The life swap trope is a familiar premise that’s been mined for laughs for decades, but in actor, writer, and director Aziz Ansari’s “Good Fortune,” he gives it a modern twist by looking at the story through the lens of today’s gig economy. This fantasy comedy-drama finds humor and heart in the struggle for meaning, fairness, and connection in an unequal world. It’s not that the movie works better as a comedy, it’s just that it’s a ton more fun to watch when it is.
The film tells the story of angel Gabriel (Keanu Reeves), a well-meaning but inept divine being tired of performing minor miracles. Seeking a grander purpose, Gabriel meddles in the lives of two mortals: Arj (Aziz Ansari), a struggling gig worker living out of his car, and Jeff (Seth Rogen), a self-absorbed venture capitalist insulated by wealth. In a fit of misguided compassion, Gabriel forces the two men to swap lives, convinced that each will learn something from walking in the other’s shoes. What follows is a sharp, spirited satire on class privilege, empathy, and the elusive pursuit of happiness.
Ansari’s screenplay certainly draws from familiar templates, but infuses them with contemporary relevance. Through Arj’s exhausting hustle and Jeff’s empty affluence, the film captures the absurdities of the gig economy and the emotional bankruptcy of unchecked privilege. Ansari and Rogen are naturals at comedic timing, and Reeves perfects a deadpan curiosity about human habits that adds a touch of whimsy. This is a great cast that’s believable, relatable, and entertaining.
Though the film occasionally leans into heavy-handed messaging about wealth inequality and systemic injustice, its sincerity and good-natured tone keep it light. This is a very ambitious project for Ansari as it weaves between high concept fantasy, romantic comedy, and social satire, and he handles it exceedingly well. He does hit a few speed bumps, though. The moral lessons that wealth can’t buy happiness, that empathy bridges divides, and that privilege should be used for good aren’t exactly profound revelations. Some of the commentary on class dynamics is a bit too on the nose. Yet the movie’s warmth and wit make up for its occasional preachiness, and Ansari’s sincerity, coupled with the ensemble’s chemistry, transforms familiar themes into something uplifting.
Ultimately, “Good Fortune” is less about divine intervention and more about human connection. It argues that happiness isn’t found in status or wealth, but in purpose, empathy, and capacity for kindness.
