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Tag: good fortune

  • Keanu Reeves, Tim Miller Teaming Up for Unique Sci-Fi Movie ‘Shiver’ (Exclusive)

    Warner Bros. is in final negotiations to acquire Shiver, a unique sci-fi package that has Keanu Reeves attached to star and Deadpool helmer Tim Miller attached to direct.

    Matthew Vaughn, the filmmaker behind the Kingsman action movie franchise, will produce via his Marv Films banner along with Aaron Ryder, who counts love story All of You and Gamestop movie Dumb Money among his recent credits.

    Ian Shorr wrote the script for Shiver, which has been described as having shades of Edge of Tomorrow, the Tom Cruise sci-fi movie about a soldier trapped in a time loop during an alien invasion, and The Shallows, the Blake Lively shark survival movie.

    Plot details are very hazy, but the word on the street is that the story centers on a ne’er-do-well smuggler who finds himself in the middle of a deadly double-cross while on a job in the Caribbean Sea, resulting in him surrounded by bodies, hostile mercenaries and thirsty sharks alike. He next finds himself a deathly time loop and scrambling to break the cycle.

    Shorr’s credits include Infinite, a 2021 sci-fi action movie made by Paramount+ that starred Mark Wahlberg and Chiwetel Ejiofor, and the horror comedy Office Uprising, made by now-shuttered streaming service Sony Crackle.

    Miller was a vfx wiz who made his directorial debut with Deadpool, the Ryan Reynolds-starring anti-superhero movie that became a record-breaking box office sensation and launched a franchise. While Miller didn’t return for the sequel, he did direct 2019’s Terminator: Dark Fate, James Cameron’s return to the killer cyborg from the future franchise that was to have relaunched a film series. Sadly, it didn’t. Miller has also kept busy as the creator of Netflix’s award-winning adult animated anthology series Love, Death & Robots.

    Reeves is coming off the back-to-back releases of Ballerina, Lionsgate’s John Wick spinoff, and Good Fortune, the Aziz Ansari-directed comedy also made by Lionsgate. Sadly, neither were hits. But the actor remains in top demand and has several tentpoles in development, including BRZRKR at Netflix, based on the Boom! Studios comic he co-created.

    All the players in Shiver, from the talent to the producers, are repped by WME, which put together the package before taking it out to studio buyers.

    Borys Kit

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  • Good Fortune Review: Aziz Ansari’s Feature Debut Appears As Mere School Project Despite Keanu Reeves’ Best Tries

    Name: Good Fortune
    Director: Aziz Ansari
    Writer: Aziz Ansari
    Cast: Keanu Reeves, Aziz Ansari, Seth Rogen, Keke Palmer, Sandra Oh
    Rating: 2/5

    Good Fortune Plot

    The film follows the life of a man named Arj who does odd jobs in secrecy, away from the prying questions of his big-dreaming father. Misfortune follows him around, just like a ‘budget guardian angel’ named Gabriel, who one fine day, takes notice of this hardworking fellow with a mediocre future in front of him. After experiencing the lavish lifestyle of a rich ‘tech bro’ Jeff, who hires him as a weekly assistant and then lays him off over his silly mistake, Arj wishes to have his life. 
    Losing his car— which used to be his home for a while, and all his money, as well as his chance to impress the passionate girl he met at work, Arj trades with Gabriel for a week of Jeff’s life in exchange for his own. His experience is almost flawless and makes him never want to leave, making Jeff stuck in his poor life alongside a now-demoted angel, Gabriel. 

    What Works for Good Fortune

    The film is shot very well. Although improvements in lighting would have been good, Good Fortune manages to appear promising in the first half. It presents a couple of good jokes and satire on the current state of immigrants in the country.

    What Does Not Work for Good Fortune

    It is too long. Just 97 minutes, but towards the end of it, you just want closure for the repetitive happenings in the film, which are nowhere near as delightful as one would expect. There’s a lot riding on Keanu Reeves’ shoulders, who delivers in the right moments, but only so much can be done about a rapidly tanking storyline. The comedy is honestly so scarce, and so is the supernatural element of the film, that its genre classification feels like a joke in itself.

    Acting Performances in Good Fortune

    Sandra Oh is so underused, it’s a shame. She is domineering each time she’s on screen and with cause. Keke Palmer is an absolute winner throughout her appearances, commanding the dialogue with every word that falls from her lips. Keanu Reeves is honestly the best part about the film, and his years of dedication to his craft is very visible. The same cannot be said about Seth Rogen and Aziz Ansari, who try but fail to be memorable. 

    Final Verdict of Good Fortune

    If I were to describe the entire experience of watching Good Fortune on screen, it would be a ‘meh’. It presents itself as this old television that everyone has in the back of their attic, which they once praised for showing them colorized versions of their favorite TV shows, but is now left as just another invention far behind its peers. 

    Only about a couple of sniggers escaped my lips throughout the 97-minute run time of the film, and that’s honestly saying a lot considering how the project banks on its wiring from an industry favorite. The plot is quite predictable and gives you the comfort of watching a series you’ve familiarized yourself with over the years, and can be put on during a cooking session to run at the back of your mind.

    Good Fortune has its moments, but these instances are so fleeting that you’ll be left wondering if you were even supposed to laugh at them. The Aziz Ansari, Keanu Reeves starrer teeters between being a passion project from someone who has impressed the American crowd and largely even the South Asian American masses with his wit, and a school assignment that became too ambitious overnight. 

    It has heart, after all, a predictable Indian boy’s struggling journey in America may just be hitting home for too many people at this point in time. However, the potential is lost amid a penny-worth cast that tries too hard but on the wrong project. Aziz Ansari may have impressed audiences with his past works, but this one remains as the page sticking out of his shiny book, as a bothersome afterthought. 

    ALSO READ: One Battle After Another Review: Leonardo DiCaprio Presents Value For Money Hilarity With Punch in The Gut Emotion

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  • Keanu Reeves & Seth Rogen’s Good Fortune Gets Hilarious New Trailer

    Lionsgate has released a brand new trailer for Good Fortune, its newest comedy from Master of None star Aziz Ansari. Following its world premiere at the 2025 Toronto International Film Festival, the movie is now scheduled to arrive in theaters on October 17.

    “In the film, a well-meaning but rather inept angel named Gabriel meddles in the lives of a struggling gig worker and a wealthy venture capitalist,” reads the official synopsis.

    Check out the new Good Fortune trailer below (watch more trailers):

    What happens in the Good Fortune trailer?

    The video features John Wick star Keanu Reeves as an angel who tries to show Ansari’s Arj that money won’t solve his problems. However, this ultimately fails, leading Reeves’ Angel Gabriel to lose his wings and turn into a human. The trailer highlights how Gabriel must navigate his new life as a human with the help of Seth Rogen‘s Jeff, whose life changes after Gabriel mistakenly switches Arj’s life with Jeff’s. Additional cast includes Keke Palmer as Elena, Sandra Oh as Martha, Stephen McKinley Henderson as Azrael, and more.

    Good Fortune is written, directed, and produced by Ansari in his feature directorial debut. The movie is produced by Anthony Katagas and Alan Yang, with Aniz Adam Ansari, Jonathan McCoy, Christopher Woodrow, and Connor DiGregorio serving as executive producers. The creative team also includes director of photography Adam Newport-Berra and composer Carter Burwell. It is a production by Lionsgate.

    Maggie Dela Paz

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  • ‘Good Fortune’ Review: Keanu Reeves’ Brainless Angel Runs Away With Aziz Ansari’s Clever Directing Debut

    It wasn’t meant as a joke when a Hollywood studio cast Nicolas Cage as an emo angel who risks his wings to save Meg Ryan, a mortal with dark thoughts and great hair. But Aziz Ansari must have been smiling when he chose Keanu Reeves to play a similar character, an angel named Gabriel who oversteps his duties with a “lost soul,” in his feature directing debut, “Good Fortune.” It’s a fun idea, whether or not Gen-Z audiences know “City of Angels,” the late-’90s remake of “Wings of Desire,” or the even earlier John Landis classic “Trading Places.”

    In what amounts to a slightly ironic but mostly sincere homage to late-20th-century high-concept studio movies (the body-swap comedy in particular), Ansari plays Arj, a gig economy worker with an understandably exasperated view of life in Los Angeles. Running errands for rich people on Taskrabbit, he barely earns enough to eat, and lacks the self-confidence to flirt with Elena (Keke Palmer), a formidably idealistic co-worker at his Home Depot-style second job.

    Arj wonders why he went to college as he spends most nights sleeping in his beat-up car, which eventually gets towed for too many unpaid parking tickets. For Gabriel, Arj’s many humiliations add up to someone badly in need of his help. And besides, Gabriel’s bored of his low-ranking angel duties, which amount to stopping Angelenos from texting and driving (he doesn’t realize just how many lives he’s saving).

    Coaching the L.A. angels, Gabriel’s boss (Sandra Oh) warns him that he has no business intervening, but Gabriel’s not so bright — Reeves plays the character with much the same blank stare he brought to “Bill and Ted’s Excellent Adventure” all those years back — and appears to Arj anyway. (No one else can see him.) When Arj doesn’t seem thrilled by brief visions of what his life has in store, Gabriel lets him temporarily trade places with Jeff (Seth Rogen), a rich tech bro he’d met a few days earlier.

    There’s just one problem: Arj doesn’t want to go back. Would you, if offered the choice between scraping by (as so many barely can these days) and planning parties from the private sauna of your Hollywood Hills mansion?

    It’s funny that Gabriel didn’t anticipate this problem — that Arj might not agree “how superficial a life of wealth and success really is” — and funnier still when you see Gabriel’s incredulous expression. No question that Reeves, who has made self-aware cameos in everything from “Toy Story 4” to “Always Be My Maybe” of late, is this movie’s MVP. The surest sign of the good-sport star’s intelligence is his willingness ow endearingly he can play a “dum-dum.”

    Ansari understands that the whole angel thing was corny back when Warren Beatty and John Travolta tried it (in “Heaven Can Wait” and “Michael,” respectively), but uses it the way an “SNL” sketch might, as shorthand for the point he really wants to make: Beneath the jokes, “Good Fortune” serves as a working-class critique of contemporary capitalism, as seen from the perspective of those juggling various side hustles just to make ends meet. The comedian might not be this generation’s Frank Capra, but it’s still nice to see a celebrity who recognizes what normal folks are going through and uses his platform to address it (à la Cheech Marin’s newly relevant “Born in East L.A.”).

    The rules of how Arj and Jeff change places, and what it’ll take to switch back, are sort of a moving target in “Good Fortune,” which gives Rogen’s character an Ebenezer Scrooge-like crash course in how to be a better billionaire by forcing him to work for his own food-delivery app. But after making the joke that Arj kinda likes being rich, Ansari’s screenplay never really presents a convincing reason why this selfish guy would return to how things were before — unless you count Palmer’s union-organizing love interest, whose texting-and-driving mishap Gabriel was somehow supposed to prevent (one of several plot holes).

    The movie features a weird mix of acting styles, from Rogen’s appropriately showboaty performance (his character is privilege personified, at first, then later made relatable as he’s forced to break into his own home) to Ansari’s weirdly self-conscious character, who looks uncomfortable on camera, whether Arj is rich or poor. And then there’s Reeves’ amusingly stiff take on Gabriel, who starts to relax once he’s fired from angel duty and forced to get a dishwashing job on earth.

    Gabriel discovers the little things other people take for granted — namely, cigarettes, dancing and “chicken nuggies” — but it’s street tacos he’ll miss most if he ever gets his wings back. Even though it’s fairly obvious where “Good Fortune” is headed, Ansari manages to surprise in how he gets there. Like his character, the writer-director-producer-star seems to be juggling one too many jobs here, and yet, it’s that very connection to overworked, undercompensated Americans that makes his movie so right for this moment.

    Peter Debruge

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  • Sonia Sotomayor Should Retire Now

    Sonia Sotomayor Should Retire Now

    On Election Day in 2006, Justice Antonin Scalia was 70 years old and had been serving on the Supreme Court for 20 years. That year would have been an opportune time for him to retire—Republicans held the White House and the Senate, and they could have confirmed a young conservative justice who likely would have held the seat for decades to come. Instead, he tried to stay on the Court until the next time a Republican president would have a clear shot to nominate and confirm a conservative successor.

    He didn’t make it—he died unexpectedly in February 2016, at the age of 79, while Barack Obama was president. Conservatives nevertheless engineered some good fortune: There was divided control of government, and then–Senate Majority Leader Mitch McConnell refused to even hold confirmation hearings for Merrick Garland, Obama’s nominee to the seat. Donald Trump won that fall’s election and named Neil Gorsuch to the seat that McConnell had held open.

    But imagine for a moment that Hillary Clinton had won the 2016 election, as many expected. By running a few points stronger, she might have taken Democratic candidates across the finish line in close races in Pennsylvania and Missouri, resulting in Democratic control of the Senate. In that scenario, Clinton would have named a liberal successor to Scalia—more liberal than Garland—and conservatives would have lost control of the Court, all because of Scalia’s failure to retire at the opportune moment.

    Justice Sonia Sotomayor will turn 70 in June. If she retires this year, President Joe Biden will nominate a young and reliably liberal judge to replace her. Republicans do not control the Senate floor and cannot force the seat to be held open like they did when Scalia died. Confirmation of the new justice will be a slam dunk, and liberals will have successfully shored up one of their seats on the Court—playing the kind of defense that is smart and prudent when your only hope of controlling the Court again relies on both the timing of the death or retirement of conservative judges and not losing your grip on the three seats you already hold.

    But if Sotomayor does not retire this year, we don’t know when she will next be able to retire with a likely liberal replacement. It’s possible that Democrats will retain the presidency and the Senate in this year’s elections, in which case the insurance created by a Sotomayor retirement won’t have been necessary. But if Democrats lose the presidency or the Senate this fall—or both—she’ll need to stay on the bench until the party once again controls them. That could be just a few years, or it could be longer. Democrats have previously had to wait as long as 14 years (1995 to 2009). In other words, if Sotomayor doesn’t retire this year, she’ll be making a bet that she will remain fit to serve until possibly age 78 or even 82 or 84—and she’ll be forcing the whole Democratic Party to make that high-stakes bet with her.

    If Democrats lose the bet, the Court’s 6–3 conservative majority will turn into a 7–2 majority at some point within the next decade. If they win the bet, what do they win? They win the opportunity to read dissents written by Sotomayor instead of some other liberal justice. This is obviously an insane trade. Democrats talk a lot about the importance of the Court and the damage that has been done since it has swung in a more conservative direction, most obviously including the end of constitutional protections for abortion rights. So why aren’t Democrats demanding Sotomayor’s retirement?

    Well, they are whispering about it. Politico reported in January:

    Some Democrats close to the Biden administration and high-profile lawyers with past White House experience spoke to West Wing Playbook on condition of anonymity about their support for Sotomayor’s retirement. But none would go on the record about it. They worried that publicly calling for the first Latina justice to step down would appear gauche or insensitive. Privately, they say Sotomayor has provided an important liberal voice on the court, even as they concede that it would be smart for the party if she stepped down before the 2024 election.

    This is incredibly gutless. You’re worried about putting control of the Court completely out of reach for more than a generation, but because she is Latina, you can’t hurry along an official who’s putting your entire policy project at risk? If this is how the Democratic Party operates, it deserves to lose.

    The cowardice in speaking up about Sotomayor—a diabetic who has in some instances traveled with a medic—is part of a broader insanity in the way that the Democratic Party thinks about diversity and representation. Representation is supposed to be important because the presence of different sorts of people in positions of power helps ensure that the interests and preferences of various communities are taken into account when making policy. But in practice, Democratic Party actions regarding diversity tend to be taken for the benefit of officials rather than demographic groups. What’s more important for ordinary Latina women who support Democrats—that there not be one more vote against abortion rights on the Supreme Court, or that Sotomayor is personally there to write dissenting opinions? The answer is obvious, unless you work in Democratic politics for a living, in which case it apparently becomes a difficult call.

    I thought Democrats had learned a lesson from the Ruth Bader Ginsburg episode about the importance of playing defense on a Court where you don’t hold the majority. Building a cult of personality around one particular justice served to reinforce the idea that it was reasonable for her to stay on the bench far into old age, and her unfortunate choice to do so ultimately led to Amy Coney Barrett’s appointment and a string of conservative policy victories. All liberals have to show for this stubbornness is a bunch of dissents and kitsch home decor. In 2021, it seemed that liberals had indeed learned their lesson—not only was there a well-organized effort to hound the elderly Stephen Breyer out of office, but the effort was quite rude. (I’m not sure screaming “Retire, bitch” at Stephen Breyer was strictly necessary, but I wasn’t bothered by it either—he was a big boy, and he could take it.) But I guess maybe the lesson was learned only for instances where the justice in question is a white man.

    One obvious response to this argument is that the president is also old—much older, indeed, than Sonia Sotomayor. I am aware, and I consider this to be a serious problem. But Democrats are unlikely to find a way to replace Biden with a younger candidate who enhances their odds of winning the election. The Sotomayor situation is different. Her age problem can be dealt with very simply by her retiring and the president picking a candidate to replace her who is young and broadly acceptable (maybe even exciting) to Democratic Party insiders. And if Democrats want to increase the odds of getting there, they should be saying in public that she should step down. In order to do that, they’ll have to get over their fear of being called racist or sexist or ageist.

    This article was adapted from a post on Josh Barro’s Substack, Very Serious.

    Josh Barro

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