Director: Shane Black
Cast: Russell Crowe, Ryan Gosling, Angourie Rice, Matt Bomer, Margaret Qualley, Keith David, Kim Basinger
Screenplay: Shane Black, Anthony Bagarozzi
116 mins. Rated R for violence, sexuality, nudity, language and brief drug use.
It’s a great feeling when an artist takes on a project so perfectly in his wheelhouse that it’s all you can think of. I’m a big fan of director Shane Black (Iron Man 3, Kiss Kiss Bang Bang). My fandom is really from his writing, as I grew up watching Riggs & Murtaugh from Lethal Weapon, a film written by Black. The franchise is very near and dear to my heart, partly due to the brilliant writing and realistic dialogue crafted by the writer. I also really enjoyed Black’s foray into the MCU with Iron Man 3, but when I heard he was heading back to the buddy-cop-ish genre he helped perfect, I was floored. Sure, our leads aren’t extremely likable guys, but it is their flaws that make them so fun to watch, and the decision to set The Nice Guys in the 1970s…well, wait, I’m getting ahead of myself.
Holland March (Ryan Gosling, Drive, The Big Short) has been hired to find Misty Mountains, a porn star who actually died days earlier. His search for answers brings him into contact with enforcer Jackson Healy (Russell Crowe, Gladiator, The Water Diviner), who has been hired by one of the women Holland has been tailing. When the two discover something much more sinister is afoot, they join forces, and the unlikely pair, aided by March’s daughter Holly (Angourie Rice, Walking with Dinosaurs, Nowhere Boys: The Book of Shadows), attempt to discover the connection between this dead porn star and a secretly made adult film featuring a now missing young woman named Amelia (Margaret Qualley, TV’s The Leftovers, Palo Alto) in 1977 Los Angeles.
The Nice Guys feels like a movie that so perfectly encapsulates Shane Black’s storytelling style, but it might be his riskiest movie yet. He takes several chances on pushing the envelope of the viewer and most (but not all) really work. Black has a gift of dealing with somewhat taboo subjects like porn without glamorizing or debasing them. There is a level of respect given to his seedier characters as well that doesn’t treat them any differently than how he’d treat any others.
In Crowe and Gosling I found the most unlikely chemistry from two leads that I’m likely to find this year. Both come from different cinematic backgrounds and mesh so damn well. Crowe is seemingly directed at being the lead here but it is Gosling’s performance that shines, and the way the two characters interact with Angourie Rice, who plays the young yet mature Holly March that shows the depths of Black’s character development range. The trifecta of characters are tested by a cadre of interesting secondary characters played by Matt Bomer (TV’s White Collar, Magic Mike XXL) and my personally proclaimed screen legend Keith David (Platoon, Cloud Atlas) in great supporting roles.
As a director, Shane Black is still fairly new, but he has tested the waters already and jumps right in, exploring some really interesting cinematography and musical choices that showcase the 1970s without throwing at you.
The flaws with the film? The editing is a little looser than it could be. Certain sequences should’ve been tightened a bit more to create a more cohesive pacing to the film. Black chooses to linger on some moments that I didn’t need him to linger on. There’s also a reveal at the end that I found both unsurprising and a little clichéd, something I didn’t expect to find here.
The Nice Guys is a mostly fantastic romp through an often overdone time frame, but Shane Black chooses to populate his film with likably unlikable people and a few moments of genuine heart. It is the characters and their relationships with each other that drive this film to a pretty exciting conclusion. One can only hope that this has the making of a new franchise, and this reviewer would be more than happy to see the further adventures of The Nice Guys.
-Kyle A. Goethe
So have you seen The Nice Guys? What did you think? And what’s your favorite buddy pairing in film? Let me know!