Break­ing the codes

VOGUE Hommes International (English) - - DIARY -

Over­looked at the Cannes film fes­ti­val, the Safdie Brothers’ Good Time rein­vents the co­caine–fu­elled fever­ish­ness of Amer­i­can cin­ema in the 1970s, with the same love for im­per­a­tives of the genre (here an ur­ban thriller with a bank hold– up, es­cape and fugi­tives on the run) and the same taste for skid­ding out of con­trol ( noth­ing hap­pens ac­cord­ing to es­tab­lished codes ). Con­nie and Nick’s es­capade is the story of two brothers down on their luck, from the so­cial bad trip they’ve come from to the dead – ends of a sce­nario for eman­ci­pa­tion, that will lead them nowhere. “Off to a bad start, not likely to make it” could be the cruel moral of a film, which it­self seems to be con­stantly un­der at­tack by an un­hinged, in­co­her­ent force, il­lus­trated to per­fec­tion by Oneo­htrix Point Never’s fran­tic sound­track. Robert Pat­tin­son (Con­nie) rips his sweet – smelling cover – boy aura to shreds – from be­gin­ning to end he looks like a hag­gard, hunted junkie. Joaquin Phoenix snatched the prize for the best male per­for­mance at Cannes from un­der his nose, even though it was in the same “wrecked” reg­is­ter. At least hand­some Bob achieves greater act­ing prow­ess, dis­tinctly out­strip­ping his no­to­ri­ously crazy el­der. “GOOD TIME”, French re­lease on 13 Septem­ber 2017

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