Good Time ★★★★½

The Safdies, armed with Sean Price Williams, continue to have an unfailingly perfect ability to film old sweat on a person who's been walking all day, that thin glaze that hangs off of people. There are many spellbinding shots in the film that feel completely tactile - the dull haze of TV screens illuminating dark rooms, the permanent fog inside a smoker'a house, smears of neon signs - but the truly transfixing presence is that of Connie, a man just smart enough to stay abreast of how stupid he is. The Safdies, without ever standing on ceremony about it, craft a film about white privilege that is tacitly realized entirely through the way the protagonist simply takes over every space he is in, particularly those otherwise occupied by POC. Connie's charms, manipulations and attacks find him able to fall back on a default layer of social protection even as his behavior grows more haphazard and noticeably wrong. Pattinson is great as the compelling, gradually disintegrating Connie, as is Duress as the animalesque recidivist who gets caught up in things on his mission to get as messed up as possible out the feds. He has the caged, self-immolation quality you find in early Scorsese. Ray, too, enjoys a level of security not afforded to the innocent people of color with whom Connie crosses paths in the film's most disturbing insinuations.