Good Fortune (2025)

Well if you thought poor “Clarence” was a bit hopeless in “It’s a Wonderful Life” (1946) then wait til you meet “Gabriel” (Keanu Reeves). He’s an entry-level angel, replete with stunted wings, who is charged with stopping careless drovers from texting whilst crashing. He’s bored, and so when he spots the down-at-heel “Ari” (Aziz Ansari) he believes he might have discovered a pet project for himself. This man works in one of those rent-a-person jobs running errands for folks and living on their meagre tips. One such trip sees him at the luxurious home of “Jeff” (Seth Rogan). He’s supposed to clean out his garage, but proves a bit more invaluable than that and is soon hired as his personal factotum. He even gets a company Amex card! That proves very handy when he takes his date “Rosa” (Bianca Araceli) to a restaurant recommended by his new boss and finds the bill pretty eye-watering. Of course, “Jeff” isn’t impressed, promptly fires the man and this is where our angelic intervention goes a bit wonky. “Jeff” and “Ari” swap roles. The former now finds himself homeless and broke, the latter comfortably off in his hilltop palace and poor old “Gabriel” suitably de-winged by his furious boss “Martha” (Sandra Oh) who declares that he will only get them back when he has sorted out his mischief. To do that he needs both men to consent to the swap, but what chance? Especially as an angel with no wings or powers he is not much use when it comes to putting food in their mouths and “Ari” is now all too readily settled in his cashmere and champagne luxury. If you saw the recent “Freaky Friday” remake then this follows similar lines with loads of daft antics combining a good dose of venality with an element of doing the right thing quite amiably. Rogan and Ansari both deliver entertainingly but it’s really Reeves who steals the show as his dejection grows, he turns to all-night dishwashing, chain smoking and begins to realise that there is a lot more to the human being lark than he’d anticipated. There’s nothing especially innovative from the writing or the production, really, it is just a fun stroll that pokes some fun at the fabulously wealthy (who don’t really do anything for their buck) and the struggling family man who works flat out but still has to sleep in his car (until it is towed). Good fun.