THE NICE GUYS: A Shane Black Blast That Smartly Knows How To Be Dumb

Now playing at a multiplex near you:

THE NICE GUYS (Dir. Shane Black, 2016)

Writer/director Shane Black follows up the biggest hit of his career, IRON MAN 3, by steering back into his hard R-rated rude, crude action comedy comfort zone in THE NICE GUYS, a buddy detective film that’s up there with his funniest work.

It scores with the inspired casting of two guys not normally known for making audiences laugh: Russell Crowe and Ryan Gosling, who respectively play grizzled enforcer-for-hire Jackson Healy and scruffy private eye Holland March.

Set in 1977 Los Angeles, the film follows Healy and March as they are thrown together to solve a case involving the apparent suicide of porn star Misty Mountains (Murielle Telio), a missing girl named Ameila (Margaret Qualley), who’s mistaken for the dead X-rated actress, and the possibly corrupt head of the Department of Justice (Kim Basinger), who’s Amelia’s mother.

Despite March’s protests, the duo are joined by Angourie Rice as the private dick’s precocious daughter Holly, who is much smarter than her incredibly clumsy, constantly drunk father, so while she’s putting leads together, he’s falling off balconies.

Winding through the prerequisite fist fights, car chases, and shoot-outs, is Black and co-writer Anthony Bagarozzi’s deftly hilarious dialogue which I bet will help make this be as quoted as Black’s LETHAL WEAPON, KISS KISS BANG BANG and even THE LAST BOY SCOUT scripts in the anals of film geek fandom.

While highly comical, the film boasts a serious action villain in the dapper, cold as ice, mafia hitman John Boy (Matt Bomer) who arrives on the scene with a trunk full of automatic guns targeting Healy and March.

At times it seems like Black wanted to make his version of an pre-THE BIG SHORT Adam McKay movie, replacing Will Farrell and whatever co-star (John C. Reilly? Mark Whalberg?) with Crowe and Gosling, retaining the ‘70s-era satire, albeit in a much lesser surreal vein, of the ANCHORMAN movies but operating from a much grittier level.

Actually maybe it’s more like the 1974 buddy comedy FREEBIE AND THE BEAN, in which Alan Arkin and James Caan play mismatched detectives who get entangled with the mob – that vibe is pretty strong too.

The attention to period detail from the smog-filled sky to the roster on the marquee of LA’s famous marquee The Comedy Store, coupled with a soundtrack full of primo ‘70s rock and R&B, effectively sets the mood and tone even despite the fact that every song – from “Papa Was a Rollin’ Stone” to “A Horse With No Name” has been used countless times in movies before. The same could be said for the soundtrack to GUARDIANS OF THE GALAXY but that doesn’t stop it from being awesome.

THE NICE GUYS is a Shane Black blast with the funniest performances of both Crowe and Gosling’s career. Crowe’s weathered, jaded persona contrasts hilariously with Gosling’s haphazard demeanor in scene after scene, and with the talented 14-year old Rice added to the mix, the film overflows with comic chemistry.

The only slight misstep here is the overly restated shading of political commentary dealing with the intertwined conspiracy involving the Big Three Detroit automakers. This also has an Adam McKay-ish ring to it. No matter though really, THE NICE GUYS is smart enough to know how to be dumb and that transcends that bit of heavy handiness.

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New Releases On Blu Ray & DVD: 9/24/13

Shane Black’s IRON MAN 3, one of the few big ass summer blockbusters I actually liked, heads the pack of new releases on Blu ray and DVD today. The Robert Downey Jr. comedy disguised as a superhero action epic is available in a plethora of different packages including a Three-Disc Blu-ray 3D / Blu-ray / DVD + Digital Copy edition, a Two-Disc Blu-ray / DVD + Digital Copy edition, a Blu-ray / DVD Combo Pack, and a single disc DVD + Digital Copy.

Special Features: the interactive “Restore the Database Second Screen Experience,” a 15 minute featurette “Marvel One-Shot: Agent Carter,” audio commentary with Director/co-writer Shane Black and co-writer Drew Pearce, a 11 minute behind-the-scenes featurette “IRON MAN 3 Unmasked,” an almost 10 minute featurette called “Deconstructing the Scene: Attack on Air Force One,” 16 minutes of deleted and extended scenes, “Exclusive Look at THOR: THE DARK WORLD” (2 minutes), and a gag reel.

Several new notable independent films hit home video this week: Jordan Vogt-Roberts’ coming-of-age teen comedy THE KINGS OF SUMMER, Paul Andrew William’s British comedy drama UNFINISHED SONG, Olivier Assayas’ 2011 French drama SOMETHING IN THE AIR, Rama Burshtein’s 2012 Israeli drama FILL THE VOID, François Ozon’s darkly comic IN THE HOUSE, and Rodney Ascher’s ROOM 237, the buzzed about 2012 documentary about the crazy theories surrounding Stanley Kubrick’s 1980 classic THE SHINING.

Halloween may be over a month away, but out this week on the older films front is a bunch of titles getting a head start on the scary holiday: new to Blu ray releases of HALLOWEEN: 35TH Anniversary Edition, PSYCHO II & III, PRINCE OF DARKNESS: Collector’s Edition, and Steven R. Monroe’s new sequel to one of the most disgusting movies ever, I SPIT ON YOUR GRAVE 2.

In the non-scary new to Blu ray release department is the Criterion Collection release of 3 Films By Roberto Rossellini Starring Ingrid Bergman which consists of STROMBOLI (1950), EUROPE ’51 (1952), and JOURNEY TO ITALY (1952). As with all Criterion deluxe editions, The three feature films are enhanced by many Special Features including interviews (both new and archival), documentaries, short films, lengthy visual essays, an extensive booklet, and a audio commentary by scholar Laura Mulvey on JOURNEY TO ITALY. 

Also out today is a Blu ray/DVD combo of Stuart Rosenberg’s 1976 war drama VOYAGE OF THE DAMNED, and THE DARK KNIGHT TRILOGY: Ultimate Collector’s Edition.

TV season sets releasing today: Hannibal: Season One, Modern Family: The Complete Fourth Season, South Park: The Complete Sixteenth Season, Family Guy: Volume Eleven, Law & Order: Special Victims Unit - The Fourteenth Year, Doctor Who: The Complete Seventh Series, American Dad! Volume Eight, and for those who are gluttons for punishment, Two and a Half Men: The Complete Tenth Season.

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STAR TREK Into Disappointment

Opening today at nearly every multiplex in the galaxy:

STAR TREK INTO DARKNESS 

(Dir. J.J. Abrams, 2013)

At first, it seemed that it was just that this sequel was just messier and less fun than Abram’s 2009 reboot. That the freshness of how that movie so entertainingly re-established Star Trek’s most iconic characters with new faces had faded.

But as the quick-cut convolutions of the plot swirled around my head, aided by the heavy lens flare (now in 3D!), I began to shudder. Abrams, along with screenwriters Roberto Orci, Alex Kurtzman, and Damon Lindelof, were no longer simply paying homage, they were blatantly ripping off scenarios, dialogue, and the emotional pull of what many consider the best of the original run of STAR TREK movies.

Of course, I’m talking about STAR TREK II: THE WRATH OF KHAN (from here on: STII: TWOK).

Nicholas Meyer’s 1982 sequel to Robert Wise’s STAR TREK: THE MOTION PICTURE (1979) was a game changer for the franchise. The first one, which brought the cast back from the popular '60s TV series in part to capitalize on the STAR WARS craze of the late ‘70s, was seen as too cerebral, and worse – boring, but the second one was a terrific action adventure that appealed to both fans and a mass audience, without sacrificing the smarts (largely thanks to an excellent screenplay by Jack B. Sowards and Meyer).

Abrams had already touched on STII:TWOK in his first installment of STAR TREK, with the Kobayashi Maru element (the no-win scenario Starfleet test) and a few lines, but here the allusions are out in full force starting with Benedict Cumberbatch as a villain from 300 years in the past that, c’mon, everybody knows going in who he’s going to turn out to be.

The entire cast returns headed by Chris Pine as Captain Kirk, who again lives to ignore Federation regulations, have sex with alien women (he’s in bed with two of them early on), and perform death defying stunts at early possible chance.

Their amusing rivalry has died down, so Kirk and Zachary Quinto’s Spock are settled into the friendship as seen on the old series, and Spock’s romantic relationship with Uhuru (Zoe Saldana), something that was somewhat shocking when it was introduced 4 years ago is also background fodder here. As for the rest, Karl Urban as McCoy, Simon Pegg as Scotty, Anton Yelchin as Chekov, and John Cho as Sulu, they’re around mainly to say their character’s classic lines (McCoy: “Damn it Jim, I’m a Doctor not a torpedo technician!”).

So the movie has Kirk being demoted for breaking the Prime Directive (you know, the deal where Starfleet can’t interfere with the development of an alien civilization) in the film’s big ass opening volcano sequence, then made First Officer under Admiral Pike (Bruce Greenwood, also returning from the previous film). When Pike is killed by Cumberbatch (who has some effectively sinister moments but is no Ricardo Montalban) in a gunship in a violent assault in San Fransisco, Kirk and crew chases him down with the Enterprise to the Klingon territory of Kronos.

With the Klingon entanglements, sometimes confusing negotiation tactics, and muddled back story about Cumberbatch’s people each encased in hollow photon torpedoes, I got a bit drowsy, but I snapped too when I realized they were not only trying to replicate the high points of the 2009 reboot (revealing that they can do something new with warp speed, Leonard Nimoy cameo, etc.), they were mounting a re-approximation (with an obvious variation) of one of the highest points of the entire franchise, i.e. Spock’s death scene in STII:TWOK.

No doubt, some folks are going to enjoy that they did this. The film goes so by fast, with a lot of kinetic energy surrounding the immaculate CGI, that movie-goers are likely to get caught up in it all, and then love that they recognize the set-up with some of the same dialogue as it unfolds, but when I saw that they were so transparently aping what worked so well in the past it felt forced and a bit desperate to me.

I also didn’t buy the extra villainy of Peter Weller’s (ROBOCOP!) angry Starfleet admiral Marcus (father of Alice Eve as Carrol Marcus, another element from STII:TWOK), who threatens to destroy the Enterprise and everybody on it just to get to Cumberbatch.

On The Daily Show earlier this week, Abrams admitted, as he has many times before, that as a kid he was never into Star Trek, adding that “it always felt too philosophical to me.” Here it really shows that his STAR WARS-ified sexed-up version of the world that Gene Roddenberry created just aims to be mindless entertainment. 

At its previous best, say in STII:TWOK, Star Trek was never mindless, even in its most failed forays, say the William Shatner-directed STAR TREK V, it had an aim to question and seek out new possibilities.

STAR TREK INTO DARKNESS, surely to be a blockbuster knocking IRON MAN 3 out of the #1 position at the box office this weekend, is a disappointment on many levels, the biggest one being that it retreads sacred ground with no new purpose.

Now Abrams will go off and reboot STAR WARS (set for Summer 2015) for probably even bigger box returns. That franchise is obviously better suited for him (and he’s actually a fan of it) so I hope the Force is strong with him in that galaxy, because he really broke the Prime Directive of this one.

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Current Indie Films Offer Big Stars Without The Blockbuster Bombast

You don’t have to wait for the summer super hero sequel season (kicking off this Friday with IRON MAN 3) to see big name stars for a bunch of them are currently starring in indie films at your local art house. 

For instance, Derek Cianfrance’s (BLUE VALENTINE) highly touted crime drama THE PLACE BEYOND THE PINES, now in its 3rd week in the Triangle area, boasts star turns by Ryan Gosling and Bradley Cooper. 

The film tells a story set in the town of Schenectady, New York, that spans 3 character threads. Gosling’s scenario involves the bleach blonde pretty boy turning to a life of crime (robbing banks with the help of his circus-honed motorcycling skills) in order to support the year old baby that former flame Eva Mendes just told him he is the father of.

One of Gosling’s robberies is foiled by Cooper as a young law student turned cop and then his scenario begins. Cooper takes advantage of his hero status to further his career, realizing the system’s just too damn corrupt (mostly in the form of a slimy, us usual, Ray Liotta - could Liotta ever play a cop that’s not corrupt?).

The third act has Cooper’s kid (Emory Cohen) growing up to be a troubled teenager who befriends a fellow student, Dane Dehan, who turns out to be Gosling’s kid. Gosling’s and Cooper’s acts crackle with energy, but the final act lost me. It felt like it could have been incorporated into the second story-line or at least not be so drawn out. Perhaps it simply lacked the star power of the first two thirds. Whatever the case, the film has just enough storytelling drive to make it worthwhile.

Nobody could accuse Robert Redford’s new political drama THE COMPANY YOU KEEP, which opened last Friday in Raleigh, of lacking star power. Apart from Redford’s lead role, there’s Shia Labeouf, Susan Sarandon, Nick Nolte, Chris Cooper, Julie Christie, Richard Jenkins, Stephen Root, and indie darling Brit Marling. Sadly though, all this talent can’t save the film from Redford’s tired soapboxing as you can read in my review “Redford’s Vanity Project THE COMPANY YOU KEEP Is A Star-Studded Dud” (4/26/13).

Much better is Jeff Nichols’ MUD, with Matthew McConaughey in the title role, also in its first week in the Triangle. 

McConaughey, a little less confident than usual yet still somewhat slick,  plays an outlaw on the lam, living on an island in the middle of Arkansas' Lower White River, who is discovered by a couple of kids (Tye Sheridan and Jacob Lofland). The kids help the fugitive get a boat down out of a tree (“that’s a hell of thing” McConaughey keeps saying about the boat’s predicament) and back in commission so he can escape with the love of his life, a redneck floozy played by Reese Witherspoon (the role couldn’t be more timely with her recent brush with the law and all). 

There a few glaring narrative conveniences - the kids seem to happen upon Witherspoon too easily, and later come to her hotel room at just the right time when she’s being roughed by a thug played by Stuart Greer for a few examples - but they could reasonably be chalked up to small town coincidences I reckon.

MUD is a mostly engrossing Southern drama driven by its superb cast, including Sam Shepherd, Nichols’ TAKE SHELTER star Michael Shannon, Joe Don Baker, Sarah Paulson, and Ray McKinnon, and its thoughtful screenplay by Nichols. 

But in a cast of recognizable faces, the 15 year old newcomer Sheridan, who could be considered the film’s true protagonist, stands out. Nichols’ has given the kid thematic weight in the form of a belief in love - a belief in danger of being squashed by a crush on an older girl (Bonnie Sturdivant) and the fact that his mother (Paulson) is divorcing his father (McKinnon) - but Sheridan carries it with poise.

So, if you’re looking for alternatives to the coming tidal wave of CGI-saturated blockbuster-wannabes on the big screen, THE PLACE BEYOND THE PINES and MUD will provide the stars without the bombast. 

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