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Aziz Ansari's directorial debut, the whimsical film by comedian the director, has been facing challenges in theaters. Many reasons could explain the film's performance: Its generic name fails to convey its film's unique charm. The screenplay can be preachy and obvious regarding the themes. The acting are flat and presentational, like the actors are reciting lines straight from the page. And, it arrives at a time of economic anxiety and inequality, that could render audiences not very receptive to a story which suggests wealthy people have all the advantages while those in need have spirit.

But, here's what the movie stands out: It's original, daring, creative, frequently humorous, and certainly relevant. Plus, it provides an unexpectedly enjoyable the actor hangout movie.

Keanu Reeves in the role of Guardian: A Familiar Performance

I have never considered Keanu Reeves to be a good performer. His flat delivery and persistent expression of mild concern has consistently felt one-note, despite the broad range of characters he's played over the last four decades years. Smart directors have often placed Reeves in parts where that stoic nature fits ideally, from his early work to the sci-fi classic to the action series. But nearly all of these roles required Reeves to appear tough, closed-off, and removed.

In the film, Reeves portrays Gabriel, one minor guardian celestial being tasked with watching over people who text while behind the wheel. The character's entire job is remaining in his vehicles and gently making contact with their arms when they are close to have an accident, alerting them in order that they brake in time. However, when positioned overlooking the city, gazing on the mortal world similar to an alternative interpretation of the angel in the director's renowned movie Wings of Desire, the character gets ambitious. Gabriel desires to be a great protector and rescuer of wayward souls.

The Surprising Shift: Reeves as a Mortal

Therefore, Gabriel presents his presence to struggling odd-jobber Arj (portrayed by the director), who is living in his car and resenting his life. Gabriel proceeds to swaps the man into the existence of stupidly wealthy businessman Jeff (played by Seth Rogen). This idea behind the experiment was for Arj to realize Jeff's existence comes with major downsides, and thankfully return to his original circumstances, similar to the character from It's a Wonderful Life.

Problem is, Arj right away realizes how Jeff's problems (tedious appointments, expensive heating bill) are minor and readily resolved with money. He further sees how being affluent opens up limitless opportunities for self-indulgent fun. He has zero interest in going back to his own situation, and the angel is unable to force Arj to go back. Then, additional trouble arrives: For exceeding his mandate and messing with the order of the world, the character loses his position from his angel job, and transformed into a human being.

The Discovery: The Actor Smiles

I was never convinced by Reeves playing an angel with grand dreams and an intense desire to effect change. Reeves delivers the same vaguely stiff performance he has been offering for no less than the past three ten-year periods. Viewing Reeves as an angel who's recently become mortal initially, on the other hand, was a blast, due to something that really astonished viewers at first: This is something different for Reeves. Or to be precise, something old.

Soon into his confusing experience being a human, clinging to the wealthy character (whom Gabriel had swapped with Arj's hand-to-mouth life and jobless status), Gabriel starts hesitantly trying out human experiences like chewing and consuming meals. And the actor smiles. Genuinely, cautiously, happily smiles. (This is far much convincing than the smile on the poster, which appears artificially added.)

The Reason That Smile Matters

It truly surprised me to recognize just how unexpected and refreshing that smile was. At what point was the last time audiences observed Keanu Reeves smile in a movie in which he was not expressing ill will, irony, or bitterness? He probably attempts a smile at some point in the recent ill-conceived Bill & Ted Face the Music, however I am not revisiting the mess to confirm. The actor has been typecast with serious, murderous, introspective, or just solemn characters for such a duration that just watching him smile felt like seeing an entirely different performer.

As the plot goes on, the character finds himself having to take a kitchen job, a role that fails to provide sufficient for survival, and Gabriel starts chain-smoking due to disappointment. Just the sight of Reeves in a disposable paper restaurant hat, with his late-career trademark locks tied in a plain bun, slouching on a wall and puffing on a smoke, is worth the price of admission. His dishwasher attire completely alters his appearance and posture: Suddenly, the lean, well-dressed physical powerhouse of the John Wick movies becomes awkward, ordinary, and a lot more relatable.

A Joy of Viewing Reeves Relax

The film is not always fun to view, especially when Ansari (that also wrote the screenplay) must create plausible explanations for {Ar