Tag Archives: Shane Black

Predator (1987) 3.79/5 (2)

 

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Rating: The Good – 84.3
Genre: Science Fiction, Action
Duration: 107 mins
Director: John McTiernan
Stars: Arnold Schwarzenegger, Carl Weathers, Kevin Peter Hall

As is often the case, the original Predator stands head and shoulders above the sequels even though in the case of Predator 2 and Predators, the sequels are decent fare in their own right. What makes Predator so good is that it has one of the truly great action directors behind the camera (John McTiernan) and the most iconic of all action stars in front of it (Arnold Schwarzenegger). Having a totally original premise, a white hot script, great special effects, a supporting cast full of well known 80′s tough guys, and Joel Silver as a producer didn’t hurt it either! Arnold is immense (in what is easily his second best role) as the leader of the crack special forces unit who are sent into a South American jungle to rescue some political dignitaries only to come under attack by an alien hunter who hides in the trees and can appear and disappear at will. McTiernan handles the action with aplomb as you’d expect but he outdoes even himself in the set piece scenes which are a veritable masterclass in pacing and co-ordination. This is sci-fi action at its very best so just sit down and strap yourself in for two hours of pure entertainment.

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kiss-kiss-bang-bang-2005

Kiss Kiss Bang Bang (2005) 3.43/5 (1)

 

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Rating: The Good – 76.8
Genre: Action, Black Comedy
Duration: 103 mins
Director: Shane Black
Stars: Robert Downey Jr., Val Kilmer, Michelle Monaghan

A playful action comedy with an ability to shift towards darker gears is what we got when seminal action writer Shane Black stepped behind the camera to resurrect the careers of two of Hollywood’s most interesting would-be leads. Robert Downey Jr. stars as a New York thief hiding out in Hollywood who gets caught up in a noir style mystery involving his former high school crush (Michelle Monaghan) and Val Kilmer’s gay private detective.

As much as this film’s curiosity and success rests on its novel story, riff-abundant script, and fairytale like narration, the three leads are in smashing form. A natural chemistry among the cast is a gift for any action director because it can breathe additional layers of life into the necessary action set pieces and Black found himself triply blessed here as Downey Jr., Kilmer, and Monaghan reflect the best trio since Gibson, Glover, and Pesci. The story is a purposeful mash up of those that the great detective noirs served up replete with converging subplots and dark subject matters. Ever in cheeky mode though, Black spins the character archetypes on their head and none more so than Downey’s central hero who is more Jack Burton than Mike Hammer. This or course only adds to his charm as the movie’s narrator and, for his part, Downey is in commanding form and perfectly self-deprecating – in line with where his career was at the time.

If anything, Kilmer is better as the sarcastic detective batting for the other team. Though his character’s sexuality is the basis for most of his jokes, Black occasionally shows a subtler touch when he uses it to merely inform the comedy background. Purposefully avoiding one character stereotype only to unwittingly embrace another is the definition of self-defeating but thankfully, Kilmer’s impeccable timing and natural presence compensates and he gives us one of the better characters Hollywood has offered up in recent years – an original and interesting good guy and wickedly funny to boot. Far from being eclipsed by any male double act, Monaghan is just as quirky and even more charming. Moreover, by virtue of the story’s construction, it’s usually up to her to carry the story forward and she combined her dual roles with an effortless vibrance.

Black’s direction deserves some comment given it was his first time taking the reigns and though he allows the self-referential narration to ironically interfere with the narrative rather than aid its progression, the visual profile of the movie is flush with personality. Aaron Osbourne’s production design combined with Michael Barrett’s photography gives L.A. a modern fairytale quality in keeping with the themes of the story. The action sequences too are well handled thanks to some innovative ideas and deft editing. However, the most impressive feature of Black’s helmsmanship is perhaps his ability to change the tone of the movie without warning. There’s a moment when Downey confronts a heartless hitman – who had previously pulled off his recently sewn on finger in a nihilistically amusing episode – and it chills to the bone. It adds gravitas to the overall experience and enriches the film’s homage to the great noir. And in doing so, it rounds off this little gem in admirable style.

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