‘Good Fortune’ review: Keanu Reeves plays an angel gifting economic justice

It’s easy to miss the confidence of Billy Wilder or Frank Capra whenever some brave soul tries to make a comedy that takes America’s temperature by straddling cynicism and optimism. Those Hollywood masters could handily juggle the sweet, sour and satirical and, in Wilder’s case, even leave you believing in a happy ending.

With his writing-directing feature debut, “Good Fortune,” however, Aziz Ansari, who stars alongside Seth Rogen and Keanu Reeves (as an angel named Gabriel), swings big, hoping to capture that jokey truth-telling vibe about the State of Things. His subject is a fertile one too: the gig economy fostering our crushing inequity, but also the desperation of the have-nots and how oblivious the wealthy are about those who made them rich. So let’s stick it to the billionaires! Let Keanu help the downtrodden!

Ansari’s high-low morality tale, set in our fair (and unfair) Los Angeles, is a friendly melding of celestially tinged stories (“Heaven Can Wait,” “Wings of Desire”) and body-swap comedies (“Trading Places”). But as agreeable as it is, it can’t square its jabs with its sentimentality. It’s got heart, kind eyes, a wry smile and some funny lines, but no teeth when you really need things bitten into, chewed up and spit out.

Ansari plays Arj, living a serious disconnection between his professional identity — wannabe Hollywood film editor — and how he actually exists: task-gigging for scraps and living in his car. When a garage-reorganizing job for Jeff (Rogen), a Bel-Air venture capitalist, turns into an assistant position, Arj feels secure enough to use the company card for a fancy dinner with occasional colleague and romantic interest Elena (an underused Keke Palmer). Jeff clocks the charge the next day, though (a realistic detail about the rich watching every penny), and immediately fires Arj.

All along, Arj’s sad situation has touched Reeves’ long-haired, khaki-suited angel, whose life-saving purview (he specializes in jostling distracted drivers) is low in the hierarchy overseen by boss guardian Martha (Sandra Oh). Gabriel wants a big healing job to show Arj, with a little role-reversal magic, that being Jeff isn’t all it’s cracked up to be. Except, of course, it is. (David Mamet’s line “Everybody needs money — that’s why they call it money” comes to mind.) The newly luxe-and-loving-it Arj shows no signs of wanting to switch back (which is apparently his call to make in the rules of this scenario), leaving out-of-his-depth Gabriel in the position of convincing a sudden billionaire why he should go back to being poor.

Which is where “Good Fortune,” for all its grasp of how Depression-era screwball comedies made the filthy rich mockable, struggles to match its issue-driven humor with its fix-it heart. While it’s funny to watch Rogen’s freshly desperate character suffer food-delivery humiliation, buying the script’s changes of heart — and the film’s naïve idea of where everyone should be at the end — is another matter. That’s why screwball comedies didn’t try to upend capitalism, just have some clever fun with it and let a simple love story stick the landing. Ansari’s ambition is admirable but he’s better at diagnoses than solutions.

His gold-touch move is giving the hilariously deadpan Reeves one of his best roles in years: a goofy meme brought to disarming life and the movie’s beating heart. Doing good can be hard work; understanding humans is harder. Plus, Reeves makes eating a burger for the first time a sublimely funny reaffirmation that sometimes, indeed, it is a wonderful life.