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Digital Print: Robert Pattinson “is in the centre of the action #GoodTime | Ray Magazine (Germany)

Robert Pattinson is in the center of the action in Good Time

Good Time is featured in Ray magazine this month.  To our German speaking followers, is this a so-so review or has Google not translated it well?

Updated: It’s not so so they disliked the film.  Thanks @Nicole2Dogs for the confirmation.

Google translate:

Connie Nikas, a young man who somehow struggles to live in the metropolis of New York, needs money. More specifically, $65,000, which has something to do with his family running the risk of losing their Virginia farm. So Connie decides to rob a bank. It’s not really a good idea, however, as his accomplice he involves his mentally challenged brother Nick. The simple plan fails of course, across the board, Connie can barely escape, but Nick is arrested and finds himself in the famous prison Rikers Island. First of all, Connie wants his brother bailed out, so he persuades his girlfriend (Jennifer Jason Leigh) to lend him the money. But when her credit card is declined, Connie finds it necessary to resort to drastic and desperate measures to help free his brother. And before him is a turbulent night, which brings him more problems.

Robert Pattinson must perform a tour de force in the role of chaotic petty-crime Connie. Almost always he is in the center of the action, his trip through the New York night is evidently more akin to a chase that hardly leaves the protagonist – and the spectator – any respite. A condition that Good Time also takes into account formally. A nervously guided handheld camera, which prefers to provide close-up shots, corresponds visually with the prevailing hectic pace. The problem is that Good Time does not understand how to generate narrative credibility or even authenticity at any stage. The stations of Connie’s tour appear like a questionable dramatic construct that does not want to fit any end. That may be because the directors Joshua and Ben Safdie, who are considered as pronounced arthouse and festival favorites in their previous work (and this is justified at least for their documentary Lenny Cooke, who highlights a failed professional basketball career), must continue down this track . However, Good Time recalls that when it comes to plot, characters, and formal resolution, it’s just too intrusive its status as such a favorite, a rigor that gives the film a slightly strange feel. And to skip the great Jennifer Jason Leigh with a clichéed short appearance, is not at all.

Thanks Posh.