Category: Culture

Shane Black wrote Lethal Weapon, The Last Boy Scout, Last Action Hero, and The Long Kiss Goodnight. That’s a pretty good pedigree. Kiss Kiss Bang Bang is his first directorial effort, and it’s sorta Last Action Hero as an semi-indie crime flick. (Warner Brothers distributed it, so not really indie, but you know.)

It’s packed precisely full enough with metasnark. Any more snarkiness, and the schtick would be tiresome. Any less snark, and we might notice that the plot is about as thin as they get. (Which, in all fairness, is no doubt intentional — the whole movie is a deliberate self-referential homage to bad pulp detective novels.) The meta, the breaking of the fourth wall, works because it serves characterization: Robert Downey Jr.’s voice over is not constantly present, and it’s a device to bring his personality to the forefront, so that’s all right.

It’s also more homage, referring back to the Mike Hammer first-person narrative style. Our fictional pulp detective is Johnny Gossamer, which one might well see as the opposite of Mike Hammer, now that I think on it.

I can’t say much about the acting because — well, I suppose I can. Robert Downey, Jr., Val Kilmer, and Michelle Monaghan nailed their roles, delivered the dialogue with panache, and didn’t try and take over the movie. Which is good, cause the screenplay was the real hero, unsurprisingly. If I had to pick a standout, it’d be Val Kilmer, who bulked up and chewed his way through his role nicely. But they were all good. Oh, and a special bonus point to Corbin Bernsen for reprising his real life as a TV actor. S. pointed out that the movie clip in which a young Corbin Bernsen appears is no doubt an actual clip from an actual Bernsen TV movie, although nobody on IMDB has figured out which one.

My big quibble is that Shane Black made some very odd tonal choices. You’re cruising along with a black comedy, and then all of the sudden it veers into seriously dark not-funny stuff. I couldn’t figure out if he thought the seriously dark stuff was funny, or if he thought he had to ground the movie from time to time, but either way? No. It’s OK to do froth even if it’s your cred-restoring comeback flick. Maybe next time.

And in general, totally worthwhile.

As Neo-Victorian morality dramas go, the superheroics were pretty good. The intrepid examiner of social mores as viewed through the lens of Hollywood blockbusters might wish to keep a running tally of the number of times females are depicted as safer without their powers.

The plot was thin, the acting was fairly vaporous (except for Pyro, who was suitably adolescent), the love triangles were unconvincing, and the ethical dilemmas… Professor Xavier displayed little angst over his hard decision, Wolverine was completely willing to use a weapon he’d been horrified by as soon as an opportunity presented itself, and Iceman was just a jerk. Power’s there to be used, apparently.

Overall, the word “vapid” comes to mind.

Brick was really good. I have to admit I went in expecting a cute gimmick movie — well, not cute. A noir gimmick, but you know what I mean. A movie that existed for the sake of the gimmick: noir high school. This was not what I got.

Yes, it’s a noir flick set at a high school. Strip away the high school and there’s nothing really new here. It’s pitch perfect; Rian Johnson gets the noir thing. The dialogue is tough, the characterizations are good, the fractured spinning loyalties are good. The subtle implications of perversity are good. If you grew the kids up and stuck the thing in Chicago or New York or LA, you’d have a competent but not surprising noir which would eventually show up in some classic noir boxed set or other, and people would say “Hey, it’s nice to see that one on DVD.”

Probably you’d stick it in LA. I haven’t seen mention of this in any interviews, but the washed out hallucinogenic colors are deeply reminiscent of Point Blank. There’s a chase scene which could be an homage to Lee Marvin’s loud footsteps. It’s fractured in some of the same loopy delirious ways.

However, the core power of the movie would be lost if you did that. The high school is not just a gimmick. The element that kept my gut twisted tight for the majority of the movie was the way in which Joseph Gordon-Levitt carries the weight of being a noir protagonist.

In the classic noir, the hero is flawed, drawn into situations beyond his ability to cope. Okay. Take that hero and make him a high schooler. There’s no way Gordon-Levitt can carry the weight of what he’s facing. This is a high school kid who’s messed up and isolated anyway; his clear vulnerability and fragility is nearly painful to watch. His fury is palpable in every scene: the way he roughs people up, the way he comes back up off the pavement when he shouldn’t be able to. The movie is a race between his anger and his ability to sustain.

And was it worth it? That’s the noir question.