Kiss Kiss Bang Bang
Title: Kiss Kiss Bang BangRating: 4/5
Genre: Comedy, Mystery, Thriller, Film-Noir
Starring: Robert Downey Jr., Val Kilmer, Michelle Monaghan
Director: Shane Black (Lethal Weapon)
“You don't get it, do you? This isn't "good cop, bad cop." This is fag and New Yorker. You're in a lot of trouble.”
Following on aptly from my previous review (Blade Runner) is another in a similar vein but with a delightfully comical twist, doing what his ‘Lethal Weapon’ series did for Action films in an entirely new style. Its rare to watch something for the first time and recognise what should become regarded as a cult classic (in fact, the aforementioned Blade Runner was initially harshly criticised) but this has paid delightful tribute to those before it, satirically mocking it without ever feeling condescending towards those it pays tribute to.
Hitting the ground running we are introduced to the characters in such a way to not feel boring, learning more through their actions than any dull conversation ever could. Following the story of Harry Lockheart (Downey) who is something of an aspiring actor, sent to work with LA Private Investigator ‘Gay’ Perry (Kilmer), in order to improve his acting ability. Things quickly get out of hand when Harmony (Monaghan) gets involved with a case she wants Harry’s help in solving. The plot is indeed more complex, but slowly and consistently develops as new information and revelations occur to further the plot, assisted greatly by the sheer depth of each character.
In fact, I couldn’t imagine anyone else better suited for the role. With the lead apparently initially pegged for Hugh Grant, and the detective for Harrison Ford (how about that for a Blade Runner tribute) the result what have been wholly different, and not in a good way. The jittery character of Lockheart fitting the role like a glove, only enhanced by the way he succeeds in bouncing lines off of Perry – the moisturised macho man with a smart mouth – both proving here that despite some questionable roles in the past, are capable of competing with the best. Even the love interest, Harmony, feels like an actual character and not simply a walking talking sex scene waiting to happen.
The script itself was for the most part well written, if perhaps some plot developments could have been made clearer, but the dialogue (particularly regarding Lockheart and Perry) is spot on. With plenty of witty lines constantly delivered throughout the film, from the ‘faggot gun,’ to mocking how what occurs in films never occurs in real life, plenty of interruptions and with a certain smugness about it, the humour feels intellectual without requiring the audience to be the same, most people should be capable of recognising most of the references. Narrated by the incompetent Lockheart, towards the beginning frequently making mistakes and having to ‘pause’ the story so he could explain what he forgot, it allows you to explore alternative segments about the character in question in an original, amusing yet un-confusing manner.
Only lacking a certain depth preventing it from being rated higher, this film provides an innovative twist to the style, not completely satirical in its criticism of those that clearly influenced its development, with a dark humour that never resorts to cheap shots, detailed in its use of little jokes such as Perry’s “I Will Survive” ringtone it doesn’t try too hard to constantly provide laughs, performing with ease as a device to set the mood whilst the plot unravels. This is the sort of film that should be done more often.
Genre: Comedy, Mystery, Thriller, Film-Noir
Starring: Robert Downey Jr., Val Kilmer, Michelle Monaghan
Director: Shane Black (Lethal Weapon)
“You don't get it, do you? This isn't "good cop, bad cop." This is fag and New Yorker. You're in a lot of trouble.”
Following on aptly from my previous review (Blade Runner) is another in a similar vein but with a delightfully comical twist, doing what his ‘Lethal Weapon’ series did for Action films in an entirely new style. Its rare to watch something for the first time and recognise what should become regarded as a cult classic (in fact, the aforementioned Blade Runner was initially harshly criticised) but this has paid delightful tribute to those before it, satirically mocking it without ever feeling condescending towards those it pays tribute to.
Hitting the ground running we are introduced to the characters in such a way to not feel boring, learning more through their actions than any dull conversation ever could. Following the story of Harry Lockheart (Downey) who is something of an aspiring actor, sent to work with LA Private Investigator ‘Gay’ Perry (Kilmer), in order to improve his acting ability. Things quickly get out of hand when Harmony (Monaghan) gets involved with a case she wants Harry’s help in solving. The plot is indeed more complex, but slowly and consistently develops as new information and revelations occur to further the plot, assisted greatly by the sheer depth of each character.
In fact, I couldn’t imagine anyone else better suited for the role. With the lead apparently initially pegged for Hugh Grant, and the detective for Harrison Ford (how about that for a Blade Runner tribute) the result what have been wholly different, and not in a good way. The jittery character of Lockheart fitting the role like a glove, only enhanced by the way he succeeds in bouncing lines off of Perry – the moisturised macho man with a smart mouth – both proving here that despite some questionable roles in the past, are capable of competing with the best. Even the love interest, Harmony, feels like an actual character and not simply a walking talking sex scene waiting to happen.
The script itself was for the most part well written, if perhaps some plot developments could have been made clearer, but the dialogue (particularly regarding Lockheart and Perry) is spot on. With plenty of witty lines constantly delivered throughout the film, from the ‘faggot gun,’ to mocking how what occurs in films never occurs in real life, plenty of interruptions and with a certain smugness about it, the humour feels intellectual without requiring the audience to be the same, most people should be capable of recognising most of the references. Narrated by the incompetent Lockheart, towards the beginning frequently making mistakes and having to ‘pause’ the story so he could explain what he forgot, it allows you to explore alternative segments about the character in question in an original, amusing yet un-confusing manner.
Only lacking a certain depth preventing it from being rated higher, this film provides an innovative twist to the style, not completely satirical in its criticism of those that clearly influenced its development, with a dark humour that never resorts to cheap shots, detailed in its use of little jokes such as Perry’s “I Will Survive” ringtone it doesn’t try too hard to constantly provide laughs, performing with ease as a device to set the mood whilst the plot unravels. This is the sort of film that should be done more often.
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