Keanu Reeves, the Canadian actor synonymous with high-stakes action and brooding intensity, has long captivated audiences with roles that demand physical prowess and stoic resolve. From dodging bullets in the “Matrix” trilogy to unleashing vengeance in the “John Wick” series, Reeves has built a career on portraying unbreakable heroes. Yet, in his latest project, the supernatural comedy “Good Fortune,” set for release on October 17, 2025, Reeves trades the trench coat for ethereal wings, delivering a performance that renders him nearly unrecognizable and marks a return to his comedic roots. Directed by Aziz Ansari in his feature directorial debut, the film has already generated buzz following its premiere at the Toronto International Film Festival on September 6, 2025, where it earned positive reviews for its blend of humor and social commentary.

At 61 years old, Reeves embodies Gabriel, a “budget guardian angel” tasked with imparting life lessons on a struggling gig worker named Arj, played by Ansari. The plot kicks off when Gabriel’s well-intentioned plan to demonstrate that wealth cannot solve personal woes backfires spectacularly. By orchestrating a body swap between Arj and his affluent employer Jeff (Seth Rogen), Gabriel hopes to drive home the point. Instead, chaos ensues: Arj thrives in luxury, Jeff flounders in hardship, and Gabriel loses his wings, forcing him to navigate the mortal world to rectify the mess. The ensemble cast, including Keke Palmer as Elena—a hardware store employee advocating for unionization—and Sandra Oh as the stern angel Martha, adds layers to the film’s exploration of class disparity, privilege, and the illusion of the American dream.

What sets Reeves apart in “Good Fortune” is his physical and emotional transformation. Gone is the chiseled, long-haired action star; in his place is a hapless celestial being whose bungled interventions highlight Reeves’ knack for physical comedy. Early trailers show Gabriel fumbling through human interactions, from awkward encounters in a Denny’s parking lot to misguided attempts at divine intervention that only exacerbate problems. Ansari, who wrote and stars in the film, has praised Reeves’ commitment, noting that the actor sustained a knee injury just two weeks into filming but powered through without complaint, even delaying a salsa dancing scene to recover. This dedication underscores Reeves’ reputation as a professional unaffected by stardom, a trait that has endeared him to co-stars and crew alike.

Reeves’ foray into comedy isn’t entirely new, but it’s a refreshing pivot from his recent action-heavy slate. His breakthrough came in 1989 with “Bill & Ted’s Excellent Adventure,” where he played the airheaded yet endearing Ted Logan alongside Alex Winter’s Bill. The time-travel romp, which grossed over $40 million on a modest budget, showcased Reeves’ ability to embody naive charm without veering into caricature. The sequel, “Bill & Ted’s Bogus Journey” in 1991, further cemented his comedic timing, as the duo faced off against Death itself in a series of absurd escapades. These early roles established Reeves as more than a pretty face; they revealed a performer capable of infusing whimsy into fantastical scenarios.

Throughout the 1990s and early 2000s, Reeves balanced comedy with drama and action. In “Parenthood” (1989), directed by Ron Howard, he portrayed Tod Higgins, a laid-back high schooler thrust into unexpected fatherhood, adding heartfelt levity to the family ensemble. The dark comedy “I Love You to Death” (1990) saw him as a stoner hitman, a role that stood out amid a star-studded cast including Kevin Kline and Tracy Ullman, demonstrating his skill in understated humor. Even in more experimental fare like the animated “A Scanner Darkly” (2006), based on Philip K. Dick’s novel, Reeves’ voice work as undercover agent Bob Arctor brought a mix of paranoia and pathos to the rotoscoped sci-fi tale.

However, Reeves’ action persona dominated post-“Matrix” (1999), where his portrayal of Neo revolutionized special effects and philosophical sci-fi. The film’s success, grossing nearly $470 million worldwide, typecast him as the intense savior figure, a mold he reinforced in “Speed” (1994) and the “John Wick” franchise starting in 2014. Cameos in comedies like voicing a kitten in “Keanu” (2016) or playing an exaggerated version of himself in “Always Be My Maybe” (2019) offered glimpses of his humorous side, but full roles were scarce.

“Freaked” (1993), a cult black comedy co-directed by Alex Winter, stands as one of Reeves’ most unrecognizable early appearances. In an uncredited role as Ortiz the Dog Boy—a furry, half-man-half-dog sideshow leader—he was buried under prosthetics, his voice the only giveaway. The film’s bizarre plot, involving mutations and game-show antics in a sideshow, echoed the wild energy of “Bill & Ted” but flew under the radar due to distribution woes. Similarly, on the set of “Bill & Ted Face the Music” (2020), Reeves sported a mullet wig and bushy beard, transforming into an aged Ted that left him “totally unrecognizable.”

These transformations highlight Reeves’ willingness to subvert expectations, a pattern evident in “Good Fortune.” Ansari initially doubted Reeves for the angelic role, viewing him as “on a different planet,” but was won over by the actor’s grounded professionalism. The film nods to classics like “Trading Places” (1983) with its body-swap premise, using humor to critique wealth inequality—Arj’s gig-economy struggles contrast sharply with Jeff’s venture capitalist excess. Critics at TIFF lauded the movie’s tight pacing and uplifting vibe, with Reeves’ Gabriel stealing scenes through quirky mishaps.

Reeves’ personal life adds depth to his appeal. Born in Beirut in 1964 to a Hawaiian-Chinese geologist father and English showgirl mother, he endured a nomadic childhood marked by family upheavals. Dyslexia and multiple high school expulsions didn’t deter him; by his early 20s, he was in Toronto’s theater scene. Tragedies, including his sister’s leukemia battle and the loss of girlfriend River Phoenix and child, have shaped his humble demeanor. Reeves’ philanthropy—donating millions anonymously—and ventures like co-founding ARCH Motorcycle reflect a man who shuns the spotlight.

In “Good Fortune,” this authenticity shines. Gabriel’s ineptitude mirrors Reeves’ self-deprecating interviews, where he embraces memes like “You’re Breathtaking.” The film’s production, sparked by Ansari’s post-“Being Mortal” pivot, united friends like Rogen, who inspired elements like a sauna scene. Despite Reeves’ injury, filming wrapped efficiently, with pickups post-recovery.

As “Good Fortune” approaches theaters, it signals Reeves’ versatility amid a packed schedule: “John Wick 5,” “Ballerina,” and voice work in “Sonic the Hedgehog 3.” The comedy’s success could encourage more genre-blending, proving that even icons evolve. With its timely themes and Reeves’ charming reinvention, “Good Fortune” may just be the feel-good hit of late 2025, reminding viewers why the “cool breeze” endures.