‘Good Time’ proves R-Patz would make the perfect Batman
Recently some fearful mutterings have been circulating among the good folks over at Film Twitter that “the guy from those Twilight movies might be the next Batman”. Apparently for some, Robert Pattinson’s career begins and ends with his embarrassing appearances in teen vampire flicks that he himself has denounced.
We’re here to tell you not only why you’re dumb as rocks if you’re still holding on to that opinion: one post-Twilight role in particular proves Pattinson has everything it takes to inherit the mantle of the Bat.
It’s recently been heavily rumored that California pretty boy Armie Hammer is circling the role, but we’re convinced his perfectly preened quiff and smarmily intellectual demeanor doesn’t quite hold the statuesque solidity needed to accurately capture the Dark Knight.
We would have told you the same thing was true of Robert Pattinson until a few years ago, but his indie collaborations with idiosyncratic directors like David Cronenberg and David Michôd proved his capabilities stretched much further than brooding & sparkling.
When Pattinson appeared in the Safdie Brothers’ sophomore effort, Good Time, not only were we turned on to potentially the next generation’s answer to Martin Scorsese and the Coen Brothers, our minds couldn’t quite handle the ease with which Pattinson managed to melt into such a demanding role. He completely disappeared before our eyes, convincing us utterly that Connie Nikas was a flesh & blood person you could find prowling the streets of New York.
Here are all the reasons why Robert Pattinson’s performance in Good Time is an all-timer.
Had you never seen Robert Pattinson tackling the neutral American accent for Edward Cullen or speaking in his natural British cadence for his pre-Hollywood roles, watching Good Time you would have assumed the guy was born and bred on the streets of New York. Every syllable drips with street knowledge, and even when tackling motormouth dialogue or demanding improvisation, Pattinson expertly slips into the mind of a NY hustler.
Not only is the Safdies’ screenplay one of the most thrilling to come out of the indie scene in the last few years, Pattinson keeps it fresh & exciting throughout every twist & turn. Loaded with NYC slang and vulgarity, the ex-vampire tackles it au naturale and makes us believe in the character more with every reading. Any remnants of his past roles dissolve with each chance meeting or intimate moment with his brother (a brilliant turn by co-director Benny Safdie).
Connie’s signature look is deceptively simple, but it’s comprised of a handful of elements that, when blended together, forge a distinct personality that couldn’t be further away from the prim & proper Edward Cullen. A ratty goatee, bleach-blond hair, and a dazed vacancy that offers a window into the night before adds up to a vision of gauntness & substances, and his distinct wardrobe hangs off Pattinson like he’s been wearing it his entire life.
They might be a pair of petty criminals and street hoodlums, but the relationship between Connie and his mentally challenged brother is brimming with shared secrets and unshakeable dependency. The two of them command the camera with shared closeups, brotherly love consistently ringing true against the cacophony of hard streets and a society that refuses to care.
Our immediate thoughts when Robert Pattinson was suggested to pull on the cape and cowl was “that skinny guy?” Then we thought of Good Time. We thought of Connie pumping long legs down an endless street, his scrappy efficiency in desperate brawls, and fixing adversaries with a cold, immovable stare. Add a few extra pounds of muscle onto his build and you have a recipe for the ideal portrayal of the hardened vigilante.