The Nice Guys


An outtake from The Shining?

An outtake from The Shining?

(2016) Action Comedy (Warner Brothers) Russell Crowe, Ryan Gosling, Angourie Rice, Matt Bomer, Kim Basinger, Margaret Qualley, Yaya DaCosta, Keith David, Beau Knapp, Lois Smith, Murielle Telio, Gil Gerard, Daisy Tahan, Jack Kilmer, Lance Valentine Butler, Ty Simpkins, Cayla Brady, Tammi Arender, Rebecca Dalton Rusk, Terence Rosemore, John L. Morris, Michelle Rivera, Nathaniel “Nate” Scott. Directed by Shane Black

 

1977 in Los Angeles was an interesting place. It was the golden age of porn; bell bottoms and flower shirts were the fashion, and guys with too-long locks and elaborate facial hair were on the prowl for chicks with teased hair. Smog choked everything and in the post-Watergate atmosphere, it felt a lot like innocence had been irrevocably lost. This is where and when I grew up.

Shane Black gets it note-perfect, and while I admit I had very little to do with the porn industry as a teenager (other than as a prospective consumer) this feels like the L.A. I grew up in. This is the kind of town where a sports car might crash from a hilltop road into your background, disgorging a beautiful naked porn star (Telio) whose final words are “How do you like my car?”

This is also the kind of place inhabited by Jackson Healy (Crowe), a Bronx-bred tough guy who is the kind of guy you call when you want someone hurt, but not killed. He’s also a bit of a knight in not-so-shining and dented all to hell armor, hired by a young woman named Amanda (Qualley) to discourage a guy who’s been stalking her.

That guy happens to be Holland March (Gosling) whom Healy appropriately sends to the hospital with a spiral fracture of his arm. But as it turns out, he’s been hired to find Amanda – he’s a private detective, albeit one who drinks far too much and isn’t nearly as bright as he thinks he is. After their encounter, Healy is visited by a pair of mobsters (Knapp, David) who are trying to intimidate him about the whereabouts of Amanda. March gets away from the two of them, leaving one of them with permanent blue dye all over his face.

Realizing that he’s stepped into something that doesn’t smell so good, he enlists the guy he sent to the hospital – March – to find out what’s going on and locate Amanda, who’s disappeared off the face of the Earth. At first none too pleased to be teamed up with him, March begins to grudgingly respect his new partner. The two are helped by March’s precocious daughter Holly (Rice) who is a better detective than either of them.

It turns out the case is related to the porn industry, the California Department of Justice whose head honcho (Basinger) turns out to be Amanda’s mother. On the trail is the chief bad guy John Boy (Bomer) who is thus named because he has a similar mole as Richard Thomas of The Waltons. And with avant garde pornographers, vicious hit men, and Vegas mobsters to contend with, these two ne’er-do-wells will have their work cut out for them if they plan to live to see 1978.

Black has always been a terrific writer, going back to his Lethal Weapon days and to an extent, he’s mocking the genre he helped create (the buddy cop movie) with this film, which would come out ten years after this film was set. As I mentioned earlier, he gets the period stuff right on with the fashions, the smog, the soundtrack and even the vibe. This is most definitely the City of Angels I remember.

He also casts his film nicely. Both Gosling and Crowe take to their parts like they were born to them, and the chemistry between the two is what carries the movie and holds it together. Crowe, who carries himself as a big guy, does the tough-with-a-heart-of-gold as well as anybody and while Gosling is often the comic relief, he never stoops to making his character a laughing stock, although March easily could be considering all the poor choices he makes.

Rice should also be given some credit. The movies are filled with precocious kids who are smarter than the adults in the movie, and often these types of characters are annoying as the fluctuating price of gas. However, Rice makes the character credible enough and vulnerable enough to avoid that pitfall, although again I do wish the adults here didn’t have to be quite so dumb.

The action sequences are decently staged as are the comedy bits, although I think most of the best comedy moments can be found in the trailer which is a bummer. At times, it feels like it is one irritable police captain away from a TV cop show from that era – Starsky and Hutch much?  There is also a little bit of a reach in the plot department in terms of the conspiracy going on in high places, although the movie is well-written overall in terms of plot construction. However, it feels a little bit like a noir film with a funk soundtrack, if you get my drift. Some of it just doesn’t work.

Overall though this is far more entertaining than a lot of stuff out there. It’s smart, it has some decent performances and it captures a place and time better than most. Some might find the immersion in the porn culture a bit distasteful but Black doesn’t stick it in your face overly much. Well, maybe not to me. While I have friends who dug this a lot more than I did, I can say they’re not wrong in giving this film the kind of love they’ve given it and as far as I’m concerned, Shane Black is the kind of director who always seems to make movies that are worthwhile viewing. Boom shaka laka laka, baby.

REASONS TO GO: Smart dialogue and plot construction. Crowe and Gosling have genuine chemistry.
REASONS TO STAY: Originally started life as a television pilot and has that kind of TV quality to it. A little far-fetched in places.
FAMILY VALUES: Violence abounds as well as sexuality and nudity with plenty of foul language and a smattering of drug use – all 70s-centric things.
TRIVIAL PURSUIT: In the elevator scene, the same background Muzak plays as in the similarly-set scene in The Blues Brothers.
CRITICAL MASS: As of 6/20/16: Rotten Tomatoes: 91% positive reviews. Metacritic: 70/100.
COMPARISON SHOPPING: Inherent Vice
FINAL RATING: 6.5/10
NEXT: Warcraft

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The Finest Hours


Romance by storm.

Romance by storm.

(2016) True Life Drama (Disney) Chris Pine, Casey Affleck, Holliday Grainger, Ben Foster, Eric Bana, John Ortiz, Kyle Gallner, John Magaro, Graham McTavish, Michael Raymond-James, Beau Knapp, Josh Stewart, Abraham Benrubi, Keiynan Lonsdale, Rachel Brosnahan, Benjamin Koldyke, Matthew Maher, Jesse Gabbard, Alexander Cook, Danny Connelly, Angela Hope Smith. Directed by Craig Gillespie

The men and women of the Coast Guard have a thankless job. In many ways they are the most overlooked of the armed forces, but they put their lives on the line every day to protect our shores from smugglers and pirates, and to rescue sea craft that are in trouble. They have been doing that since America was brand new.

In 1952 there is a Coast Guard installation in Chatham, Massachusetts. Barney Webber (Pine) is a Boatswain’s Mate First Class for the Coast Guard, a quiet and perhaps a bit socially awkward man who is liked but warily; during an attempted rescue mission years before, he had been unsuccessful in navigating the infamous Chatham Bar during a storm and a local fisherman had died because of it. People think he isn’t a bad guy, but there’s that distance between the town and Barney.

One townie who doesn’t feel that way is Miriam (Grainger), a feisty beautiful woman who meets Ray and instantly falls for him. The two begin going out and end up falling in love. But that last step is lacking and the forward Miriam finally asks Ray to marry her. At first he is very reluctant – what he does is dangerous and he doesn’t want to leave a widow behind. Eventually he relents and the two become engaged pending the approval of the Coast Guard.

On February 18, 1952, a massive Nor’easter slams into the New England coast. The S.S. Pendleton, an oil tanker, is on its way in when the old ship breaks in half. The aft section sinks almost immediately, leaving 33 survivors in the stern section with Chief Engineer Ray Sybert (Affleck) in charge.

Station chief Daniel Cluff (Bana) orders Webber to go an effect a rescue. Most of the Coast Guard’s bigger boats are in the midst of rescuing another tanker that had broken in half, the S.S. Mercer. All Barney is left with is a 36-foot motor lifeboat to go out into a squall that is producing 60 foot waves and high winds. With a small crew including Seamen Richard Livesey (Foster) and Ervin Maske (Magaro), he heads out resolutely into Chatham Bay to affect a mission that is almost surely suicide. With the compass wrecked and little or no navigation equipment, it seems like an impossible task, but little does anyone know that he is setting out into history.

Gillespie is a reliable director for Disney who has done movies based on fact before. This story because of how long ago it took place is essentially unknown today although there are those in New England who are thoroughly familiar with it. Most of the participants have since passed on (although Miriam is still alive apparently) so it is well that Disney is making this film now. While the tag lines tell us that it was one of the most daring small boat rescues in Coast Guard history tells us that because it is a rescue, we can assume that Webber is successful, we don’t know mainly how many got rescued and whether Webber himself made it home alive. We therefore have a sense of suspense as we watch the movie, not knowing what’s going to happen next.

The storm sequences are harrowing; if what the real crew went through was half as rough as this, it’s a wonder anyone made it home alive. Both the crew of the Pendleton and the rescue boat were heroic in extreme circumstances. It’s truly an inspiring story from that aspect. The CGI is impressive albeit not groundbreaking. Certainly it is enough to make that an integral part of the movie experience.

Pine is usually a lot more affable of a character than the one he plays here. Both Webber and Casey Affleck’s Sybert are a little bit socially awkward, somewhat reserved and not at all the types of characters we’re used to seeing from those actors and both do very well with them. I’ve seen it said elsewhere that Holliday Grainger already looks like she’s from that era and she does; the period dress and make-up only make her look more natural.

Because Barney is so awkward, the romance doesn’t have a lot of sparks. I don’t think it’s an issue of Pine and Grainger so much as how the characters are written. In many ways Miriam is forced to be the aggressor in the relationship which I don’t object to in and of itself but it just feels like there’s no chemistry, even though both actors are capable.

In fact in many ways that’s pretty much indicative of the film overall; it’s not anything that’s going to set the world on fire but it accomplishes what it needs to quietly and without fanfare. The story is certainly inspiring enough; however, you won’t go home thinking you’ve just seen a cinematic masterpiece.

REASONS TO GO: Keeps you on the edge of your seat. Mind-blowing storm scenes.
REASONS TO STAY: Solid but not spectacular. The romance lacks fire.
FAMILY VALUES: There are scenes of storm-related peril.
TRIVIAL PURSUIT: The boat the real Bernie Webber used in the rescue still exists and is maintained in pristine condition at the Rock Harbor in Orleans, Massachusetts – not far from Chatham.
CRITICAL MASS: As of 2/8/16: Rotten Tomatoes: 59% positive reviews. Metacritic: 58/100.
COMPARISON SHOPPING: The Perfect Storm
FINAL RATING: 6/10
NEXT: Hotel Transylvania 2