Director Report Card: Shane Black (2018)

4. The Predator

Usually when an actor directs a sequel to a film he appeared in, it's a case of a weary star being lured back with a chance to direct or a lead becoming the shepherd for the series that made him a star. It's very unusual for a minor player from the first movie to come back to write and direct the fourth movie. Then again, Shane Black was primarily a screenwriter when he appeared in the original “Predator.” In fact, Black returning to make a new “Predator” seemed like a slam dunk at the time. This hype was up-ended a few weeks before the film's release when a controversy, surrounding a bit part in the film being played by a registered sex offender, emerged. And then the very mixed reviews started to come out. Going into “The Predator,” I began to worry that this would be another “Iron Man 3,” where Black put his personal stamp on an established series and fucked it all up in the process.

In the depths of space, one alien ship chases another. The pursued ship, piloted by a rogue Predator, heads to Earth. He crashes and attacks a troop of black ops guys, led by Quinn McKenna. McKenna is the only survivor and ends up with some of the Pred's special equipment. Soon, McKenna is detained with an entire group of mentally unstable soldiers. But not before sending the alien tech to his wife and autistic son. The Predator was also captured and quickly escapes. It turns out he's being pursued by another warrior from his home world, a deadlier and more advanced one. McKenna, his son, a biologist who specializes in alien organisms, and a group of self-declared Loonies are caught in this interplanetary conflict.

As he did with “Iron Man 3,” Black makes no attempt to disguise his trademarks while working within an established franchise. The heroes are smart-asses, hard guys with mental health issues who have a bond. There's also a precocious kid, who naturally has a connection with the lead tough guy. The film is set around a holiday, though Black subs out Halloween for his preferred Christmas. That last choice may be the decision of Black's co-writer: Fred Dekker, the beloved but rarely utilized auteur behind “The Monster Squad” and “Night of the Creeps.” You can see Dekker's influence in other scenes, such as Rory being bullied at school. Or the genre-savvy characters, who do things like point out that the Predators don't actually live up to their names.

My biggest concern about Black directing “The Predator” was his tendency towards convoluted plotting and a complete disinterest in following established lore. Luckily, “The Predator's” plot is totally straight-forward, save for a few plot holes. Black doesn't totally fuck up the series' mythos either. In fact, the additions he makes to “Predator” lore are pretty compelling. The species' habit of collecting trophies from their prey is given another purpose. In their efforts to make themselves more effective hunters, the Predators have begun to genetically alter themselves. The primary antagonist, the Ultimate Predator, has the armor, blades, and cloaking device built into his massive jacked body. This seems like a logical extension of the species' technology. The film is set before the events of “Predators” and seems to show the beginning of the inter-species conflict that installment was about. We also see a prototype for the Predator hounds, who are much more canine-like and cuddly here.

I don't know how good Fox executives are at learning from their mistakes. However, it's definitely significant that the studio has never tried to make another PG-13 entry in the “Alien/Predator” franchise since 2004. “The Predator” is gloriously gory. The expected dangling, skinned corpses appear early on. The renegade Predator tosses people through the air. He tears a whole truck load of guys apart with ease. The Ultimate Predator is similarly adapt at dismemberment, blowing enemies apart or easily eviscerating them with his claw. There's even some alien-on-alien violence, plenty of green blood being spilled.

However, “The Predator” has a fairly serious problem in the editing department. There's a rushed, incoherent quality to some of the action scenes. Moments that should be important – like a major character comically, accidentally blowing his own head off – go by so quickly, they could be easily missed. Another moment has a child casually killing someone, without much attention being drawn to it. Other times, the editing seems to confuse or disguise simple plot points. In one scene, the characters are in an RV. In the next scene, they each have their own cars. A dog seems to play a significant role before vanishing after a key moment. The final fight also features a character suddenly appearing and disappearing. It seems to me that Shane Black or whoever wanted to get “The Predator's” run time as tight as possible ended up cutting out some important details in the process.

Or maybe “The Predator's” post-production was rushed in general. Many of the special effects are perfectly serviceable. The practical creature effects are all fun. The CGI frequently functions believably, even cleverly. Such as when dripping blood reveals a cloaked Predator. Other times, however, the CGI leaves a lot to be desired. The CGI on the Predator Dog varies from decent to shaky, depending on the scene. A moment, where the Ultimate Predator grabs a soldier and bites his head off, looks overly artificial. A dismembered body flying through the air near the end is awkwardly green-screened. There's a lot about “The Predator” that suggests sloppy re-shots and re-editing.

I've read people complaining about the editing and the effects in “The Predator.” Yet the element that seems to bother people about the sequel the most is its treatment of autism. McKenna's son, Rory, is identified as having Asperger's. He's sensitive to loud sounds, speaks in an overly specific manner, and is socially withdrawn, leading to him being bullied. None of that seems especially egregious. However, “The Predator” eventually piles on that old chestnut about autism being magic. Rory is gifted with technology and computers, easily learning how to use the Predator tech. Eventually, the movie drops the bombshell that autism isn't just neuro-divergence. It's the next step in human evolution. While I'm sure the filmmakers meant well, and Jacob Trembly is fine in the part, they end up playing into a lot of dehumanizing stereotypes about the autism spectrum.

While many of “The Predator's” problems are hard to ignore, the likability of its cast goes a long way.  I was worried Boyd Halbrook, best known as one of the villains in “Logan,” was going to be one of those boring, pre-fab Hollywood leading men. However, he proves to be quite charming as Quinn McKenna. Halbrook adapts well to the typically caustic sense of humor all Shane Black protagonists must have. (I do wish Yvonne Strahovski, as McKenna's long suffering wife, was given more to do. She disappears half-way through the movie and isn't seen again.) I also liked Oliver Munn as Dr. Bracket. Munn is equally quick with a comedic one-liner as she is during the action sequences.

The group of PTSD-afflicted soldiers, the self-proclaimed Loonies, that help McKenna could've been easily annoying characters. Yet they prove surprisingly likable as well. Thomas Jane's Baxley is not a very flattering depiction of Tourette Syndrome. However, his mental trauma is taken seriously. The bond he forms with Coyle, played by Keegan-Michael Key, is also interesting. Borderline homoerotic, the two share a special bond and struggle with their trauma in their own ways. Trevante Rhodes, as Nebraska, has a heroic streak despite his suicidal tendencies. Augusto Aguilera's Nettles also shows an interesting child-like quality, along with a more erratic side.

Some have complained that “The Predator” is too flippant. This is not an unfair criticism. The hyper-profane dialogue becomes a bit much at times, especially with Jane's sprouting random swear words. Everyone is cracking jokes, no matter how serious things get. Probably the most embarrassing moment in the film occurs when the lead character has to suddenly go to the bathroom. There's a plot reason for this but it definitely feels unnecessarily crass. Still, a lot of the jokes in “The Predator” work. Such as Munn accidentally hitting herself with a tranquilizer gun, the attempts by the men to win over the female scientist, and a scene where the guys debate on whether or not they should follow the hero.

While Black didn't seem very interested in the “Iron Man” lore, he obviously loves the “Predator” franchise. There's quite a few callbacks and references in the latest sequel. Henry Jackman's score makes sure to incorporate many of the classic themes from Alan Silvestri's beloved original soundtrack. Jake Busey appears, playing the son of Gary Busey's character from “Predator 2.” There are cheeky homages to the original's most famous lines of dialogue. This stuff is a little corny but far more charming than the attempts to set-up a potential sequel. That final, belabored scene goes on far too long and ends with an underwhelming reveal.

It's already clear that “The Predator” is a divisive film. Some hardcore fans of the franchise have dismissed it. Others have loved it. Such a mixed response is actually totally fitting. “The Predator” does some things really well. It puts a clever spin on the series' mythology, features some likable characters and actors, and definitely has its charming moments. At the same time, the editing and special effects are inexcusably bad at times. Some of the writing decisions are practically tasteless. If nothing else, I find it more interesting than “Predators.” Though definitely a bit of a mess, I would still consider the latest “Predator” an entertaining hundred minutes at the cinema. [Grade: B]

Director Report Card: Shane Black (2016)

3. The Nice Guys

“Iron Man 3” was an extremely good deal for Shane Black. Unless a director massively fucks it up, an entry in a popular franchise like that is almost guaranteed to be a huge commercial success.  Having a blockbuster like that on a resume allows a filmmaker to get almost any movie they want to make greenlit. And the movie Shane Black apparently wanted to make was “The Nice Guys.” The project happened almost exactly like that, as Joel Silver asked Black what he wanted to make after the sequel's success. Like “Kiss Kiss Bang Bang,” it was a buddy movie loosely based on a novel by Brett Halliday. Black had written several versions of the script before, including one that was a television pilot, with co-writer Anthony Bagarozzi. Also like that film, “The Nice Guys” didn't exactly set the box office on fire but received enthusiastic reviews and immediately garnered a cult following.

The year is 1977 and the place is Los Angeles. A dead porn star, by the name of Misty Mountains, crashes into a home in the Hollywood hills. Holland March, a single dad and private detective who is struggling with his alcoholism, is hired to find a missing girl. He quickly realizes she's connected to the dead porn star. The missing girl hires tough guy Jackson Healy to discourage Holland. Healy soon realizes the girl's life is in danger and reluctantly decides to team up with Holland, to find her before it's too late. The two will soon uncover a conspiracy involving the L.A. porn scene, the Department of Justice, and Detroit auto manufacturers.

Shane Black's movies continue to be immediately recognizable. “The Nice Guys” is, once again, about two guys who start out hating each other. As they begin an adventure together, they soon become friends. They uncover a crazy, convoluted conspiracy. There are sarcastic voiceover narrations from both main characters. A sassy kid is a major supporting character. And, yes, of course, the movie is set around Christmas time, though only at the very end. As another direct parallel to “Kiss Kiss Bang Bang,” both movies are set in Los Angeles. Both even feature a scene where someone is at a swanky, entertainment industry party and gawks at a nude woman doing some odd piece of performance art. If “Kiss Kiss Bang Bang” was the most Shane-Black-y movie Shane Black could've made, “The Nice Guys” is somehow an even Shane-Black-ier movie.

A big difference is that “The Nice Guys” is set in the seventies. This ends up adding a lot to the film. Black goes out of his way to capture the feeling of the decade. The fashion, with their plaids and bell bottoms, are present and accounted for. The soundtrack is filled up with funky pieces like Al Green, Earth Wind and Fire, Kool and the Gang, and the Bee Gees. More importantly, the film successfully integrates the anxieties of the decade into its story. The concerns about smog in L.A. float in the background, including a student protest. The role the auto industry plays can't help but bring the oil and energy crisis of the decade to mind. The moral outrage behind the “porno chic” era informs the story's backbone. There's even a running gag about the encroaching killer bees. The lingering fears of the Watergate/Vietnam era, ecological upheaval, moral decay, and gaudy fashion characterizes “The Nice Guys'” world.

A huge boon to “The Nice Guys” is its cast. The film is the perfect vehicle for its two leading men. Ryan Gosling continues to subvert his pretty boy image with Holland March, a flailing man who is a delirious fuck-up. He's referred to more than once as the world's worst detective. Tattooed on his hand is the phrase “You can never be happy.” Gosling has no problem inhabiting the part of a man wracked by failure. His body language is lanky and loose, the shabby appearance of someone who has given up. This allows Gosling to throw himself totally into the physical comedy of the bumbling protagonist. Yet he also finds the humanity of the character, making Holland likable by emphasizing his few positive qualities, such as his love of his daughter, his commitment to getting to the bottom of things.

Starring opposite Gosling is Russell Crowe as Jack Healy. Crowe, of course, is an expert at playing gruff and blustery characters. Like Holland, Healy does not strike the audience as a likable character. He's paid to beat people up, which he does indiscriminately. Crowe's natural gruffness makes him a good counterpoint to Gosling's frequently bumbling character. Crowe brings his own quiet sardonic side to the part, putting an ironic spin on the film's conversation and events. Crowe is also very good at bringing out the heart of an outwardly rough character, adding a charm to a character that might be a bit of a scumbag.

The final corner of the film's central trio is Angourie Rice, appearing as Holland's teenage daughter, Holly. The young girl may be the coolest headed of the three people. Though her father frequently tells her to stay at home, Holly often tags along on her dad's adventures. She's pivotal to uncovering a few clues. Rice is fantastic in the part, happily managing Black's acerbic dialogue. She gives the impression of the world's coolest teenage, feisty and smart and more observant than some of the adults around her. I'm not sure why Rice hasn't become a bigger star since her performance here, as she magnetic and clearly talented.

Most of Shane Black's screenplays have been funny but “The Nice Guys” seems to the filmmaker committing fully to making a straight-up comedy. The film is frequently hilarious. Gosling commits to broad slapstick gags, such as a hilarious scene where Healy confronts him in a public toilet. Or when an attempt to impress a girl at a party results in him falling off a balcony. As always, Black's hilarious and circular dialogue is the main source of humor in the film. The barbs are traded back and forth at a lightning speed, the gritty crime plot often pausing for circular conversation about mundane details. The film often features a genuine absurd streak. Holland's reoccurring fears about the killer bees builds towards a delirious dream sequence where a giant bee is in the backseat on his car. There's also a fantastical appearance from Richard Nixon, building off a previously shared anecdote.

For all the tomfoolery that goes down in “The Nice Guys,” the film is also characterized by an undertone of melancholy. The reason Holland is such a depressing screw-up is because he never recovered from his wife's death. He's still haunted by her loss. He hopes for a better life for himself and his daughter, symbolized by the home they hope to rebuild someday, but it seems far off. Healy, meanwhile, begins as a despicable soul. At one point, he discreetly strangles a henchman to death. However, neither man is beyond redemption. Holland accidentally burns off his defeatist tattoo. Healy shares a story about his proudest moment, when he stopped a random robbery. Later, at Holly's insistence, he spares another bad guy's life. The characters may seem hopeless at first but, the film suggests, they deserve a second chance.

Even though it's probably more of a comedy than anything else, “The Nice Guys” is still an action film. The movie enjoys subverting action expectations – like how a tossed pot of coffee zig-zags – but the violence can be surprisingly graphic. The last act introduces a cold-blooded killer known only as John Boy. He assassinates his targets with ease and, in one scene, even cuts down a palm tree with a machine gun. The film's delightfully breezy finale involves a grenade suddenly exploding and a guy falling off a building, splattering graphically on the ground below. Even then, “The Nice Guys” tends to bring a level of humor to its grislier moments. The discovery of a dead body – played by an uncredited Robert Downey Jr. – soon turns into a farcical attempt to dispose of that body. While attempting to break into a building, Holland slices his wrist, resulting in a lot of spilled blood.

Black's propensity towards convoluted plots has sometimes been a determent. “Iron Man 3” became a bit of an incoherent mess and, as much as I liked it, I'm still not sure what the plot of “Kiss Kiss Bang Bang” actually is. “The Nice Guys” is a little less convoluted than those two. Yes, there's plenty of plot twists and suddenly reveals. One of the best involves the pay off to an old woman who claims to have seen her dead niece after she died. As set up in “Kiss Kiss Bang Bang,” the film eventually ties together its divergent plot points. The murder mystery ties into the automobile company conspiracy. While it's a lot to keep track of, it all eventually makes sense in the end. So I gotta give the movie that much.

Black fills the supporting parts with recognizable faces and entertaining talent. Margaret Qually is hilarious as the missing girl, who acts petulant even when on the run from a killer. Matt Bomer is chilly and intimidating as John Boy, a ruthless killer who assassinates with a smile. Kim Basinger brings some steely determination to the official woman alternatively encouraging and dismissing our heroes' adventure. Lastly, Keith David manages to make a small and practically unnamed role as a villainous tough guy a lot more memorable than it otherwise would've been. David is obviously adapt at building a whole character out of a snarl and a few lines of dialogue.

“The Nice Guys” seemed prime to launch an on-going series. It ends by setting up a sequel. You can certainly imagine Holland and Healy having further adventures. Perhaps seeing its crowd pleasing potential, the movie was released into a crowded summer blockbuster season. Predictably, it was loss among the bigger titles, preventing it from reaching a wider audience. I imagine “the Nice Guys” might have been a sleeper hit if put out during the spring or autumn months. It seems like 'The Nice Guys” will remain another delightful and slightly underseen cult classic, a highly entertaining neo-noir crime comedy from the king of smart-ass action movies. [Grade: A]

Having a hit like "Iron Man 3" on his resume has led to Shane Black being attached to quite a few projects. He was briefly going to make a "Death Note" movie, before it got passed onto Adam Wingard. Since then, he's had two pulpier projects added to his future docket. A "Doc Savage" movie starring Dwayne Johnson, which sounds perfect, is still being considered. More recently, Black has been attached to a big screen reboot of British spy series "The Avengers." Both sound like a good match for the director's style.

But something is coming much sooner than either of those. Part of the reason I did this Report Card - besides it being short and free time becoming harder to come by for me - is because Shane Black has directed the new "Predator" movie. And I've already reviewed all the other "Predator" movies. So it seemed like good time. Obviously, I'm anticipating that one.

Director Report Card: Shane Black (2013)

2. Iron Man 3

If nothing else has become apparent during Marvel's decade long reign atop the box office, it's that the studio is very good at delivering a product to the audience when it's expected. That speedy work schedule is not always accommodating to talent. Director Jon Favreau had great financial success with the first two “Iron Man” films. However, he blamed the second film's disappointing writing on its rushed production schedule. Favreau was out for the third film, at least when it came to directorial duties. Robert Downey Jr. credited “Kiss Kiss Bang Bang” with him getting the “Iron Man” gig. So he returned the favor by recommending Shane Black to direct the third film in the blockbuster franchises. The screenwriter-turned-director would deliver a film that received positive critical reviews and would become one of the highest grossing films in the MCU. Fan reaction, however, was less unanimous.

After he nearly died during the events of “The Avengers,” Tony Stark is suffering from PTSD. He isn't sleeping and is spending more time in his basement, building countless variations on the Iron Man armor. Meanwhile, a terrorist known only as the Mandarin is threatening the world. After Happy Hogan is nearly fatally injured in an attack, Tony challenges the Mandarin directly. His Malibu home is destroyed, his armor is damaged, and he ends up in a small town in Tennessee. There, he begins to unwrap a mystery that resolves around Aldrich Killian, an old colleague of Tony's, and connects back to the Mandarin.

Over the years, people have accused Marvel's movies of lacking personality, at least in terms of directorial vision. This is not always an unfair accusation, especially when it comes to flicks like “The Incredible Hulk” or “Thor: The Dark World.” (Both of which I like, by the way.) Marvel has worked to overcome this verdict by hiring directors with clear visions, like James Gunn or Taika Watiti. Or Shane Black. Black, it must be said, totally makes “Iron Man” his own. Like “Kiss Kiss Bang Bang,” he opens with a sarcastic voice over from Robert Downey Jr. The last act features Tony and Rhodey, a white guy and a black guy, running and gunning and quipping like in “Lethal Weapon.” The plot is a convoluted mystery, slowly revealing the villains responsible. Most notably, the movie is set at Christmas. Black does not restrain his normal tendencies even when working on a 200 million dollar tent pole superhero release.

By making “Iron Man 3” so totally his own, Shane Black also reveals an obvious truth: He doesn't have much interest in what “Iron Man” actually is. Early in the film, Tony injects himself with nanobots, allowing him to summon the armor whenever he wants or even pilot it remotely. This, you'll notice, removes the central gimmick of the character. That tendency continues during a sequence where Tony, without his armor, enters the bad guy's base with homemade weapons and devices. Before the film begins, Stark has built over a dozen, awesome new suits. Some of these are briefly showcased near the end but most are haphazardly destroyed. Advanced Idea Mechanics, a major Marvel supervillain organization, is reduced to a minor background player here. Black's complete lack of interest in the nerdy source material could not be more obvious.

Black isn't just uninterested in the comic book background of the Iron Man universe. I'm not entirely sure he's seen any of the other Marvel movies. Tony Stark's character arc makes no sense. He begins the film with a serious case of post-traumatic stress disorder. This is never well explained, with his near death or the sudden existence of aliens being the two offered theories. Both strike me as slightly out of character for a danger seeker and innately curious genius. The film ends with Stark getting the shrapnel lodged in heart removed during a simple surgery. Gee, if it was that easy, why didn't he get it done before now? The film tries to paint this as some sort of transformative experience. He's seemingly cured of his PTSD and of his interest in superhero-ing. Unsurprisingly, future Marvel movies would totally ignore this dismissive ending, with Stark once again being seen with something that looks like an arc reactor at his chest.

While “Iron Man 3” has some clear problems with the series mythology, it does feature enjoyable scenes. After the explosive first third, Tony lands in Rose Hill, Tennessee. Thus begins the small town interlude. Stark befriends Harley, a small boy. Stark becomes an unlikely mentor to the boy, often delivering Black style sarcastic barbs at the boy. Ty Simpkins is strong in the part and has fantastic chemistry with Downey. The other interactions Tony has with the small town folk, including an overly enthusiastic fan, are also amusing. The Tennessee interlude concludes with a fantastic action scene, where Stark slyly explodes a henchwoman of Killian's. Moreover, shifting gears and re-grounding the high-tech franchise in a small town was a smart idea.

In fact, the action is really very strong throughout “Iron Man 3.” Several scenes stand out. The Mandarin's attack on Tony's home is an exciting sequence, the hero dodging the rubble as it falls around him. The way he rescues Pepper Potts by wrapping her in his armor and rocketing her to safety. He ends up having to improvise some ways to take out the Mandarin's helicopters, one involving a piano. By far my favorite action scene has Tony rescuing a group of people falling from an airplane. The Barrel of Monkeys scene, as its called, is an impressive physical stunt that builds in more and more wild directions as it goes on. The fluidity of movement is something “Iron Man 3” heavily features, as the big climax revolves around Tony trading suits that spin through the air.

None of this is the reason why Marvel fans are so divided on “Iron Man 3.” Black's disinterest, bordering on disdain, of comic book lore is most apparent in the mid-film twist surrounding the Mandarin. After the villain being built up as a serious foe, it's revealed that there is no Mandarin. He's a character, played by a washed-up actor bribed with drugs and girls. Aldrich Killian has engineered the entire plot. There is certainly something clever about this. In the comics, the Mandarin is, rather notoriously, a yellow scare relic from an earlier age. Fu Manchu garb is traded out for a depiction highly evocative of Osama bin Laden and Middle Eastern terrorism. Black makes the Mandarin a xenophobic fiction created by an American weapons manufacture to prolong war and violence. And, yes, that's pretty clever.

But I fucking hate it, you guys. For a couple of reasons, most of which are nerdy nitpicking. In the comics, the Mandarin is Iron Man's archenemy, the Joker to his Batman. Yes, the character is an out-of-date stereotype. (One that would be especially offensive in China, a huge market for Marvel's films, which is probably the real reason the character was altered.) Yet there's a hundred ways the character could have been retooled that wouldn't be a cheat, that wouldn't come down to a fire-breathing Guy Pierce with a dragon tattoo. Making the Mandarin a hoax also ruins all the foreshadowing from the first film about the Ten Rings, an inconsistency “Iron Man 3” never attempts to justify. Is it too fan-boy-y to be annoyed that, instead of a bad-ass wizard with magic rings, we got an alcoholic Ben Kingsley telling fart jokes? I know I'm suppose to admire how subversive and cutting edge Black's decision was but, come on, I wanted to see Iron Man fight his archenemy.

Black has shown an interested in convoluted film noir plots before. In “Kiss Kiss Bang Bang,” he was actually making fun of this tendency. In “Iron Man 3,” he brings that same tendency to a superhero franchise without the same self-awareness. Watching “Iron Man 3” in the theaters, I was frequently confused by the twists and turns the story makes. Re-watching it at home, I'm still left with a few questions. Things are flowing pretty smoothly up until the second half, where the story completely collapses into a series of big plot reveals. This character is revealed to be a traitor. The story, involving disabled soldiers being turned into nano-tech infested henchmen, raises connotations that are never resolved. Worst yet is the reveal of the actual mastermind behind the plot, which comes out of nowhere and badly redirects the entire story. I'm sure Shane Black wouldn't care about any of this but it annoys me.

The pile-up of unclear storylines flat lines in an extremely unsatisfying final act. Kilian and his henchmen tears through Iron Man armors like a hot knife through butter. Armor, I'll point out, that previously took tank shellings and walked away fine. So that seems unlikely. Pepper Potts is reduced to a damsel in distress. The film then flirts with killing her off. If that wasn't contrived enough, what happens next is even more asinine. Pepper survives and starts kicking ass in a way that seems totally unlikely for someone with no combat experience. And did I mention Guy Pierce spraying lava from his mouth? Christ, that was fucking stupid. Everything about it is frustrating and displeasing. It ends the film on the most sour of notes.

But, you know, the cast is pretty good. Robert Downey Jr., at this point, could play Tony Stark in his sleep. He has self-internalized the quips, the ego, and the action hero theatrics. Gwyneth Paltrow is given less to do but her few scenes, like when she trade romantic banter with Downey, are cute. Don Cheadle also gets a few laughs, even if it seems like he also has less overall screen time than last time. I may be no fan of the Mandarin twist but Ben Kingsley is solid in the part. When playing the Mandarin, he's effectively intimidating, another reason the twist is disappointing. Kingsley is very funny once he's playing Trevor Slattery. His entire storyline irritates me so much that it's hard for me to grade Guy Pierce's performance in any sort of objective manner. I think he's kind of annoying.

The problems I have with “Iron Man 3” are indicative of the growing pains the Marvel Cinematic Universe faced in Phase 2. The attempts to shake things up resulted in shit like this Mandarin twist, S.H.E.I.L.D. being Nazis, and the growing dumpster fire of “Agents of S.H.I.E.L.D.” Unsurprisingly, many of these twists would be retconned or ignored: A real Mandarin was hinted to exist in a Marvel One-Shot. The real S.H.I.E.L.D. continued to operate as an underground organization. And nobody, in or out of universe, paid any attention to the TV show. Ultimately, “Iron Man 3” feels like an “Iron Man” movie made by someone who doesn't care or know about “Iron Man.” It might be an interesting film but it fails as an adaptation. [Grade: C]

Director Report Card: Shane Black (2005)

Shane Black is not an unknown name here at Film Thoughts. I've already reviewed "Lethal Weapon" and "Predator." The most hot-shot-y of hot shot Hollywood screenwriters, Black had a distinctive style that was easy to identify. Reoccurring elements popped up through his scripts: Gritty crime stories, fast-paced dialogue, two guys starting out hating each other before learning to love each other, an odd obsession with Christmas. Considering he had such clear style, it's unsurprising that Black would eventually step into the director's chair. Though he's only directed three features thus far, Shane Black has already created some lovable cult favorites and at least one enormous blockbuster.

1. Kiss Kiss Bang Bang

“Kiss Kiss, Bang Bang” was born out of failure. Following the frail box office response to “The Long Kiss Goodnight,” Shane Black's run as one of Hollywood's most successful screenwriters came to an end. Black figured the secret to success might lie in a script outside the action genre. So he wrote a romantic-comedy. As he worked on the project, he still couldn't find a studio interested in making it. At that point, Black added a murder and turn the story, now called “You'll Never Die in This Town Again,” into an action movie after all. Around the same time, the veteran screenwriter decided to make his directorial debut with the film, now entitled “Kiss Kiss Bang Bang.” The movie would not become a huge commercial success but it received great reviews and quickly became a cult favorite.

Harry Lockhart came to Los Angeles to be a thief. Through happenstance, he ended up auditioning for a producer and earning a part in an upcoming movie. While at an industry party, he meets a woman he's pretty sure he recognizes. He later realizes she's Harmony, the girl he had a crush on back in high school. The next night, as research for his film role, he's sent on a drive along with private detective “Gay” Perry. They end up witnessing a car, with a dead girl in the trunk, thrown into a lake. Around the same time, Harmony – who believes Harry really is a detective – offers him a case. Her younger sister came to L.A. and killed herself but she believes it was murder. Both cases, Harry and Perry soon discover, are connected.

Right from its opening minutes, it's abundantly clear that Shane Black has lost none of his authorial voice when transitioning from writer to director. Lockhart's voice over narration speaks directly to the audience. He rambles off topic and then doubles back, apologizing for digressing too much. The film's narration, which is so obviously directly from Black's brain, is frequently hilarious. There's a poetic cadence to the words and a frequent smart-ass sarcasm. There's also a heavy meta element to the narration, as Lockhart's words often directly affect what the audience is seeing on screen. The voiceover is hilarious, immediately drawing the viewer in, while quickly establishing the film's irrelevant tone.

The meta element is also presented in the story's structure. “Kiss Kiss Bang Bang” is a detective story with characters who have read detective novels, a film noir with characters who have seen other film noir movies. Black would loosely draw inspiration from “Bodies Are Where You Find Them,” a hard-boiled detective novel in a long running series of books by Brett Halliday. The film frequently comments on the cliches and expectations of the genre. In the beginning, Harry comments how the two seemingly unrelated mysteries always connect by the end. There's also a mentioned of how, in the books, the protagonist is captured by the bad guys and tortured before escaping and killing everyone. Both of these events play out in “Kiss Kiss Bang Bang.” Essentially, this is a film noir, with a typically convoluted film noir plot, that comments on how convoluted it's plot is.

Even though Black commits fully to the detective story genre, you can still see “Kiss Kiss Bang Bang's” roots as a romantic- comedy. Once you strip away the crazy story of murder, sex, betrayal, and Hollywood intrigue, this is ultimately a story about a guy and the girl that got away. Harry and Harmony grew up together. All throughout high school, he harbored a crush on her while she messed around with other guys. In the last place either expected, they meet and are thrown together on a crazy adventure. Naturally, the two ended up together. Through this lens, “Kiss Kiss Bang Bang” becomes a classical wish fulfillment story, of the nerd finally winning over the cheerleader. This contrasts nicely with the gritty crime story and lends the film a satisfying emotional arc.

As for the comedy half of the romantic-comedy equation, “Kiss Kiss Bang Bang” is a consistently hilarious movie. Much of that humor comes from Black's fast-paced dialogue, traded back and forth between his protagonists. Harry and Perry often shoot pointed barbs at one another, baiting each other and cutting down their flaws. That makes “Kiss Kiss Bang Bang” akin to the buddy cop movies Black made his career writing, though the relationship remains highly caustic even after the two become friends. There's also a thread of likable absurdity to the film's story. Such as Harry constantly loosing a finger throughout the film, until it's finally eaten by a dog.

The comedy honestly takes the front seat throughout most of “Kiss Kiss Bang Bang.” This is not as explosive an action movie as “Lethal Weapon” or “The Long Kiss Goodnight.” (Though it is set at Christmas time, like those films, as if there was any doubt this was entirely Black's project.) The action scenes come in burst. A car careens over a cliff and into a lake. A gun is fired from a hidden place in someone's pants. Heroes barely escape detection by the bad guys. The film concludes with a big car chase and shoot-out, ending with our hero dangling over a highway overpass. For a first time director, Black acquits himself well with these action scenes. The action is always clearly and stylishly directed.

Ultimately though, “Kiss Kiss Bang Bang's” approach to action movie tropes is more smart-assed. Harry Lockhart is not an action hero. He spends pretty much the whole movie getting the shit beat out of him. The amputated finger is just one example of the abuse he takes throughout the film. He stumbles into this adventure and stumbles back out, barely alive. Near the end, the movie swiftly deconstructs the old cliché about a seemingly fatal bullet wound being stopped by a book. Despite the film's overall flippant tone, it also deals with the weight of violence. After killing a bad guy for the first time, the violent act weighs on Harry's mind. Sexual abuse and violence, usually perpetrated on children by their parents, is another theme throughout the film. It seems that action movie violence has consequences in this world... Except when it doesn't, like when a random orderly gets gunned down without much warning.

In 2005, Robert Downey Jr. was attempting a comeback. His years as an up-and-coming talent had largely been eclipsed by his struggles with drugs and run-ins with the law. If you disregard that Elton John music video, “Kiss Kiss Bang Bang” was Downey's first leading role since his stint in rehab. It turns out, Downey and Shane Black were an ideal pairing. Downey's fast-paced delivery and gift for sardonic quips makes him the perfect leading man for a Black screenplay. He's hilarious and charismatic but also likable, lacking the smarminess that Downey would, perhaps, start to rely too much in his later roles. Downey, perhaps paying penance for his bad behavior, seems to revel in the abuse his character takes. Of course, this movie would proceed Downey getting buzzy roles in “Zodiac” and “Tropic Thunder,” ultimately leading to his rebirth as a superhero.

Co-starring in the film is Val Kilmer, another leading man who hadn't had a hit in a while by 2005. Kilmer plays “Gay” Perry. Kilmer is also fantastically suited to Black's hyper-verbal, sarcastic style. Kilmer's strength for smart-ass comebacks make him perfect for the role of someone who is constantly calling Harry on his bullshit. Perry being gay is meant as something of a subversion. He's a bad-ass action hero, shooting the bad guy, taking hits, and outsmarting his enemies. Yet the way the movie frequently, and crudely, calls attention to his homosexuality would probably be considered problematic in the modern vernacular. But it's also pretty funny and there's nothing especially mean-spirited about it either.

Michelle Monaghan appears as Harmony, a year before coming to wider recognition in the “Mission: Impossible” franchise. She's well-suited to Black's style, having no problem with the wacky dialogue. She also has fantastic chemistry with Downey, the two's sexual tension playing out in a novel way. Just when it seems like the two are ready to get together, past mistakes force them apart again. Moreover, Monaghan is willing to roll and tumble throughout the film's adventure, proving to be a decent action heroine in her own right. I've also got to give a shout-out to Corbin Bernsen as the film's bad guy, who is extra sleazy in the part.

For most of its run time, “Kiss Kiss, Bang Bang” is a total delight. The characters are memorable,  the actors are great, the dialogue is really funny. The plot is convoluted enough that you start to wonder if it actually makes any sense from a distance. But that's not really a problem when you're enjoying the experience so much. After a really entertaining climax, the movie features a totally suitable denouncement. It then keeps going, with an oddly placed epilogue set back in Harry and Harmony's home town. All the lead characters are kept out of this except for Perry, which is an odd decision. The script lampshades this, referencing the famously ending-adverse “Lord of the Rings” movies, but that doesn't prevent this from being a kind of shaggy way to wrap things up.

“Kiss Kiss Bang Bang” is one of those movies people have been telling me to watch for years. I wasn't too sure about it. Before “Iron Man,” I was skeptical of Robert Downey Jr.'s comeback tour. Though I love many of his films, Shane Black's work sometimes irritates me. Having seen the movie now, I really should've gotten to it a lot sooner. The movie is fantastically entertaining from beginning to end, every smart-ass line being memorable and funny. Black's directorial debut gives the audience something funny, cool, or both to chew on every minute of its run time. [Grade: A-]