The Nice Guys 4K 2016 Ultra HD 2160p

Story Movie

What happens when a brutal bonesetter is partnered with a subdued sucker? Hired security guard Jackson Healy and private investigator Holland March are forced to work together to solve a simple case of a missing girl that turns into the crime of the century.

Will the guys be able to solve the complex puzzle, if each of them - their own, very individual methods.

Review 4K Movie

Life too often consists of truisms and paradoxes, and while the former, with its undoubted authenticity, turns it into an endless series of dreary days, nights and morning wake-ups, the latter, on the contrary, often compensates with a special meanness for this unbearable dreariness. Los Angeles 1977, a city in which something is bound to happen, was languishing from the hellish heat, acid parties and traditional murder-thefts woolly and ordinary at the very time when private detective Holland March, whose main flaws were curable alcoholism and incurable boredom, had to cross paths with troll and gangster Jackson Healy, who was also not averse to drinking coffee with a half-liter of hot liquor. And united them in this mesalliance suddenly disappeared actress mouth and other bodies, fruitfully working on the virgin porn industry.

Speaking about Shane Black's 'Goodfellas' with its sly detailing of picturesque disco seventies, although oversaturated with glaze to the limit, it is impossible to abstract from the reigning in the tape, triumphing and reveling, conscious cinephile hypertext, while in its genre niche of black crime comedy film does not retreat a step, testing repeatedly tested over the years plot moves and staging finds. But at the same time, this somewhat polished narrative predictability, purified, however, from the husk of very viscous templates, and presented easily and without excesses, finds an adequate correlation with those films in which, if not very similar, but tangentially rhyming plot moved to a more global judgment about the characters and time.

However, almost all the sharp edges of the seventies period are smoothed out by the director for the sake of exceptional entertainment, and the movie first of all gives rise to associations not with 'Boogie Nights', but with 'The Big Lebowski', told in such a manner as if it was really about the secret world of the American porn industry and the mores of the rich, the famous or those who simply have the right to power a little more than everyone else. All this underlying deep-throat sleepy realm, full of real deaths and big failures, is examined by Shane Black without any special scrutiny, pornography here plays the role of a piquant background, not really explained, not biased studied, but became for the director more like a satirical rebuke, but the place of action dictates the main directions, and the time of action clearly suggests that it will not be possible to stay white and fluffy, especially since the heroes run away from the fur-bearing animal as if scalded, quite in accordance with the canons of the genre. And the heroes, whose imposed positivity seems not that artificial (noir is such a noir), but somewhat exaggeratedly caricatured, are looking for what they are looking for, and they find it, but there are no concrete shifts in the results. One can reproach the director for both self-repeaters and uninventiveness of the main plot lines, but the actors - Gosling, Crowe, Bomer and Basinger on the background - fit into this strange author's world, itching with its inescapable irreality, where any attempts at reflection end in broken teeth or healing sex, making their characters, in spite of their generally standardized nature, real. Not so much a contradiction as the author's overriding method of communication.

However, Black's basic emphasis is not so much on ethics as on the aesthetics of the 70s, which the director has carefully recreated in the film, but by populating this undoubtedly historical period not with real people, but with phantom types, archetypal characters whom the director himself has long known by heart, while they themselves, in a wide range of contexts, self-ironically reflect the classic unperturbed heroes of tabloid and noir, transformed by the director into an expressive post-noir devoid of any seriousness; a kind of 'Maltese Falcon' on LSD, whiskey and other psychotropics, consumed internally without overdosing, which is gratifying. In his aesthetic and visual exuberance Shane Black does not go out of bounds, the picture is balanced and does not have that deliberate cinematic language redundancy coupled with monumental garishness that contradicts all the laws of physics and kinetics, which, let's say, took place in such a baddy-movie as 'Bad Guys'. In fact, 'Goodfellas' turns out to be close in its cinotextual palette to the relatively recent 'Inherent Vice' by the same Paul Thomas Anderson - with the only difference being that Black's movie does not have such a fastidious literary postmodernist background and does not strive for a total confusion of traces. At the heart of the whole construction of the tape is not the search for itself, but merely the discovery of harmony, coupled with some cosmetic straightening of characters. A kind of cocaine road not inward, but outward.