The Nice Guys

I'll admit that I am unfamiliar with most of Shane Black's original works, watching The Nice Guys made me want to go back and take a look at his earlier films. The characters were well written, even better cast, and fit well with the theme of the film. There was rare a dull moment, it seemed I was either enjoying the dark comedic tone, or getting engaged in the plot. While the first two thirds of the film seemed excellent, the writers set themselves up for a fantastic finish, but were unable to capitalize on that potential. The script seemed to suddenly turn very basic, with things "falling" into place almost too miraculously to be true. I never felt like I had truly been given an ending worthy of a classic detective story, but the fast pace of the film and humor was enough to make it very enjoyable.

Ryan gosling had me in tears at times, even Russell Crowe had me laughing. It was hilarious with a good story. I didn't really know what to expect when putting this on because I've never even heard of it, but I'm so glad I found it. Was just a solid film all round, I have absolutely zero complaints or anything negative to say about it.

It's an absurdist parody of neo-noir private detective movies set in 1977 in Los Angeles, California. It follows a barely competent, recently widowed private eye named Holland March (Ryan Gosling) and a bodyguard tough guy named Jackson Healy (Russell Crowe). Holland lives with his 13-year-old daughter, Holly (Angourie Rice), in a rented home since his house blew up from a gas leak that killed his wife.

They both become involved in a complex plot in which they try to find Amelia Kuttner (Margaret Qualley), a young woman sought by violent men for unclear reasons. As the bizarre plot unfolds, they intersect with Amelia's mother, Judith (Kim Basinger), a high Justice Department official, and Judith's assistant, Tally (Yaya DaCosta). They also encounter three hitmen pursuing Amelia--Older Guy (Keith David), Blueface (Beau Knapp), and John Boy (Matt Bomer). A porno star, Misty Mountains (Murielle Telio), also makes a brief appearance at the film's beginning.

"The Nice Guys" is off-the-wall with lots of physical comedy that borders on cartoonish, making the frequent violence seem less real. Angourie Rice is great as a kid who's smarter than her father but hampered by higher ethical standards. The script is funny, and Gosling and Crowe carry their roles well. It is pretty sexist. But if you like neo-noir, you may like this take-off.

This film boasts some impressive elements but falls short in key areas that detract from its overall effectiveness. The film's performances are undoubtedly a highlight; both Russell Crowe and Ryan Gosling deliver charismatic portrayals, and their chemistry is genuinely enjoyable. They bring a comedic flair and a sense of fun that makes their dynamic engaging, providing some much-needed levity amidst the chaos.

The cinematography and production design are also worth noting. The film captures the 1970s Los Angeles setting with a stylish and authentic feel. The attention to detail in the sets and costumes helps immerse me in the period, and the visual flair adds a certain charm to the movie.

However, these positives are overshadowed by several notable flaws for me. The plot often feels meandering and disjointed, making it difficult to follow and engage with. There are numerous twists and turns, but they tend to be more confusing than intriguing. The film struggles with setting up conflicts in a way that feels coherent, which undermines the suspense and stakes.

Additionally, the film's cynicism can be a bit off-putting. While it aims for a noir-inspired tone, the relentless focus on dark humor and satire sometimes feels heavy-handed, overshadowing the more nuanced aspects of the story. The film's attempt at being both a comedy and a thriller results in a tone that feels inconsistent, which can be jarring.

On the whole, The Nice Guys is a film that shines with its performances and visual style but falters with its disjointed plot and overbearing cynicism. While the stylish execution and charismatic leads offer some entertainment value, the film's lack of coherent conflict and confusing narrative detract from its overall impact. If you appreciate a period piece with flair, it might be worth a watch, but don't expect a tightly woven story.

I'm sure this film is going to divide audiences, in the same way that "Kingsman" did.

It's 1977 Los Angeles. Star Wars has premiered. Disco is in full swing. And porn star Misty Mountains has just died (spectacularly). It's pretty disturbing then that dodgy licensed private investigator Holland March (Ryan Gosling) has been hired two days later to find Misty by the slightly kooky Mrs Glenn (Lois Smith, the equally kooky doctor in "Minority Report") who saw her through the windows of Misty's home. Never one to turn down a pay check, Holland takes the case and the trail leads him to search for a missing girl called Amelia (Margaret Qualley). This leads him right into the substantial fists of the 'heavy for hire' Jackson Healey (Russell Crowe), who's been hired by Amelia NOT to be found. But it's clear that Amelia is at the centre of a tornado of intrigue, since her mother Judith (Kim Basinger) is head of the Justice department and there are some heavies from New York and Detroit looking for Amelia too.

As the film's tag-line admits "The Nice Guys" are "far from nice", and this is a sort of bromance buddy movie of the likes of "Lethal Weapon". (And that comparison is 100% valid since - and I honestly discovered this after I wrote that - director Shane Black ("Iron Man 3") got into cinema by writing the screenplay for the original "Lethal Weapon" back in 1987). But "The Nice Guys" has an edge that those films of the 80's couldn't have got away with. Subtle it ain't. There is a lot of violence, a bit of 70's porn and some fruity language that sensitive viewers may find offensive. (All in all, it's a bit of a surprise that it got away with a '15' certificate in the UK).

But it's also insanely funny at times. Some of the sight gags are laugh out loud material (and I don't tend to act on that often in a packed cinema). You might recall in "Diamond's Are Forever" that a Vegas hood tosses Plenty O' Toole out of Bond's hotel window. "Good Shot" quips Bond. "I didn't know there was a pool down there" responds the hoodlum. The basics of this scene are given a fresh and wonderfully gory rework that is truly memorable.

Gosling and Crowe have great chemistry together (although the degree of acting required by Crowe is debatable: he looks and acts like he seems to in most media interviews!) Some of their dialogue appears distinctly ad-libbed, which shows how comfortable they were with the roles. And Matt Bomer and Beau Knapp make memorably crazed villains. A role that unfortunately does irritate is Qualley's: the character of Amelia is supposed to be a bit crazed, but her speaking part is 120% off the scale.

The acting star of the show though is young Australian Angourie Rice as Holland's morally-centred and bright daughter Holly, who steals just about every scene she's in. A young lady to watch for the future.

1970's LA is nicely realised, with nice little subliminal drop-in shots: a Jaws 2 poster; Tower Records; the original Hollywood Tower Hotel. And the film naturally attracts some banging' 70's tunes to the soundtrack, with Al Green peerless over the closing titles.

But it's not perfect. The plot is quite impenetrable (I'm still unclear exactly what the relationship between Misty and Amelia was). And Black's screenplay (written with Anthony Bagarozzi) over-eggs the pudding of the final showdown scene. But while it won't be to everyone's tastes, I thought it was a blast from beginning to end: a guilty pleasure of bad taste that begs for a sequel. I would go to see the Gosling/Crowe show again. One of the most entertaining films of the year so far.

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