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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IRON MAN 3: The Film Babble Blog Review

Opening today at just about every multiplex in North America: 

IRON MAN 3 (Dir. Shane Black, 2013) 

Shane Black, best known for writing such action hits as LETHAL WEAPON and THE LONG KISS GOODNIGHT, delivers a vast improvement over Jon Favreau’s IRON MAN 2 in this big-ass third installment of the series that features Robert Downey Jr.’s sharpest, and funniest, performance as the genius billionaire playboy philanthropist Tony Stark yet.

There are possibly more laughs (most of them from Downey Jr.-delivered one-liners) than there are thrills throughout, but the centerpiece sequence of Stark’s ultra-modern Malibu cliff-side house being destroyed by missile-firing attack helicopters puts the humor on hold for an armrest-gripping eye-popping experience of major proportions.

But onto the plot: Downey Jr.’s Stark, sleepless for months and still shaken from events in last summer’s Marvel smash THE AVENGERS, via opening narration takes us back to a New Year’s Eve in 1999 in Switzerland when he had a fling with a beautiful botanist (Rebecca Hall), and drunkenly disregarded a shaggy Guy Pearce as a scientist who wanted to work with him.

Pearce, of course, comes back to bite Downey Jr. in the ass in the present day as a slicked back charmer of a villain who wants to own the war on terror via a super-soldier virus that Hall's character developed.

Jon Favreau, not letting not directing get in the way of reprising his role as Stark’s bodyguard turned head of security, senses Pearce is a threat, mainly because he’s flirting with Gynneth Paltrow, who returns as Downey Jr.’s girlfriend/Stark Industries CEO Pepper Potts.

While trailing one of Pearce’s thugs (James Badge Dale), Favreau gets injured in a bombing, one of many brought about by the mysterious Mandarin (Ben Kingsley), the leader of the international terrorist organization The Ten Rings, who has the power to interrupt major network broadcasts to make his menacing threats to all of America.

Downey Jr. then makes a threat of his own right into a reporter’s camera phone for the Mandarin to bring the fight to him, and even leaves his home address. This results in the before mentioned incredible destruction of Stark’s homestead, in which the CGI crew members (of which there are thousands – check the credits) really outdid themselves on.

The rest deals with Downey Jr. rebuilding his Iron Man suit (and some of his soul) with the help of a kid (Ty Simpkins) he meets while doing some sleuthing in Tennessee, tracking down the bad guys in Florida for some shoot-outs (I love one moment when a hired thug yells: “Honestly, I hate working for these guys. They’re so weird!” So Downey Jr. lets him go), and another stunner of a scene in which Downey Jr. and Don Cheadle (also back for more as Colonel James Rhoades/the Iron Patriot) race to save the lives of the President (William Sadler) and 14 other passengers from a crashing Air Force One.

Cheadle, who does strong work and at times is as funny as Downey Jr., is largely absent from the film until the third act, which mainly involves a nighttime battle on an oil rig. 

The second half of IRON MAN 3 can be a bit overstuffed with spectacle at times and a few twists don't have the intended impact, but there are some warm moments involving Downey Jr.’s amusing bantering with Simpkins (was so glad he didn’t let the kid tag along for the remainder of the movie though), and affecting bits where we get a window into the darkness behind the snark of Tony Stark.

The way the villains' scenario with Pearce and Kingsley both showing their true colors worked more for Pearce, who got more and more intense, than Kingsley who got a bit too goofy, but to say anything more would be Spoiler City.

As in THE AVENGERS, the Marvel movie formula is in full swing here with all the expected yet welcome elements - Stan Lee cameo, stinger after the end credits, shout-outs to previous adventures, etc - but what makes IRON MAN 3 really pop is Black’s deft handling of the characters and the action set-pieces through his and co-writer Drew Pearce's quick-witted screenplay. Wasn’t really a fan of his previous film, Black’s glibly meta directorial debut KISS KISS BANG BANG, but his amped-up approach feels dead on in this film.

I’ve seen some cinephiles complain online about the glut of superhero movies, but if every now and then, we can get ones as smart, funny, and thrilling as IRON MAN 3, I won’t be complaining.

Oh yeah, the 3D didn’t make much difference – some shots were slightly enhanced early on but I largely forgot about it most of the film. However, you do get some specially made IRON MAN 3D glasses (I saw several different types at the screening I attended) so that might sway you.

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