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Aziz Ansari<\/strong> premiered his directorial debut, Good Fortune<\/em>, at the Toronto International Film Festival over the weekend, and while early critical response suggests the film delivers laughs, it may not be the blessing it hopes to be.<\/p>\n The body-swap comedy that stars Keanu Reeves<\/strong> as Gabriel, an angel on a quest for deeper meaning in his work, who crosses paths with Arj (played by Ansari), a hapless gig worker. A cosmic mix-up soon finds Arj switching bodies with a wealthy venture capitalist, played by Seth Rogen<\/strong>. The ensemble cast also includes Sandra Oh <\/strong>and Keke Palmer<\/strong>, and the film is set to hit theaters on Oct. 17.<\/p>\n More from Gold Derby<\/strong><\/p>\n Nick Schager<\/strong> at The Daily Beast<\/a> says that while the setup holds promise, the execution wavers. “Ansari\u2019s script is too light on sharp one-liners,\u201d he writes. Even Reeves\u2019 charismatic turn can only do so much to prop up the dialogue. \u201cReeves\u2019 inspired\u00a0Bill and Ted\u2019s<\/em>-ish delivery notwithstanding, the dialogue frequently lacks bite, and in its final stages, it gets preachy to a borderline-egregious degree.\u201d Still, Schager acknowledges that the film is not without its charms. \u201cAnsari’s maiden directorial outing gets by on its agreeable vibes and Reeves\u2019 delightful turn \u2014 even if, ultimately, it falls a bit short of heavenly.\u201d<\/p>\n That sentiment is echoed by The Guardian<\/a><\/em>\u2019s Benjamin Lee<\/strong>, who compares the film to Ansari\u2019s earlier work, particularly the Netflix comedy Master of None<\/em>. Lee writes, \u201cAnsari is an undeniably funny person,\u201d but argues that the filmmaker\u2019s strengths don’t translate easily to the genre he\u2019s now attempting. \u201cMaster of None<\/em> was a show of wry observational humor about the often absurd realities of dating and work and friendship. It felt like the perfect mode for Ansari, who also made for a charismatic lead. Transporting his sensibility to a high-concept comedy fantasy is a gambit that just sadly doesn\u2019t work.\u201d Though the central trio of Ansari, Reeves, and Rogen are likable, Lee finds the film\u2019s early promise fizzles quickly. \u201cThere\u2019s no sense of pace to it, with some rushed and alienating editing, Ansari desperately in need of the confident hand and slicker formula found in the films he\u2019s trying to emulate.\u201d<\/p>\n At RogerEbert.com<\/a>, Brian Tallerico<\/strong> also highlights the tension between a clever concept and underdeveloped execution. \u201cIt feels like Ansari came up with a great idea before really figuring where he was going to take it.\u201d While he praises Palmer\u2019s performance he suggests the film never quite gels. \u201cShe is charming every time, and that\u2019s certainly the case here, even if she doesn\u2019t exactly have enough chemistry with Ansari.\u201d<\/p>\n Meanwhile, The Hollywood Reporter<\/a><\/em>\u2019s Michael Rechtshaffen<\/strong> says the film\u2019s earnestness, but questions its competing tones calling it an “alternately fun and clunky satire.” While the film packs its share of genuine laughs he writes, \u201cthe end result can\u2019t escape feeling like a hodgepodge, incapable of cohesively blending the satirical elements with the earnest messaging foremost on its mind.\u201d Still, he concludes that Good Fortune<\/em> remains watchable, \u201cGood Fortune<\/em>\u00a0coasts along agreeably on all those good intentions.\u201d<\/p>\n Best of Gold Derby<\/strong><\/p>\n Sign up for Gold Derby’s Newsletter<\/a>. For the latest news, follow us on Facebook<\/a>, Twitter<\/a>, and Instagram<\/a>.<\/p>\n