---
title: "Good Time"
year: 2017
kind: "film"
canonical: "https://film.one/film/good-time"
fi1m_id: "good-time"
imdb_id: "tt4846232"
tmdb_id: 429200
wikidata_id: "Q22350752"
fi1m_score: 82
critics_score: 75
critics_reviews: 10
published: "2026-09-16"
updated: "2026-09-18T08:37:50.001674+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Good Time (2017)

Directed by Josh Safdie, Benny Safdie · 1h 42m · MPA R · Crime, Thriller, Drama

## Identity

Good Time

- **Canonical:** https://film.one/film/good-time
- **Type:** Film
- **Fi1m ID:** good-time
- **IMDb ID:** tt4846232
- **TMDB ID:** 429200
- **Wikidata ID:** Q22350752
- **Same entity:** https://www.imdb.com/title/tt4846232/, https://www.themoviedb.org/movie/429200, https://www.wikidata.org/wiki/Q22350752

**Fi1m score: 82** · Critics 75 from 10 reviews

*In a sentence:* Robert Pattinson needs a favour, and we would advise keeping the door shut

> Robert Pattinson makes a desperate crook hard to stop watching in this fast, grubby thriller. Josh Safdie and Benny Safdie keep the pressure on, though the later complications offer less than the early panic promises.

## Synopsis

In present-day Queens, New York, a bank robbery goes wrong for Connie Nikas (Robert Pattinson) and his brother, Nick Nikas (Benny Safdie). With Nick in custody, Connie sets out to get him released on bail. That means finding money and dealing with Eric the Bail Bondsman (Eric Paykert). Through a night in the city, Connie recruits help, improvises plans and tries to stay ahead of the consequences of his decisions. His brother’s freedom gives him a purpose, but his own behaviour keeps creating fresh obstacles. Each attempt to put things right draws other people into the trouble.

## Review

Josh Safdie and Benny Safdie make a bank robbery the start of a longer mess in *Good Time*. Their thriller follows Connie Nikas, a small-time criminal trying to get his brother out of custody, and asks how much damage can be excused in the name of helping someone. We recommend it for Robert Pattinson’s restless, persuasive performance and the directors’ knack for making another bad decision seem briefly necessary. The later complications are less convincing, but for much of its 102 minutes the pressure is difficult to resist.

Robert Pattinson understands how a man this reckless could still persuade people to listen to him. Connie treats his latest plan as something that ought to be obvious to everyone, however little reason there is to trust it. The black comedy comes from the gap between that confidence and his competence. We laughed at his certainty, then felt uneasy about enjoying it: the man making these dreadful decisions is supposed to be rescuing Nick. The performance lets us understand why people might listen even when we wish they would walk away.

Benny Safdie plays Nick Nikas, the vulnerable brother whose predicament gives Connie his excuse to press on. There is enough affection between them to make the rescue matter, and enough recklessness in Connie to make us doubt his judgement throughout. The directors let his behaviour show how dangerous devotion can become when the person offering it will not stop to think. We remain aware that Nick is the person meant to benefit, even as Connie’s determination takes up more and more of our attention.

Sean Price Williams uses restless framing and harsh colour to make New York feel difficult to settle into. The images keep our attention close to Connie’s agitation, and the lack of visual rest does much of the work of sustaining the panic. Sam Lisenco’s production design supplies grubby surroundings that make this scrambling feel plausible. The city looks used and untidy, with little to encourage the comforting thought that someone responsible might arrive and sort things out.

The editing by Benny Safdie and Ronald Bronstein supplies much of the speed. Each fresh difficulty arrives before there is much time to weigh the previous decision, which puts us in the uncomfortable position of following Connie’s priorities. Daniel Lopatin’s electronic score makes that pressure almost physical, encouraging the feeling that any delay could be disastrous. The insistence is effective, although there are passages where we would rather hear less of it. Robert Pattinson supplies enough nervous energy without every possible reinforcement.

The script, by Ronald Bronstein and Josh Safdie, becomes less satisfying as the complications multiply. Some of the later trouble feels arranged to keep Connie moving, and his ability to draw others into it begins to serve the thriller too conveniently. The supporting characters have enough life to make this worth objecting to: we become interested in them just as Connie needs to move on. For a crime film built around mounting panic, that loss of patience is a meaningful weakness. The final third still moves quickly, but we wanted fewer new obstacles and more time with the people already caught up in his plans.

There is no need to find Connie likeable to be caught up in this, but there is a need to tolerate his company. Robert Pattinson makes that easier than it has any right to be, and the film’s pace allows little time to reconsider. Choose it when being kept on edge sounds like a reasonable use of an evening.

*Fi1m score 82, published 16 September 2026.*

## What the critics say

Most critics welcome Good Time as an urgent, unpredictable crime thriller, with praise clustering around Robert Pattinson’s performance as Connie. The reviews find him convincing as a manipulative, desperate criminal, often noting the black comedy and nervous energy of his bad decisions. The Safdies’ restless direction, vivid New York locations and electronic score also draw strong approval. Several critics find feeling in the brothers’ relationship, giving the frantic action a human cost.

The disagreement concerns how much the film offers beyond its immediate thrills. The Telegraph finds the final third weaker, while Collider praises the performances and craft but argues that a plot turn drains the tension. Most assessments remain firmly positive, making The New York Times a marked dissenter: it acknowledges skilful direction and a strong score but finds the film cold, stale and short of substance. Connie’s behaviour is compelling for most critics and alienating for others.

## Straight answers

**Is Good Time worth watching?**

*Good Time* is worth watching for anyone who can tolerate 102 minutes in the company of a reckless small-time crook, and we scored it 82. Robert Pattinson makes Connie Nikas hard to look away from, and the Safdie brothers keep the pressure on. The later complications convince less than the early panic, but the pace rarely lets you stop to mind.

**How long is Good Time, and what is it rated?**

*Good Time* runs 1h 42m and is rated R by the MPA in the US. It is a crime and thriller film.

**Where can I watch Good Time in the US?**

*Good Time* is streaming on Tubi in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $2.99. It leaves Tubi on 1 October. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Good Time, and is it suitable for children?**

*Good Time* is a 15 in the UK and rated R in the US, a grubby crime thriller about a bank robbery that goes wrong and a long night of bad decisions. It is not for children, and its constant agitation and Daniel Lopatin's insistent score make it hard going for anyone who dislikes being kept on edge. Teenagers of the certificate age who like crime films should manage.

**How does Good Time compare to After Hours?**

*Good Time* and [*After Hours*](https://film.one/film/after-hours) both follow a man through a New York night in which getting home becomes an unreasonable ambition, but they differ in tone. Scorsese's film is a comedy of mounting embarrassment; the Safdies' is a thriller of mounting damage, its laughs uneasy rather than light. *After Hours* is the more consistent of the two, while *Good Time* has the stronger central performance.

**What should I watch after Good Time?**

After *Good Time*, try [*After Hours*](https://film.one/film/after-hours) (1985, Fi1m 80): Another night in New York when getting home becomes an unreasonable ambition. Then [*Victoria*](https://film.one/film/victoria) (2015, Fi1m 76): A night out turns criminal, with decisions made faster than anyone can reconsider; and [*La haine*](https://film.one/film/la-haine) (1995, Fi1m 90): City streets, frayed loyalties and mounting trouble, with room to know the people.

### Reviews we read (20)

- **Film Comment**, Amy Taubin (85/100, inferred): The critic is firmly on the side of the hapless bank robber Connie trying to free his vulnerable brother, calling the film a kinetic trip through New York’s underbelly that proves the Safdies have found their own genre-savvy voice. [Read](https://www.filmcomment.com/article/cannes-2017-visages-villages-the-florida-project/)
- **The Guardian**, Peter Bradshaw (85/100, inferred): The Safdies deliver an electrifying urban thriller that combines authenticity with accessibility. Pattinson is utterly convincing as the manipulative, volatile Connie. [Read](https://www.theguardian.com/film/2017/nov/19/good-time-robert-pattinson-excels-electrifying-urban-thriller)
- **Radio Times**, Damon Wise (4/5): A fresh and unpredictable crime story that spins 1980s yuppie-nightmare and 1990s heist tropes into something new, with Pattinson delivering possibly his best performance by mining the role for black comedy as a would-be mastermind who is actually a moron. [Read](https://www.radiotimes.com/movie-guide/b-7b681a/good-time/)
- **The Telegraph** (4/5): Pattinson lands his best role yet as a fever-brained small-time crook in this high-stress crime film. The Safdies thrust viewers into the thick of situations with a grungy, electric energy, though the final third lets it down slightly. [Read](https://www.telegraph.co.uk/films/0/cannes-2017-robert-pattinson-lands-best-role-yet-good-time/)
- **Time Out**, Dave Calhoun (4/5): This cocky, grubby and electric NYC crime thriller features Pattinson on top form as a quick-witted, charismatic chancer whose exploits keep the film moving at a relentless pace. The Safdies’ show-off direction and the depth of supporting characters elevate it beyond a standard thriller. [Read](https://www.timeout.com/movies/good-time)
- **The New York Times**, A.O. Scott (30/100, inferred): The critic describes the film as ultimately stale, empty and cold despite its crafty direction and strong score. He singles out the protagonist's sliminess and the story's lack of deeper substance for complaint. [Read](https://www.nytimes.com/2017/08/10/movies/good-time-review-robert-pattinson.html)
- **Empire**, Helen O'Hara: The Safdie brothers deliver an acid-bright, restless chase through New York's grimy corners that stands as one of the year's most compelling thrillers. Pattinson gives a strong, driven performance as the scuzzy but compelling Connie in a gritty, character-driven throwback. [Read](https://www.empireonline.com/movies/reviews/good-time-2-review/)
- **Los Angeles Times**, Justin Chang: The critic calls the film a swift, relentless and exhilarating thrill that proves exactly what its title promises. He singles out Robert Pattinson's revelatory, career-best performance for particular praise. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-good-time-review-20170810-story.html)
- **RogerEbert.com**, Brian Tallerico: The critic praises the film's anxious, edgy energy reminiscent of 1970s city movies and Robert Pattinson's standout central performance. He singles out Pattinson's conveyance of nervous energy and instinctual bad decisions for particular praise. [Read](https://www.rogerebert.com/reviews/good-time-2017)
- **Screen Daily**: The Safdie brothers unite with Pattinson for an unforgettable ride marked by desperate, grungy velocity and raw performances in a powerfully immersive thriller full of unpredictability. The film crackles with energy and should raise the directors’ profile. [Read](https://www.screendaily.com/reviews/good-time-cannes-review/5117795.article)
- **Sight and Sound**, Adam Nayman: The Safdies deliver a frenetic bungled-heist thriller that is morally disorienting yet cinematically expressive, with Pattinson excelling as a low-level hustler whose actions create moral ambiguity without overt judgment. The film’s observational style and visual inventiveness stand out as strengths. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-good-time-takes-spin-around-robert-pattinsons-no-good-hood)
- **The Hollywood Reporter**, David Rooney: The critic calls it a riveting race-against-time thriller with a pounding heart. Robert Pattinson's commanding performance and the film's restless visuals and adrenalizing score are singled out for praise. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/good-time-review-cannes-2017-1004988/)
- **Total Film**: Robert Pattinson delivers a career-best turn as a criminal in this urgent, gaudy crime-thriller about a botched heist and escalating night of mayhem. The Safdies craft a poetically pulpy, sweaty ode to 70s crime films with vivid performances and a striking electro score. [Read](https://www.gamesradar.com/2017-robert-pattinson-gives-career-best-performance-in-crime-thriller-good-time/)
- **Variety**, Guy Lodge: The critic highlights the film's nervy, vivid heist thriller qualities and Robert Pattinson's career-peak performance. He singles out the blend of gutter realism with tight genre mechanics for praise. [Read](https://variety.com/2017/film/festivals/good-time-cannes-review-robert-pattinson-1202426336/)
- **Vulture**: The review describes a propulsive thriller centered on a humane, destructive brotherly love. Pattinson's intense, empathetic performance as Connie is highlighted as some of his best work. [Read](https://www.vulture.com/article/cannes-2017-good-time-review.html)
- **The Ringer**, K. Austin Collins (90/100, inferred): The critic calls it an instant classic New York City movie and the Safdie brothers' best film yet, highlighting its frenetic ode to the city's underbelly and Pattinson's ferocious, unpredictable performance as Connie. It singles out the film's thrilling, morally complex portrayal of manipulation and inequity, rooted in a vivid, chaotic present-day New York without didactic reminders of its timeliness. [Read](https://www.theringer.com/2017/08/08/movies/good-time-film-review-robert-pattinson-safdie-brothers)
- **The Skinny**, Joseph Walsh (★★★★): Robert Pattinson gives a blistering, accomplished performance as the desperate low-level criminal Connie in this breathless heist movie that proves the Safdie brothers’ finest work so far, with a frantic ride centered on the brothers’ relationship and strong support from the score and cinematography. [Read](https://www.theskinny.co.uk/film/new-releases/good-time)
- **The Wrap**, Sam Fragoso (80/100, inferred): The Safdie brothers deliver a taut, tough tale of one sibling doing everything possible to bail out the other after a botched bank robbery. The critic singles out Robert Pattinson’s manic, adrenalized performance and the authentic, textured depiction of Queens as the film’s standout elements. [Read](https://www.thewrap.com/good-time-review-robert-pattinson/)
- **Collider**, Gregory Ellwood (B-): The critic praises the strong performances, especially Pattinson's nuanced take on an unsympathetic character, along with the memorable electronic score and striking visuals from cinematographer Sean Price Williams. However, the gritty thriller ultimately fails to fully add up, with a twist that saps tension and leaves the viewer disengaged from the protagonist's desperate actions. [Read](https://collider.com/good-time-review-robert-pattinson/)
- **The Playlist**, Jessica Kiang (B+/A-): The critic hails the film's electric, propulsive energy and Robert Pattinson's commanding lead performance. They single out the sincere, authentic portrayal of the brothers' relationship alongside the seamless blend of genre thrills with arthouse sensibilities. [Read](https://theplaylist.net/josh-benny-safdies-good-time-robert-pattinson-jennifer-jason-leigh-barkhad-abdi-cannes-review-20170525/)

## Details

- **Director:** Josh Safdie, Benny Safdie
- **Director:** Josh Safdie, Benny Safdie
- **Writer:** Ronald Bronstein, Josh Safdie
- **Cinematography:** Sean Price Williams
- **Editor:** Ronald Bronstein, Benny Safdie
- **Music:** Oneohtrix Point Never
- **Production design:** Sam Lisenco
- **Costume design:** Miyako Bellizzi, Mordechai Rubinstein
- **Producer:** Paris Kassidokostas-Latsis, Terry Dougas, Oscar Boyson
- **Cast:** Robert Pattinson as Connie Nikas; Benny Safdie as Nick Nikas; Buddy Duress as Ray; Taliah Webster as Crystal; Jennifer Jason Leigh as Corey Ellman; Barkhad Abdi as Dash the Park Security Guard; Necro as Caliph; Peter Verby as Peter the Psychiatrist
- **Runtime:** 1h 42m
- **Certificate (MPA):** R
- **Release (the US):** 11 August 2017
- **Genres:** Crime, Thriller, Drama
- **Budget:** $2 million
- **Box office:** $3 million
- **Trailer:** https://www.youtube.com/watch?v=upsR80YmwWc

## Where to watch in the US

- Tubi: free, hd, leaving 2026-10-01
- Amazon Prime Video: rent $2.99, sd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $12.99, sd
- Apple TV: buy $12.99, sd

*Checked 2026-09-16.*

Also available in: AR, AT, AU, BE, BR, CA, CH, CO, DE, DK, EE, FI, FR, GB, IE, IN, IT, JP, LT, NL, NO, NZ, PA, SE, SG, TR, UA, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *After Hours* (1985), Fi1m 80: Another night in New York when getting home becomes an unreasonable ambition. — [Fi1m page](https://film.one/film/after-hours.md)
- *Pusher* (1996): A botched deal leaves a small-time criminal discovering how few friends he has.
- *Victoria* (2015), Fi1m 76: A night out turns criminal, with decisions made faster than anyone can reconsider. — [Fi1m page](https://film.one/film/victoria.md)
- *La haine* (1995), Fi1m 90: City streets, frayed loyalties and mounting trouble, with room to know the people. — [Fi1m page](https://film.one/film/la-haine.md)
- *Uncut Gems* (2019), Fi1m 85: The same directors follow another persuasive man who keeps making his situation worse. — [Fi1m page](https://film.one/film/uncut-gems.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/good-time