Conor Bateman
August 8, 2017 — By Conor Bateman

Good Time

A review of the sixth feature film from Josh and Benny Safdie for 4:3.

Review: Good Time

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.