The Nice Guys: A Morally Decent R-Rated Comedy

For my first visit to the cinema 2016, The Nice Guys was the right choice. Like our own Mike Enoch, I have consciously eliminated popular culture from my life. While this was done because I could not unsee the degeneracy in everything and it was turning my hair white, it has had the kind bonus of freeing up my days for bodybuilding, following up on every citation in The Culture of Critique, and shit-posting. I made an exception to my media celibacy for Shane Black's film The Nice Guys because he previously directed Kiss Kiss Bang Bang, a neo-noir film that gave me my first older woman crush, Michelle Monaghan. Iowa born, gentlemen. Wrestled pigs as a child. She's as goyish as Göring in a white uniform.

*The Nice Guys *is a comedic pleasure and a send-up of Hollywood degeneracy. It is not an overtly right-wing movie, but what's good in the movie is good in the world and all the villains are appropriately foul. The movie has a 0% on J-Dar. No Jews were employed in the making of this film.

The story is set in 1977 and enjoys it. There were name drops and cultural references that went over my head, but the mood and styling were worth it. Every sympathetic character in this movie is White, which may be why no one has heard of it. The gang I brought with me to the theater is deep into pop culture but did not recognize the title when I suggested it. Fortunately, the trailer is good and was the only convincing they needed. Someone with expertise in marketing will have to come in and explain the phenomenon of quality media being strangled in the cradle by an absence of advertising. In any case, the only major non-White characters I can recall were villains and personally repulsive. There is perhaps a single moment in the film sympathetic to poz, when Ryan Gosling's character, Holland March, takes a romantic interest in an evil Negress. Luckily, this comes to nothing as she is, as mentioned, an evil Negress.

The heroes are Gosling's March and Russell Crowe's Jackson Healy, both private detectives in proper noir style. These men are flawed but unyieldingly masculine. The emotional core of the film is March's daughter Holly, played by a charming young actress, Angourie Rice. I find it difficult to like children in films, but her character is written well and believably presents as both a naive child and a teenager putting up an appearance of adulthood. The father-daughter relationship portrayed by Gosling and Rice makes the movie. In the course of events, Holly also becomes morally the daughter of Healy, and the fatherly affection of the two men for her improves them without their ever becoming womanish. She shit tests them and they pass, but they also save the day because they are men and no one else can. Throughout the film, I smiled at the idea of becoming a dad and enjoying the kind of shit-giving that only a father can provide. What is happiness but having a gang of beautiful blond blue-eyed children you can gently harass while they succeed in life (...the Dad Pill...)? If nothing else, this movie deserves a viewing for this pronatalist and paternalist message. At one point, after encountering a collection of retarded young people being retards, March openly worries about the world his daughter is growing up in. We know the feeling.

The film is not free of degeneracy, but it is treated rightly. The plot is driven by a dive in to the world of 1970s Los Angeles pornography. However, every character associated with this industry and the broader goofiness of youth culture is presented as appropriately defective. One of the funniest scenes in the movie has March and Healy interrogating a gang of hippies pretending to be dead to protest pollution. The humor of the scene is driven by two adult men being forced by circumstance to confront young morons with something other than violence. Even feminism is quietly mocked. Without giving away details, the villain of the movie is a frigid career-driven Medea played by a frigid career-driven actress.

Find a good girl and take her to see this film. The highlight of the final act is a Negro exploding as he hits the ground after being pushed from a building for daring to threaten the life of a White child. If your date claps too, you'll know she's the one.