Kiss Kiss Bang Bang

Shane Black is a fine writer and his screenplays for Lethal Weapon, The Last Boy Scout, and The Long Kiss Goodnight bristled with witty dialogue, great characters and deftly handled action scenes. Kiss Kiss Bang Bang, his directorial debut, also shares these attributes, but suffers from a convoluted plot and a script so overloaded with witticisms and clever asides that the viewer soon feels overwhelmed by the sheer intensity of the experience.

Robert Downey Jr. plays a low-life criminal who inadvertently becomes a potential movie star whilst escaping from a heist gone wrong (on the run, he stumbles into an audition and gets the part). However, things take a turn for the worse when he goes undercover as a private-eye (in order to gain first hand experience necessary for the role) and witnesses a murder...

Kiss Kiss Bang Bang is an ambitious debut — several complex plot threads intertwine and an ingenious narrative links scenes - but despite his best efforts, Black loses control of affairs and the film spirals out of control. Despite my best efforts at keeping up, I just couldn't follow the storyline. It doesn't help matters that half of the lines are spoken in a chaotic scattershot manner and the other half are mumbled, making staying abreast of the story nigh on impossible at times. There are probably many moments of pure genius in Shane Black's script - it's a shame that I missed a lot of them.

The parts of the film that I did manage to follow and understand are actually very good. Kilmer and Downey Jr. work well together and share some incredibly funny scenes, there are some genuine 'classic' moments (Downey pissing on the corpse in the shower is hilarious) and the manner in which the story unfolds is, at times, inspired. If Black hadn't been trying so damn hard to be so clever with his words and had concentrated more on telling the story, this may have been a real gem.

Although the film closes with all loose ends neatly tied up, I suffered the majority of the running time baffled by proceedings and struggled to keep up with the sharp prose that flows thick and fast from the word go.

Maybe this is one of those films that would benefit from an immediate second viewing in order to catch all the bits I missed first time round.

Directed and co-written by Shane Black; based on a novel, "Bodies Are Where You Find Them" written by Brett Halliday; and starring Robert Downey Jnr, Val Kilmer and Michelle Monaghan.

A terrific opening credit sequence easily sets up the audacity and chagrin of the film for an appreciative audience. In essence, these are the reasons why you need to see this movie: the razor sharp wit, shockingly fast-paced and hysterical dialogue, pulp-fiction-esquire vibe, its pure cheesiness and the cynicism of a beat up old paperback detective novel.

Got you yet? Alright, maybe an explanation of the seemingly simple plot is warranted. It begins with a ridiculously funny set up resulting in Downey's character being paired up with Kilmer to observe the latter in his job as a private detective. They hook up with a down-on-her luck actress who brings a case for the sleuths. This synopsis constitutes gross misrepresentation on my part as things get remarkably complex. How so? Well, even the lead the character (who also is purposefully pathetic as narrator) takes time out within the movie to remember where he is in telling the story. There are even snippets of dialogue where the characters attempt to fill in the gaps or actually remind themselves of what has happened thus far in the movie.

Downey, Kilmer and Monaghan are all caricatures drawn from popular references of literature, movies and art. All however, are larger than life, exhibit great chemistry and for a movie buff, it is heaven to witness the self referential exercises and hear the narrator shred every narrating convention applicable. Downey's performance is remarkable (neurotic, comic, vulnerable and charming). I have never seen Kilmer in such a well-defined, uproarious piece of work. Monaghan is also integral to the trio and shines exuding a brash, fighting and sexy appeal. She brought back fond memories of early Kathleen Turner and Rene Russo. The fact that her look screams Renee Zellweger, is not a bad thing either.

Black became famous in the 1980s for writing the hit buddy movies: Lethal Weapon, The Last Boy Scout and The Long Kiss Goodnight. As a first time director, he does well keeping the frenetic pace and allowing the audience to catch up only to get lost time and time again. The style is so disarmingly effective, that at times I shook my head in confusion or found my hands against my mouth, agape in shock. I also think that in creating such a brilliant script that Black may have blacklisted himself in Hollywood for mirroring its supposed fame and glamor and exposing its not too pretty side. His one-liners and connected sub-plots are not typical and Kilmer and Downey make magic with their banter and clinical delivery.

All the ingredients of a pulp-noir novella can be found, even employing a structure of chapter-type headings within the movie. Parallel story lines unfold and given plot assumptions are turned over, always with achingly funny results. Even the clichés are clever e.g. a tough guy predictably crashes through a glass table, or body after body turns up, to haunt the characters.

I strongly recommend the movie, given the talent of Downey and Kilmer. Downey should be honored with a Lead Actor Oscar nomination; while Kilmer deserves a Supporting Actor nod. It thrilled me to see them both in their element, as I was on the verge of disavowing them as marquee/box-office draws. The screenplay should also attract Oscar consideration.

One of the year's best films and one of those rare movies where you'll consistently find something new to laugh at, when viewed each of a dozen times.

Shane Black's films seem to have a very unique sense of humour about them. They don't always work for me but they often contain either very clever humour that makes you smile inwardly, or there will always be a couple of moments of genuine laugh out loud humour along the way. 'Kiss Kiss Bang Bang' is probably the funniest thing I've seen from him.

The film is very self-aware. It is not afraid to break the fourth wall with its narration. I'm not always the biggest fan of narration but it works reasonably well here. In particular because the story is pretty darn complex, so it is good to have a guiding voice that can clear the odd thing up.

The film is boosted by a great cast. Robert Down Jr. And Val Kilmer were perfectly suited for their roles. Kilmer in his prime was such a treat to watch. I had a good time with this one. 7/10.

I'm not sure whether or not I like this film. On the one hand, I enjoyed watching it and I respect the fact that it's tried to be a little different; but on the other hand, Kiss Kiss Bang Bang reminds me too much of the guy at the buffet who fills his plate and doesn't end up eating it all. The film is a comedy, a thriller, a murder mystery, an action flick; a character study and a crime film, all rolled into one. It would be hard for any film to take this cocktail and spin it into a coherent piece, but to it's credit; Kiss Kiss Bang Bang almost succeeds; but cracks begin to show where the story is concerned, as the film clearly makes the conglomeration of genres it's central point, and it's too easy to get confused. The film is based on a collection of stories by Brett Halliday, and it follows a petty thief who stumbles into the top flight of Hollywood by chance, and soon finds himself part of a murder investigation after witnessing a car speeding into a lake. The investigation includes a gay detective named 'Gay Perry', and his former childhood sweetheart, Harmony.

The cast is one of the film's main assets. Director Shane Black is always happy to show off his main star, who has finally made his way back into 'A' class movies after some...errr...time out. Downey is a talented actor, and it's through him that the film gains most of its vitality. He is joined by Val Kilmer, who is a lot better than I thought he would be in the role of the gay detective. Michelle Monaghan rounds off the cast, and holds her own against the two bigger name male leads. Shane Black is most famous for his action films, including credits for the Lethal Weapon series and Arnie vehicle; The Last Action Hero, but like the film's main lead; Black has had some time off recently, and this film marks his comeback. Some people were relieved to see the Predator co-star back in action...I cant say I share the sentiment, but all in all; I'm glad that he has finally made his directorial debut with this film. On the whole, this will appeal to people who like their films to be quirky and offbeat. The mock-noir style bodes well with Downey's witty performance, and the film is constantly entertaining; even if it doesn't always hit the mark dead on.

I didn't expect much from this at all, but it turned out pretty good. Think of a Raymond Chandler murder mystery, updated to a sort of modern and enormously... self-aware buddy film-noir. Yes, a buddy-movie, film-noir, murder mystery, crime-thriller, all rolled into one hip modern self-referential update, packed with amusing references to all the clichés of the genres depicted. Before you can even think about the next cliché in the film, it grabs it, makes a mockery of it and proceeds at break-neck pace.

Petty thief Harry Lockhardt (Downey) is a lovable loser who accidentally winds up in the movie business, auditioning for the part of a private detective. Val Kilmer plays the real private eye, Perry Shrike (half the fun is picking the right name!) who has to learn him the trades of the business, but soon they both wind up in a murder mystery with so many twists and turns (and bodies), it'll make your head spin.

Downey and Kilmer seem to have the time of their lives, but not to the viewer's expense. Perhaps a bit too clever for it's own good with so many "clever" plot turns, that I was lost in the end, but perhaps I'm not as clever as I wish to. And I must say, Michelle Monaghan! Wow! She really gave one sexy performance! It derails a bit in the end and goes so wildly over the top with shaggy-dog jokes, ridiculously stupid bad guys and buddy-clichés, it makes Austin Powers look like a straight-faced classic. But as a whole very entertaining, with snappy dialogue, clever writing, and enjoyable performances. Just lots of fun.

Camera Obscura --- 8/10