Aziz Ansari’s long-awaited return to the big screen Good Fortune should have been something special — a heartfelt, clever comedy about life, privilege, and purpose. Instead, it lands somewhere in the middle: charming in concept, awkward in execution, and ultimately forgettable.

The film follows Gabriel (Keanu Reeves), a clumsy but well-meaning angel who meddles in the lives of a struggling gig worker, Arch (played by Ansari himself), and a wealthy venture capitalist, Jeff (Seth Rogen). Keke Palmer rounds out the main cast as Elena, Arch’s love interest and a labor organizer with far more emotional depth than anyone else in the film.

At its best, Good Fortune tries to blend heavenly whimsy with real-world struggle. Palmer’s scenes — especially those tied to workers’ rights and self-worth — bring a surprising dramatic heft. Her performance glows with authenticity, effortlessly outshining the film’s otherwise uneven tone. She’s the heart of this movie, and frankly, the only reason to stay invested.

The problem, however, lies in Keanu Reeves’s casting. Known for his stoic charm, Reeves seems misaligned with the film’s quirky, bumbling energy. His portrayal of Gabriel feels off — like a man reading the script for the first time. While some argue this was intentional, it doesn’t make it enjoyable. The humor surrounding him simply doesn’t land, and since he anchors so much of the comedy, the film’s lightness collapses.

Aziz Ansari’s Arch fares slightly better, carrying moments of sincerity and self-awareness. But the romantic chemistry between him and Palmer is thin — the kind of Hollywood pairing that feels more like a creative wish than believable storytelling. It’s reminiscent of old-school comedies where average guys end up with women way out of their league, but without the charm or self-parody to make it work.

Seth Rogen, meanwhile, does what Seth Rogen does best — playing a version of himself with minor tweaks. He’s fine, funny at times, but his performance feels like a small note in an unfinished song.

Narratively, Good Fortune tries to blend class commentary with romantic comedy tropes, echoing the modern “eat the rich” sentiment seen in everything from Parasite to The Menu. But here, that theme feels overdone and undercooked at the same time — too heavy for a lighthearted rom-com, yet too surface-level to have any bite.

To Ansari’s credit, his growth as a filmmaker is noticeable. Echoes of Master of None’s introspective storytelling peek through, and you can feel his intention to balance heart with humor. Unfortunately, intention isn’t enough. The movie’s tone wobbles between earnest drama and awkward comedy, never quite finding the sweet spot.

In the end, Good Fortune is just that — a well-meaning, mild movie that neither offends nor inspires. It’s the cinematic equivalent of a polite smile: pleasant, but gone the second you look away.

Rating: 5/10
Keanu fans will find moments to love, and Aziz devotees may enjoy seeing his creative voice evolve. But for most viewers, “Good Fortune” is a forgettable slice of okayness wrapped in angel wings.