Josh and Benny Safdie's energetic thriller plays out like a neon-drenched episode of COPS, propelled by Daniel Lopatin's score and Robert Pattinson's manic performance.
Where Isao Tomita’s Moog renderings of Debussy haunted the New York streets in the Safdies’ last film, Heaven Knows What, Lopatin’s music fires up just as it would in a video game, triggered by and responding directly to the actions of a character on screen. It underscores the structure of Good Time too, a film of discrete sequences that plays out like a visually arresting episode of COPS, with a series of unusual crimes and police reports all connected by one man perpetually on the lam.
My review of one of the best films I’ve seen all year, Good Time, at Melbourne International Film Festival.