The Nice Guys Movie Review


Shane Black’s latest film, The Good Guys, seems completely out of place in our current cinematic trends, mainly because it is a product of a bygone era of homophobic, male-oriented humorous thrillers that reached their peak more than twenty years ago. The genre of contradictory characters, constant spiritual games and ruthless actions was the unstoppable scourge of the multiplexes of the 80s and 90s, filled with films that met the creative definition of “Artificial”: Peter Hyams “Running Scared” (1986), “Collision Course” by Lewis Teague (1989) and “Tango and Cash” by Andrew Konchalovsky and Albert Magnolius (1989), and these are just some of them. But it was people like Black and other famous action-oriented compatriots who pioneered the buddy cop method in a state of unforgettable absurdity, and their films, if separated from their ingrained stereotypical traits, had minimal artistic value compared to their artificial counterparts. 48 Hours (1982) by Walter Hill, “Point Break” (1991) by Catherine Bigelow and “Black’s Own Deadly Weapon” (1987) are films that have become the foundation of the genre, with Black, in particular, being one of the true authors of the original Gospel of ironic neo-noirs. What is undoubtedly true is that in the world of action movies there is BLW (before Lethal Weapon) and ALW (after Lethal Weapon), an influence that is clearly manifested in all subsequent reincarnations.

But this era of ALVA influence is almost over. After the disappearance of most trends, he exhausted his literal avatars to fundamental extinction and discovered a new evolution (or deconcentrated?) Life in the superhero genre. Think about it: instead of incompatible personalities who exchange the spiritual part while avoiding machine gun fire, we now have incompatible superpersonalities who exchange the spiritual part, joining forces to damage an enemy or an entire city. Perhaps that’s why Shane Black turned to this genre with “Iron Man 3”, and although his witty humor complements Robert Downey Aspects of an outdated technological plot, it was still a flawed venture that was only a narrative recreation of the Indestructible created by Pixar (2004), and was eventually replaced by a dogmatic one By building, he also minimized his expressive personality, given how all Marvel films require matching style, narrative structure, and outcome. And now that superhero movies have become their own trouble in today’s multiplexes, this, in turn, makes the familiar territory of a bygone era of movie undoubtedly fresh. This is what makes Black’s detective comedy The Good Guys-even if it’s practically a copy of her first film as a lead director, peck, peck, Bang, Bang (2004)-original, even if it depends a lot on the formula.

This is Los Angeles, 1977, the same year as Paul Thomas Anderson’s Boogie Nights (1997), although the billboard for Jaws 2 (1978) suggests that the film’s time frame is not entirely strict. This period was chosen as a superficial historical feature, mainly based on pop culture riffs (gas pipes, film references, jokes about Walton) and antique aesthetics; the lush typography of the opening part, guitar riffs influenced by pedal music and the magnificent retro design are reminiscent of the cool 70s. there is no evidence that the frame of the film is anything other than an artificial design. This is an exact reverse use of period specificity that was secretly used in another PTA film, Inherent Vice (2014). Although “Good Guys” and “Inherent Vice” (2014) share a reliable personal secret, it is he who goes beyond aesthetic appeal and relies on the political paranoia of the time and the disappearance of free love, turning it into a psychological construct. Black’s script, co-written with newcomer Anthony Bagarozzi, has no such ideas in mind and instead follows the path of meeting fundamental expectations.

Fulfilling expectations is not necessarily a bad thing, especially if you fulfill them with effortless courage. Black’s knowledge of the tough Buddy Cop formula, the charming Ham-Fister archetypes and understanding of the complex Magical is what makes most of his filmography so interesting. With its clunky rhythms, astute wit, and anarchist farce, “The Good Guys” embodies this charming strategy and also evokes the profound influence of the great Elmore Leonard, although overall it definitely lacks the writer’s dense, cohesive storylines to justify a full-fledged parallel. Driven by awe and equally complex desperation, Black always makes his films too confusing and shapes blacks who can be confusing but brimming with distracting personality. At the center of this black parody are Jackson Healy (Russell Crowe) – Joe Paluka’s hired gun with some conscience—and Holland March (Ryan Gosling) — a rich, half-corrupt licensed private investigator. They start out as rival members (charming scoundrels would be a more appropriate description) when Healy stabs March’s arm with a spiral fracture as a cruel warning and finally realizes that their individual matter has a common variable: Amelia Kuttner (Margaret Qually), an anti-pollution activist with questionable ties to the hardcore industry. When you overcome all the complex interconnections – from the three major automobile concerns to the systemic corruption that, no matter how banal it may sound, leads you to the top – which leads you through the almost unnecessary details of the Magical, the quality of performance is in the spotlight.

Crowe and Gosling usually feel more comfortable than smouldering drama guys, and yet both seem incredibly comfortable with the good guys, at least with each other. Although each of their characters completely denies their obvious predilection for the other (mismatched cops should always seem a little in love), they give them corresponding contradictory layers of insecurity and charisma. They do this through a combination of laid-back natural rhythms and awesome chemistry that give the film its undeniable personality. As a comedic, straight—talking man, Crowe – now covered in a layer of fat that strangely resembles visual comparisons to Jackie Gleason -seems exceptionally cowardly, and while he was never sure he could have played the role alone, he’s clearly having a good time damageing bad guys., mental words with Gosling to exchange opinions and find his lighter inner touch (he actually spits out cliches in a funny way). But in fact, Gosling attracts attention. His nasal, distracted behavior, combined with his misguided antics to try to look polite and completely inappropriate — for example, awkwardly falling off a balcony or simultaneously trying to manipulate a loaded pistol and a cigarette with a hole in the toilet – proves that this is natural. for parodies in genres that take themselves too seriously.

It also helps that Gosling’s walk has the added feature of dating an early girl named Holly (Anguri Rice). Played by Rice with a surprisingly honest innocence, Holly, who shares her father’s sense of professionalism and his endearing incompetence, constantly finds herself at the center of the plot, even after she is bodily removed from him, locked in the house or the trunk of a car. She is the impartial conscience of the film, always looks through the prism, everything is fine, even answers her father’s question with a decisive “yes”: “Am I a bad person?”It’s a charming addition to the concept of father-daughter friendship, which would have worked better if the film hadn’t decided to balance that along with the already ingrained cop buddy storyline. In trying to do both, the film tends to exaggerate one or the other, depending on its position in the story. This is a typical feature of a Shane Black film: a lack of cohesion. His stories tend to get too confusing, and no matter how devoted he is to each additional decoration, whether it’s a scene from a dream with a giant bee or throwing a child through a glass window, it’s hard to justify their need.

Leave a Reply

Your email address will not be published. Required fields are marked *

Related Posts