Regie:
Shane BlackKamera:
Philippe RousselotBesetzung:
Russell Crowe, Ryan Gosling, Angourie Rice, Matt Bomer, Margaret Qualley, Yaya DaCosta, Keith David, Beau Knapp, Lois Smith, Murielle Telio, Gil Gerard (mehr)Streaming (4)
Inhalte(1)
Holland March (Ryan Gosling), ein abgehalfterter Privatdetektiv, und Jackson Healy (Russell Crowe), der als Mann fürs Grobe angeheuert wird, haben nicht viel gemeinsam. Doch dann werden beide in den Fall der vermissten Amelia (Margaret Qualley) verstrickt. Widerwillig zur Zusammenarbeit gezwungen, streifen sie gemeinsam mit Marchs pubertierender Tochter Holly (Angourie Rice) durch Los Angeles, um verworrenen Hinweisen auf den Grund zu gehen. Bis Amelias Spur sie zu einer Multi-Milliarden-Dollar-Verschwörung führt, die bis in die höchsten Kreise reicht und sie zum Ziel skrupelloser Profikiller macht... (Concorde Filmverleih)
(mehr)Kritiken (14)
I got what I wanted. But it's worth remembering that Shane Black, who wrote The Last Boy Scout, was twenty-five years younger, so The Nice Guys is closer to his directorial debut Kiss Kiss Bang Bang than to the rampage of Joe Hallenbeck and Jimmy Dix. Russell Crowe and Ryan Gosling are a bit off as the detectives most of the time and usually don't really know who's shooting at them and why, but Black is understandably in complete control of the whole situation and lays his cards on the table at the right time. The whole thing is endearingly goofy though, so not only do the protagonists have no idea what's going on around them at times, but Black is able to afford some very campy (and great) action scenes full of ideas, bizarre jokes and punchlines you wouldn't expect. The Nice Guys is a smart crime drama, but one that wants to do things a little differently and isn't afraid to rely on mostly pretty gritty and cynical humour alongside the honest battles and shootouts, playing with audience expectations and making it entertaining to the last minute. You'll never know what Black will pull on you in the next scene. You just know it's going to be great.
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Ein angenehmer Entspannungsfilm. Es tut mir leid, dass ich ihm nicht 4 Sterne geben kann. Wenn man aber das Beste von Shane Black kennt, weiß man, dass es hier nicht das Richtige geworden ist. Das Duo Crowe / Gosling ist super, die Sprüche prima und die Retro-Atmosphäre von L.A. in den 80ern ist vielleicht die beste seit L.A. Confidential. Aber der Plot, den die Typen klären, ist so wässrig und uninteressant, dass es scheint, als ob er überhaupt nicht da wäre.
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So wie bei Kiss Kiss Bang Bang bin ich auch hier sehr zufrieden damit, was ich gesehen habe. Ich muss mir den Film aber noch einmal ansehen, weil er sich in einem Augenblick in ein riesiges Durcheinander verwandelte, das zwar sehr unterhaltsam war, aber ziemlich unübersichtlich. Ryan Gosling hat mich mit seinem komödialen Talent angenehm überrascht. Und Shane Black damit, wie er wild sein kann (z. B. die Actionszene am Ende, das ist eine wahre Groteske). Falls ich mir irgendwann mal Nixon ansehe, werde ich wissen, was passiert.
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Ein anständig gemachter Genremix mit einer sehr sympathischen Besetzung, in dem es sowohl humorvolle als auch Actionszenen gibt, alles in Maßen und in der richtigen Dosis, so dass es am Ende ein sehr guter Film ist. Die beiden Hauptfiguren haben mich wirklich gut unterhalten, egal ob sie vom Dach fielen, sich betranken, Schläge austeilten oder einfach nur ein paar Sätze in den Äther spuckten. Kurzum, ein angenehm verbrachter knapp zweistündiger Film, der sich vor allem durch seine Genrevielfalt, das gut geschriebene Drehbuch und nicht zuletzt die Besetzung auszeichnet.
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Laurel, Hardy and the mystery of the lost porn film. Gosling has never been so funny and so irresistible at the same time. Though his nihilistic private detective is a bit of an imbecile and very much an alcoholic who confuses dream with reality and “eunuch” with “Munich,” every once in a while, when the muse enlightens him, he is capable of leaving those around him momentarily speechless. In a film driven mainly by verbal shootouts between two or three characters, something like this logically does not happen often, but the wordless (splatter) slapstick scenes put Black’s growing directorial mastery on full display. There are some very funny situations (e.g. the opening scene with the speeding car) that don’t grab our attention, but instead leave us to find them in the shot on our own. Black also shows the same confidence in the viewer’s intellect in the unexpected conclusions of expected scenes. People die without any warning, characters often behave with more recklessness or brutality than is normal in Hollywood genre films (there is even violence against children) and they make a wrong or even utterly stupid decisions and have to bear the consequences. Essential revelations are made thanks to chance or the incompetence of the characters rather than through focused data collection and analysis. The sudden yet convincing changes in tone will also make you care about Gosling and the other characters. Black knows when it is appropriate to put on a serious face and thus reinforce our sympathy for the protagonists, yet he hardly ever moralises while snuffing out any inclination toward pathos or subordination to the demands of the individual characters’ backstory (during a serious dialogue about heroism, for example, one of the characters unashamedly cracks up), and offers only the line “At least you’re drinking again” as a band-aid on a disillusioning (and thus properly noirish) climax. I am not at all bothered by the fact that Black has been writing basically the same thing since Lethal Weapon, which is to say comedic noir detective stories about a duo of cynical cowboys whose lives are in shambles and they are forced to get their shit together, as long as it continues to be as entertaining and distinctly different from whatever else Hollywood is churning out, which – with a few honourable exceptions (e.g. Deadpool) – has yet to attain a similarly mature capacity for self-reflection that doesn’t draw interest away from the characters. From a commercial perspective, The Nice Guys will probably be a negligible intermezzo for Black before the Predator reboot. From the perspective of the pleasure that it brings to cinephiles, however, it is the film of the year so far. 90%
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Black is a wisecracker and he knows how to write characters, fully humanize them, and then let them sprinkle (not only) verbal humor in dialogue exchanges that make the audience squirm. Yet the entire film is covered by such a terribly lame and in many moments transparent crime plot that it wouldn't even hold up as a retro episode of CSI. If the investigative aspects hadn't been taken so seriously (a take on so many strong social themes) and had settled for more self-deprecating silliness, it would be a genre perennial. [It dissipated quickly the day after I watched it.] 3 ½.
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Russel Crowe and Ryan Gosling were born for roles like these. They make fun of themselves, but not in a very obvious way. That’s what the movie itself is like. It is funny, but at the same time isn’t primarily about the humor, it is rather a typical detective story from the 1970s. However, when there is a hilarious scene it has such an impact that you will want to rewatch it a couple of times after the first viewing. During the remainder of the time, you hope for something mindblowing to come any minute now and so you are observing, lurking, and you appreciate every moment that makes you laugh. Every joke is actually filmed so originally that the ending will make you sad. Even though I wasn’t that impressed with the first half of the crime story, the second half was a lot better. But the humor reigned for the whole 2 hours. I even have a feeling that you will not find a funnier movie from the year 2016.
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Starsky & Hutch by Shane Black. What's not to love? Perhaps only the disparity between the silly buddy comedy storyline loaded with one-liners (I haven't laughed so loud in the movie theater for a long time) and the regular gritty crime storyline, which is clearly only a makeweight, but for a long time is much more refined than it turned out to be eventually and in the final scene it is clearly too slow. In other words, both in terms of the story in a style like"nothing is going on" and in terms of comedy, it´s absolutely flawless. And I look forward to a sequel, the two of them get together in terms of mutual chemistry so unusually and in a unique way (after all, see for yourself. It would be terribly unfortunate not to give them proper space. However, the best movie in this department is still Zootropolis.
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Slight disappointment. The Nice Guys is carried in a lovely retro style with a solid leading duo, though Ryan Gosling whines a bit too much like a little girl here, which bothered me at times, but thankfully Russel Crowe is properly tough and uncompromising. The action is very good, but it was unfortunately lacking, resulted in frequent deaf passages, and the film runs out of breath in the last 20 minutes. I found the film hardly funny at all and the dialogues between the leading couple hardly worked, lacking the right chemistry. I liked the light R-rated stuff and a couple of original scenes, but it could have been better. Add more action, a more interesting twist, speed up the pace and I would have been more satisfied. 65%
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Shane Black appeals to me just by the way he still bets on his overdubbed, voiceover-guided format even after years, but this time he just made it by a hair's breadth. The storyline scissors are very wide open and it takes almost twelve minutes to really cut with them. He unnecessarily complicates the different threads and it takes quite a few dozen minutes before it becomes clear to us who, with whom, and how. Fortunately, one weapon is hiding in this arsenal that kicks strongly as expected. It's Ryan Gosling, who again does everything to not be categorized in any way and thanks to the anti-intelligence displayed here, he reliably sent me to my knees several times. His March is so genuinely passionate and yet completely useless that it even overshadows the reliable bulldog next to him. 70% and a fourth star if I look the other way, and for how obvious it is that the central trio enjoyed this nonsense seriously and with taste.
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Black is back on form. And although it’s more Kiss Kiss Bang Bang than Last Scout, in view of what we are offered in the way of movies today, this is a breath of fresh air for a smelly, sequel-reliant Hollywood. Nice Guys score highly mainly due to their complex screenplay which, even though it leads toward a certain goal, dropping clues to solve the case along the way, it works excellently in individual scenes, too. These scenes are usually either comedy (almost always with an ingenious punchline) or action-based. The plot revolving around the lost porn film/actress offers a good portion of Black’s inventiveness (beware - unlike other creators, he repeats himself a little in his films, but always very refreshingly) and again first-class work with child characters. He hit the jackpot in his choice of actors. Gosling is awesome. In the role of a kind-hearted, chubby guy, Crowe gives an excellent performance (he’s beginning to look a bit like Goodman), it’s just Kim who simply looks somehow old, even under tons of makeup and she her acting just isn’t good enough. Drugged up bees, naked mermaids and a villain with a blue face. a wonderful comedy which I’ll watch again soon. - What was that noise? - Pardon? Oh, I was just throwing a girl out of the window.
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It's a decent retro one-off, whose atmosphere and frilly 1980s LA visuals are far more engaging than the story around which the two well-acted main characters revolve. By the way, this is the kind of daughter I wanted in the new Jack Reacher and didn't get. Brilliant one-liners and great action. A bit better Starsky & Hutch, but very similar.
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I’m not a huge fan of Russell Crowe or Ryan Gosling, but I liked the film in spite of them. I was entertained for the whole 116 minutes, some scenes had me roaring with laughter, the atmosphere of the film was great and lasted till the end. Credit is due even for the casting of the two leads. They made the film work really well. I just don’t get why Kim Basinger was in it. She has always been more of a model than an actress as far as I’m concerned. Her facial expressions sure compare to Mickey Rourke's. Then again, she was the only major flaw of the whole film.
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"It's just this pollution is out of control. All the bees are riding around in cars these days." A likeable crime/comedy romp whose main asset is undoubtedly the two main protagonists, because they are simply likable characters par excellence. Shane Black also cleverly references such classics as L.A. Confidential, and The Usual Suspects, and this is definitely to be appreciated. As a result, The Nice Guys is a supercool retro ride that is lost in time in a good way, and will probably be most appreciated by lovers of 90s crime comedies.
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