This Time, 'The Nice Guys' Don’t Finish Last

Films like “The Nice Guys” never win much critical acclaim, because quite frankly, they’re not “good” in the traditional, high-brow sense of the word. Shane Black’s newest buddy cop comedy is as formulaic as they come, steaming its way through a forgettable and by-the-book conspiracy story without much regard for artistic nuance. If you’re expecting a daring and paradigm-shifting maverick of a film, this is not the movie for you. At the same time, the world needs films that simply make audiences laugh, and “The Nice Guys”—superbly executed and blissful to the point that it refuses to take even itself seriously—is just that.

The film begins sometime during the 1970s in the City of Angels. We are introduced to Jackson Healy (Russell Crowe), a no-nonsense, off-the-books enforcer—the guy you go to when you have a problem that the police can’t or won’t solve. Divorced, alone, and terribly cynical, he spits out grim one-liners like “Marriage is buying a house for someone you hate.” How sweet. Next, we meet private investigator Holland March (Ryan Gosling), Healy’s childish, sarcastic, and occasionally incompetent foil. The duo’s paths cross when their respective jobs lead them to the same target, and eventually they team up to investigate a series of related deaths and disappearances all seemingly stemming from a single pornographic film.

As alluded to previously, there’s little reason to pay much attention to the derivative plot of “The Nice Guys”—plainly speaking, it’s dull and uninteresting. In a way, though, such mediocrity is almost welcome, as it allows audience members to power down their brains and simply delight in Crowe and Gosling’s superlative odd-couple chemistry (which, coincidentally, was first on showcase at this year’s Academy Awards). Gosling in particular turns in an exceptionally hilarious performance replete with physical comedy, reminding us of his often unheralded comedic chops.

“The Nice Guys” also benefits from a playful, quippy, and altogether excellent screenplay courtesy of writer-director Shane Black. Buddy cop comedies are often made or broken on the merits of their dialogue—clunky and corny banter can undermine even the best acting efforts.

Luckily, Black is established and well-versed in the genre, having brought us a bona fide classic in 1987’s “Lethal Weapon.”

Shane Black’s latest film after “Iron Man 3” is neither stylistically nor narratively exceptional. Viewers should rest assured, however, that even though there are no puzzles to ponder or symbols to analyze, the film promises a great time. Look for “The Nice Guys” when you’re in need of a pick-me-up—it’s pure escapist fun.

—Staff writer Steven S.K. Hao can be reached at steven.hao@thecrimson.com.