SPIDER-MAN: BRAND NEW DAY Review

Destin Daniel Cretton takes over Tom Holland's Fourth Solo Spidey Film that Looks to Ground the Character while Allowing him to Fly Higher than Ever.

THE ODYSSEY Review

Christopher Nolan's Latest is an Ambitious Film Worthy of Homer's Epic Poem and One of the Most Exhilarating Theater Experiences Viewers Could Hope for.

MINIONS & MONSTERS Review

Dan Trachtenberg Continues to Expand on the Predator Franchise, this Time Making the Titular Antagonist a Protagonist we Root For and Want to See More Of.

MOANA Review

Director Luca Guadagnino's Latest May Not Have Been Made to Make Audiences Feel Comfortable, but it Might Have at Least Alluded to Something More Bold.

THE INVITE Review

Paul Thomas Anderson and Leonardo DiCaprio Team-Up for the First Time to Deliver a Thrilling, Timely and Ambitious Film that Delivers on Every Front One Might Hope.

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Showing posts with label Murielle Telio. Show all posts
Showing posts with label Murielle Telio. Show all posts

THE NICE GUYS Review

From the moment The Temptations' "Papa Was a Rollin' Stone," kicks in and the old Warner Bros. logo flashes across the screen one can't help but be hooked by The Nice Guys. It's been eleven years since Shane Black made his directorial debut with Kiss Kiss Bang Bang after toiling away in the writers room for years and while it's been much too long since I've seen that Robert Downey Jr./Val Kilmer crime caper I have to imagine the cult following it has amassed since its release over a decade ago is happy to see Black back behind the helm of what he does best. Though Iron Man 3 may be the most divisive Marvel film of the bunch, Black clearly has a knack and a love for crafting stories from a time in which he obviously remembers fondly and nostalgically despite those times being admittedly reckless and ill-conceived. We are dropped into 1977 Los Angeles immediately, the music blaring, the now goofy clothes worn with honor, and a smog settling in over the skyline that immediately sets the tone of something being slightly askew. The magic of Black's touch in crafting the exact right tone he desires is that of not making this skewed feeling strictly pertain to the events of his story, but more it applies to the characters that will operate within this series of events that Black has crafted to more or less exploit the type of characters and the type of relationships he finds interesting and funny. That is all to say the plot actually matters very little here, but instead it is the chemistry of our two leads and the understanding with which they convey Black's dialogue and character qualities that make The Nice Guys more of an exception than the rule. Sure, there might have been two other actors that might have pulled this off in a similarly successful fashion and I'd even be willing to bet that replacing Russell Crowe with someone along the lines of a Liam Neeson or Kyle Chandler might have yielded better results, but Gosling absolutely owns his role and is essential to the movies success. This is Gosling's movie-make no mistake-and it will solidify both his presence and his talent as being among the most appealing in the business today (as if it wasn't already). As it is though, The Nice Guys is a buddy cop film that excels in creating a buddy dynamic so fun and compelling that all the cop stuff hardly matters.