Exploring ‘Good Fortune’: Aziz Ansari’s Earthbound Gig Economy Comedy

“Good Fortune,” currently in theaters, somewhat struggles with its intricate premise, where a guardian angel compels a low-income individual to trade places with a wealthy counterpart. The film oscillates between absurdity, social realism, and bursts of comedy, but unfortunately, it seldom delivers on humor, leaving its messages feeling somewhat bland.

It seems the film strives for a universal message about finding joy amidst struggles. However, the sentiment appears insincere—more akin to a motivational poster than a genuine cinematic experience.

Despite its flaws, “Good Fortune” offers a rare comedic portrayal of the gig economy’s darker aspects, from the visible struggles of gig workers in Los Angeles to the precariousness of their livelihoods, constantly monitored by a rating system.

Meet Arj, the quintessential victim—a college-educated film editor trapped in the exhausting cycle of freelance work, struggling to afford basic necessities. The comedy unfolds through various absurd situations he finds himself in, like waiting hours for a viral treat only to watch his client cancel the order.

Then there are the never-ending parking tickets, and when he tries to charge his phone at a diner, his car gets towed, leading to yet another unaffordable expense.

Hope arises when Jeff, a wealthy venture capitalist, hires Arj as his assistant for a week. Living a life of luxury in Bel Air, Jeff’s concerns revolve around extravagant events and personal indulgences. Despite his caricature, he seems genuinely decent. However, when Arj uses the company card for a personal expense—promising repayment—he’s promptly dismissed, prompting Gabriel, the guardian angel, to intervene.

Gabriel, seeking purpose, initiates a switch between Arj and Jeff, but the outcome challenges the film’s narrative; wealth truly benefits Arj, and the movie fails to reconcile this irony. Watching Jeff experience life as a common man doesn’t provide a satisfying narrative arc either.

Unfortunately, Reeves’ character is reduced to a simple role, sidelining any deeper exploration of his character in the script.

Perhaps the script could have been enhanced by insights from actual gig workers, as the film somewhat mirrors “Sullivan’s Travels,” albeit without the charm.

Among the cast, the standout is Keke Palmer’s Elena, Arj’s colleague at a hardware store, representing the balance between acceptance of one’s circumstances and aspirations. Although “Good Fortune” aspires to convey heartfelt themes, it ultimately lacks the spark that could have made it resonate more with audiences.

“Good Fortune,” a Lionsgate release, is rated R for language and some drug use, with a runtime of 98 minutes. The film rates two stars out of four.