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The Nice Guys

the nice guys

“Hey man, that girl in your trunk? She was in that car.”

Almost three decades ago, Shane Black all but invented the buddy comedy when he wrote Lethal Weapon and unleashed Riggs and Murtaugh on the world. One of the most famous – and most infamous – action-comedy duos would propel Black into a string of writing jobs where he would hone his craft.

When it finally came time to make the jump to directing, his debut would of course be one of his own scripts – and it was going to be a buddy comedy. In 2005, Kiss, Kiss, Bang, Bang was almost universally adored and with Marvel tapping the man to helm Post-Avengers set Iron Man 3, he is as close to a household name as a cult film screenwriter has ever been.

Not one to rest on his laurels and take it easy, Shane Black is using his new-found status to get some of his own writing on the big screen to be noticed. Ladies and gentlemen, I give you, The Nice Guys.

Los Angeles, 1977. Days after the death of a well known porn star, hapless private eye Holland March (Ryan Gosling) is hired by the actress’ aunt, convinced that she’s seen her alive, to track her down. When he finds himself on the trail of young activist Amelia (The Leftovers‘ Margaret Qualley) he also finds himself on the wrong end of paid enforcer Jackson Healy’s (Russell Crowe) uncanny skill for violently persuading people off of whatever course they happen to be on.

When Amelia suddenly disappears, the unlikely pair find themselves forced to work together and wade through the seedy underbelly of LA to find her; unravel the truth behind the growing collection of bodies that seem to be following them around and try desperately not to end up at the top of that pile of corpses themselves.

Now, some films like to think they’re funny and fail miserably. Some films want to tell a story and never quite seem to keep me interested enough to have me care about it. The beauty of a film like The Nice Guys is that it hits a perfect sweet-spot of really cool story, told brilliantly; and a perfectly paired up couple of polar opposites that get a steady stream of laughs as one hapless detective becomes two.

Headlining our fun little noir crime caper, in unlikely comedic turns for both, are all-but-typecast hard-man Russell Crowe as investigator/leg-breaker Healy – the stereotypical tough guy loner who may (or may not) have a heart of gold – along with his unwitting partner, Ryan Gosling’s equally unlikely funny-turn as the stumbling, bumbling, private eye who moonlights as a single dad to a mouthy, attitude filled teenage girl.

Supported by a pretty stellar cast including Matt Bomer as the hired clean-up guy; Keith David just being Keith David as a long-in-the-tooth heavy sent to beat on Healey; and Kim Basinger popping in for a few scenes and getting to play a high up police official for a bit. All of them come together to give an outstanding overall performance, but are almost completely outshined by relative unknown Angourie Rice as March’s teenage daughter, Holly; a girl whose smarts equal that of any of those she shares the screen with, but has more balls than any of them. She’s just outstanding and a ton of fun to watch.

70’s Los Angeles has been created beautifully, with plenty of subtle – and not so subtle – things to say about the way the world is today. The nuts political landscape in the States, climate change, and I’m sure if I actually understood how the entire city of Detroit went bankrupt a couple of years back, I’d get the point that was being made about the American auto industry. But as it is, I know our writer is poking at someone or some thing. I just don’t get what or who. What makes it great though, is that it doesn’t matter. I don’t need to get all the little nuances to thoroughly enjoy the film.

To say that Shane Black has found a nice soft chair right in the middle of his comfort zone would, without context, seem a little damning. But the fact is, he has long been the master of the buddy comedy, so he’s throwing the big punches that brought him to this fight and he’s throwing them perfectly. All those years hanging around the pros has given Mr. Black all the experience he needs and in only his third outing as a director has more than proven his ability to stand with the big boys. He delivers The Nice Guys with a precision of pace usually reserved for much more seasoned veterans, without compromising the story or the dialogue that once made him the highest paid screenwriter in Hollywood.

The film doesn’t break any new ground, certainly not for its director. When you see Kiss Kiss Bang Bang‘s noir crime setting, The Last Boy Scout‘s ballsy teenage daughter and, frankly, every great buddy cop movie since 1987 – to name just a couple of the more obvious nods – The Nice Guys feels like you’re watching Shane Black’s greatest hits in one two-hour film.

But man, if you’re going to watch the best bits of someone’s Hollywood career, there aren’t many better to watch than his. I went in expecting a great film, well made, with a clever script and plenty of laughs – and that’s exactly what I got. A thoroughly, thoroughly enjoyable film that I’ll gladly pay to go watch again.

Owen’s 2015 in Film: Part 8 – August, You Slice

Another month on in his year in review series, Owen takes a look at some of the films that he’s seen this past August. As with each of the previous articles in the series, the month will be broken down by week, with a review of one arbitrarily chosen film seen during each period.

by Owen Hughes (@ohughes86)

these final hours 2015Anyone who has been following the website and podcast over the past few months might have noticed that for a little while now, we’ve been going a bit Danny Dyer crazy. Not, like, mugging off slaaaags as per his persona. I mean, we’ve been covering a lot of Danny Dyer stuff.

In last month’s article, for example, I talked about how his tweet at the Failed Critics meet up in July played a part in cheering me up after some rather gutting news. We then had our most popular individual episode since 2012 when we inducted Dyer into our Corridor of Praise. Basically, we haven’t shut up about him. Throughout August, particularly in the couple of weeks leading up to that particular podcast, I watched a boat load of his movies. I’ll try not to talk about them all here [if you really want you can read my short reviews of them all over on Letterboxd] to spare you from being subjected to the same material over and over again.

Instead, I’m going to kick off this month’s article by talking about something completely original for this series: a b-movie sci-fi horror…

…What?


Week 1 – Saturday 1 – Sunday 2 August 2015

Saturday – HARDWARE (1990); Sunday – [absolutely nothing]

hardware 1990In my July In Review article, the very last film I talked about was a documentary called Lost Soul. It follows director Richard Stanley’s doomed attempt to bring HG Wells’s novella The Island of Doctor Moreau to the silver screen back in 1996. It led to me immediately afterwards searching frantically online for a copy of said film to stream with no luck whatsoever. However, I did find Stanley’s two previous feature length movies available on Netflix, starting with his futuristic, dystopian, science fiction thriller Hardware. As you may have already ascertained from the title, the plot can essentially be boiled down to “cyborg gone bad”. It has the claustrophobic paranoia of Alien crossed with the relentlessness of The Terminator, made for a fraction of the cost of either film. Anyone who has been following these articles will know that during the past eight months, despite already having some degree of fondness for b-movies, one particular director, Albert Pyun, has really grabbed my attention of late. Richard Stanley’s Hardware is very reminiscent of Pyun’s style, with a nuclear ravaged world and killer-robot running rampage in an apartment, although it is somewhat smaller in scale. Where Pyun’s ambition is to always tell as epic an adventure as is possible, it maybe stretches him further than his budgets would sometimes allow. When he pulls it off, I love it. When he’s been a bit too ambitious, obviously it leaves his films rather painful to watch. Stanley seems as aware of his restrictions and tries to utilise them as much as possible. Hardware isn’t a perfect movie; indeed the last 20 minutes seem very repetitive and ends rather tamely. There are so many different ideas all crammed into an hour and a half that it convolutes things slightly too. But there’s a lot to admire here. Visually, I absolutely adored it. From the design of the robot to the red and orange tint across the picture, it is beautiful to look at all the way through. The world building is great to start with but kind of gets thrown out of the window at the mid-way point to turn it into a more close-knit horror, but is interesting all the same. All in all, despite knowing what happened to Stanley’s Island of Dr Moreau, Hardware just made me all the more keen to find it and question the reputation of it being one of the worst films ever made!


Week 2 – Monday 3 – Sunday 9 August 2015

Monday – Mission: Impossible – Ghost Protocol (2011)SOUTHPAW (2015)Tuesday – Mission: Impossible – Rogue Nation (2015), Fantastic Four (2015); Wednesday – Dust Devil (1992); Thursday – Top Gun (1986); Friday – Ginger Snaps (2000); Saturday – [absolutely nothing]; Sunday – [absolutely nothing]

southpawI could continue this Richard Stanley theme and talk about Dust Devil, his next feature after Hardware, but I won’t say any more than simply: I didn’t enjoy it as much. I could also discuss the two Mission: Impossible films that I enjoyed – alas, I found them largely forgettable and, as such, have… er… forgotten most of what they’re about beyond Cruise-gon’-Cruise. Instead, I want to explain why Southpaw was the film I was most looking forward to seeing this August and why it didn’t actually live up to my expectations. I actually picked Southpaw on our Summer Preview Podcast back in May, mostly because I was excited to see if Jake Gyllenhaal could improve on his performance in Nightcrawler last year. (Spoiler: it doesn’t.) The fact is, his performance is good enough to warrant a film like this; the way he transforms himself so he’s hardly recognisable in each role is thoroughly impressive. But Southpaw as a whole simply turned out to be a film that is just good enough. It keeps coming back to me. It’s just good enough. Good enough for me to have not felt like I’d wasted two hours in the cinema. Good enough for me to say it wasn’t disappointing. Good enough for me to have liked a lot about it. But it’s not great and I can’t quite put my finger on why that is. Perhaps the story is little more than OK, with a Rocky-meets-Raging-Bull quality to it? Boxing films do seem to follow a pretty standard pattern, whatever culture they’re from. It doesn’t matter if it’s South Korea’s Crying Fist or a very Clint Eastwood Million Dollar Baby; they are typically about a character falling on hard times, facing adversity and then redeeming themselves. Maybe the lack of anything new or original is why I’m struggling to think of any reason that this would be anywhere near my top 10 of the year so far list, despite not actually disliking it? It’s just good enough. Nothing more and that’s a real shame.


Week 3 – Monday 10 – Sunday 16 August 2015

Monday – Apocalypse Now (1979); Tuesday – [absolutely nothing]; Wednesday – [absolutely nothing]; Thursday – The All Together (2007); Friday – Devil’s Playground (2010); Saturday – The Other Half (2006); Sunday – Next Goal Wins (2014), WET HOT AMERICAN SUMMER (2001)

wet hot american summerLike a lot of other people, I have since found out, I too was tricked by the pretty terrible TV advert for the new Netflix prequel series, Wet Hot American Summer: First Day of Camp. It didn’t appeal to me at all, despite Callum raving about it on our podcast not too long back. The cast looked impressive, but it had something off-puttingly Scary Movie / Epic MovieMeet The Spartans / other-shit-parody-movie about it. However, I knew it had cult status and I fancied watching a comedy film – something that The All Together and The Other Half had failed to deliver earlier in the week! So, despite going into Wet Hot American Summer with some degree of trepidation, it actually delivered a very smart, mostly laugh out loud comedy full of self-parody, fantastic comic-performances and made me re-think how I’d interpreted that TV ad for the Netflix series. I’m certainly glad that I watched the film first as even though the show is a prequel (made 15 years after the first film – something hilarious in itself) it does have a heck of a lot of call backs and set ups for the movie that have great pay-offs that I otherwise would have missed out on. Also, I’m aware that they very rarely all appear on screen together, but to get some of this cast back on board is simply amazing. Elizabeth Banks, Paul Rudd, Bradley Cooper etc are all so much more well known now compared to back in 2001, yet still fit together like they’ve been planning a prequel show all this time. I highly recommend it for some quick consistent giggles and advise against letting that fucking advert put you off.


Week 4 – Monday 17 – Sunday 23 August 2015

Monday – The Island of Dr Moreau (1996); Tuesday – The Man From U.N.C.L.E. (2015); Wednesday – The Wraith (1986); Thursday – VENDETTA (2013)Friday – Dead Man Running (2009); Saturday – Soldier (1998), Piranha 3DD (2012); Sunday – Prince of Persia: The Sands of Time (2010)

VendettaIf I’m going to pick any Danny Dyer film to talk about in this month’s article, it’s got to be the revenge thriller Vendetta, featuring an appearance from James Mullinger and produced by Jonathan Sothcott, both of whom appeared on that Corridor of Praise podcast I mentioned at the top of the page. The plot is very straight forward as British soldier (Danny Dyer) goes AWOL, returning to the UK to catch the scumbags who have burned his parents alive. It’s very nicely shot, there’s a lot of violent revenge enacted on people who “deserve their comeuppance” (described by The Guardian as revenge-porn) and it’s entirely unapologetic about it. If that’s your thing, then you are quite likely to love Vendetta. It’s probably the most grown-up performance from Dyer who, although having the reputation as a geezer and/or gangster, is usually playing the likeable, fallible, boy-ish good looking fellow in a group, not the rampaging murderer. In this, he properly is the hardened cold-killer and nails the role. Paul Field basically pressured me into buying this on blu-ray and it turned out to be a good decision as it’s an entertaining low-budget British thriller. It’s actually a shame that there’s no sign of a sequel just yet as they can’t “get Danny out of Walford” for the foreseeable future.


Week 5 – Monday 24 – Monday 31 August 2015

Monday – The Business (2005), The Football Factory (2004); Tuesday – Outlaw (2007); Wednesday – [absolutely nothing]; Thursday – White Chicks (2004); Friday – THESE FINAL HOURS (2015)Saturday – The Guvnors (2014); Sunday – American Ninja 2: The Confrontation (1987), Sinister 2 (2015); Monday – [absolutely nothing]

these final hoursWe’ve talked about this Australian pre-post-apocalyptic (a genre term I’m pretty sure I coined) on the podcast in recent weeks, particularly as it was shown at FrightFest this year – although I actually found it on US Netflix. Written and directed by Zak Hilditch, starring Nathan Phillips (Wolf Creek), Sarah Snook (Predestination) and Jessica De Gouw (Arrow, Dracula), as mentioned on the pdocast it does start off a bit like a music video. You’re not really invited to connect to the story nor the characters as a series of expositional dialogue sets things up alongside a show of bright, shallow visuals. It’s safe to say that it didn’t grab me straight away and I immediately thought it’d be a tediously dull wasted concept. However, once I got past the opening credits and the first five minutes, things suddenly get very dark. Whilst on the surface it appears to be as bleak as hell about humanity when facing a crisis – hey, let’s all get pissed, do a load of drugs and party until our skin is burnt from our bodies in 12 hours time – it does showcase some brightness in how we interact with each other. That there’s good in some of us. As the protagonist James stumbles across a young girl who has been separated from her family (played brilliantly by Angourie Rice), he decides to help her find her dad; at first reluctantly, but eventually it takes him on a course to see visit his mother, make peace with some friends and discover something about himself (albeit a little bit too late!) As far as these stories go, it never quite gets as distressing as something like The Road, but if you’re into an apocalyptic story that doesn’t feature either vampires or zombies, this might just be for you.


And that’s it! I’ll be back next month to recap what I’ve been watching throughout September. Until then, leave a comment if you’d like or just ignore the entire article completely. Your call.