Cuando el cielo se equivoca

They fully banked on Keanu just being the most lovable man, and it works. I can't imagine this movie working with any other actor in his role.

The movie takes a little time to set up, but once they get into the high concept storyline, there are a lot of good laughs, especially between Seth and Keanu.

If you're a fan of Aziz's style of humor or if you just want some Keanu content, then you'll have fun watching this movie.

With some big names, I was really expecting more from this but found it a complete letdown. First the acting: Keane Reeves must have been deliberately playing this so wooden because surely he's better than that. Aziz Ansari: I've never seen him before and have no desire to again. Such a poor actor. Seth Rogan: Not a fan, this confirms why. So that's the three main characters performing so badly that even if the script was decent, which it isn't, it didn't stand much of a chance. The only redeeming feature for me was Keke Palmer who is not one of my favourite actresses but here, her performance made me sympathise for her character and she played it well. Sandra Oh was good for her relatively small part. There were a few lines which made me snigger but not loudly and not many. At least I got my nachos at the cinema to stop the evening being a complete write-off.

Good Fortune boasts impeccable casting, a hysterical script, and more heart than most films dare to offer. Its sharp wit and understated dialogue shine throughout, delivering moments of genuine introspection without ever feeling heavy-handed.

In an era saturated with existentialist films, Good Fortune distinguishes itself by refusing to take life-or itself-too seriously. It invites viewers to step back, laugh in the face of adversity, and find levity in the chaos.

At first glance, the characters may appear two-dimensional or overly familiar. But as the story unfolds, it becomes clear how meticulously Aziz crafted each one. They're fresh yet layered, revealing unexpected depth and nuance as the film progresses. His thoughtful storytelling-something I've long admired-elevates the narrative and spares it from becoming just another formulaic life-swap tale.

The writing, while subtle, often serves the story well, keeping it grounded and cohesive. Still, I found myself wishing it had taken more risks. The film hints at satire-touching on corporate greed and the plight of the working class-but these themes feel underdeveloped. Aziz introduces these ideas but stops short of provoking real conversation or emphasizing their weight. There's no call to action, only a quiet resignation, as if the challenge was too great to fully confront.

That said, Aziz excels in prioritizing the existential elements that make his characters feel relatable. He navigates a familiar plot structure with finesse, infusing it with sharp humor, a seasoned and well established cast that understands the power of good timing, and a charming simplicity that makes the film feel both intimate and universal.

What I love about his movie is that they don't follow the old cliche "Money don't buy happiness". The trio had an adequate performance that fits the movie and the downfall of an angel as an underpaid worker is one of the funniest things ever that will be etched in my mind.

A great film debut for Aziz Ansari.

It's a strange thing, watching three millionaires make a movie about the pain of being poor.

In Good Fortune, Arj (Aziz Ansari) is a broke man sleeping in his car, stringing together part-time jobs and late-night takeout, trying to keep his head above water. Jeff (Seth Rogen) is his mirror opposite; wealthy, careless and entirely out of touch. When Angel Gabriel (Keanu Reeves) decides to teach Arj "a lesson about gratitude," he swaps their lives: the rich man becomes poor, the poor man becomes rich. What follows is a modern-day morality fable about empathy, excess and the illusion of happiness.

The idea isn't bad. It's Trading Places meets It's a Wonderful Life, or at least, it wants to be. The problem is tone. It's funny but never funny enough; thoughtful but never deep enough. Ansari plays Arj like a man constantly winking at the audience, too self-aware to make you believe his desperation. Seth Rogen's "rich jerk" persona is now so familiar it barely registers as acting and Keanu Reeves as a chain-smoking angel feels like a cosmic joke that doesn't quite land. He's the film's most watchable presence, though serene, strange and just human enough to remind you he's in on it.

But here's the awkward part: Ansari is reportedly worth around $25 million, Rogen $80 million and Reeves somewhere near $380 million. When these men stand in front of the camera to explore "the pain of the working class," it rings hollow. There's no malice in it, you can tell the intent is good, but it's still patronizing to watch wealthy artists play poverty for laughs, only to tie it up with a bow of self-discovery and moral clarity.

The irony is thick: Good Fortune wants to tell you that money doesn't buy happiness, while being made by people who've already bought the luxury of saying so and yet... the movie's not cynical. It's earnest in that uniquely Hollywood way, where the lesson is true but the messenger is suspect.

There is something to take from it, though. The story hints that everyone, rich or poor, wrestles with their own invisible weight. You can have a bank full of zeros and still feel empty; or have nothing and still find peace in the smallest thing. The problem is that Good Fortune tries to turn that quiet truth into a comedy about divine intervention and the result is a well-intentioned parable that lands like a lecture.

It's not the worst thing you'll watch this year, just one of the most conflicted. A film about empathy that struggles to feel empathetic. Watching it, you realize the same thing Gabriel eventually does: you can't fix someone else's life, not with wings, not with wealth. You can only hope to understand it and for most of Good Fortune, that hope gets lost somewhere between heaven and a Malibu mansion.