera returns to horror alongside Angus Cloud

Jan. 11, 2024

Actress Jenna Ortega will not return for ‘Scream VII’

Nov. 22, 2023

Entertainment & Arts

Joss Ackland, ‘Lethal Weapon 2’ and ‘Hunt for Red October’ actor, dead at 95

Nov. 19, 2023

Review: Queer Christmas slasher ‘It’s a Wonderful Knife’ has a ho-ho-hollow ring

Nov. 10, 2023

Only good movies

Get the Indie Focus newsletter, Mark Olsen's weekly guide to the world of cinema.

You may occasionally receive promotional content from the Los Angeles Times.

Kimberly Aguirre is an Entertainment & Arts intern at the Los Angeles Times. She studies journalism at the University of Southern California, where she is also the editor in chief of the Daily Trojan.

More From the Los Angeles Times

World & Nation

District attorney in Alec Baldwin’s case wins New Mexico Democratic primary

Review: In ‘Bad Boys: Ride or Die,’ the action party rolls on, vigorously and untroubled

June 4, 2024

‘Hairspray’ actor Nikki Blonsky reveals that she married Hailey Jo Jenson last year

Paramount Global unveils business plan and job cuts as sale looms