Good Time (2017)

Robert Pattinson excels in this shaggy heist film. The film starts well and ends well, focusing on Pattinson’s character’s disabled brother, but sags in the middle when the story of the brother’s relationship is completely derailed for Pattinson having episodic crime adventures with other characters. It never really coalesces.

The film is interesting in how it plays with Pattinson’s public image, an extended subplot dealing with a sixteen year old girl (the ideal “Twilight” audience) being caught up in his web of attraction and deceit.

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What’s more interesting is how nearly the entire film is shot in frenetic close-ups, chiefly of Pattinson’s face. It’s relentless and stressful and suits the tone of the movie wonderfully. The score is also impressive, energetic synthesiser work that elevates many scenes. Three Sprite bottles, and some hair dye.

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