| Photos (See all 120 | slideshow) | Videos (see all 8) |
| Robert Downey Jr. | ... | Harry Lockhart | |
| Val Kilmer | ... | Gay Perry | |
| Michelle Monaghan | ... | Harmony Faith Lane | |
| Corbin Bernsen | ... | Harlan Dexter | |
| Dash Mihok | ... | Mr. Frying Pan | |
| Larry Miller | ... | Dabney Shaw | |
| Rockmond Dunbar | ... | Mr. Fire | |
| Shannyn Sossamon | ... | Pink Hair Girl | |
| Angela Lindvall | ... | Flicka | |
| Indio Falconer Downey | ... | Harry Lockhart - Age 9 | |
| Ariel Winter | ... | Harmony Faith Lane - Age 7 | |
| Duane Carnahan | ... | Chainsaw Kid | |
| Josh Richman | ... | Richie | |
| Martha Hackett | ... | Pistol Woman | |
| Nancy Fish | ... | N.Y. Casting Woman | |
| Bill McAdams Jr. | ... | N.Y. Cop | |
| Tanja Reichert | ... | B-Movie Actress | |
| Jake McKinnon | ... | Creature | |
| Stephanie Pearson | ... | Harmony Faith Lane - Age 14 | |
| Christopher Gilman | ... | Protocop (as Chris Gilman) | |
| Brendan Fehily | ... | Local News Reporter | |
| David Newsom | ... | Agent Type (as David Newsome) | |
| Judie Aronson | ... | Gift Bag Girl | |
| Ali Hillis | ... | Marleah | |
| Wiley M. Pickett | ... | Homicide Cop (as Wiley Pickett) | |
| Joe Keyes | ... | Lobby Cop | |
| Bobby Tuttle | ... | Hotel Concierge | |
| Jake Eberle | ... | Patrol Cop | |
| Saida Pagan | ... | News Anchor (as Saida Rodriguez-Pagan) | |
| Lela Edgar | ... | Party Girl | |
| Daniel Browning Smith | ... | Rubber Boy | |
| Stevie | ... | Pink Hair Girl's Dog | |
| Teresa Herrera | ... | Newswoman | |
| Kathy Lamkin | ... | Woman in Hospital Blues | |
| Evan Parke | ... | Dexter Clinic Guard | |
| Vincent Laresca | ... | Aurelio | |
| Brian Simpson | ... | Dexter Goon | |
| Cole S. McKay | ... | Dexter Goon (as Cole McKay) | |
| Ben Bray | ... | Dexter Goon | |
| Harrison Young | ... | Harmony's Dad | |
| rest of cast listed alphabetically: | |||
| Joel Michaely | ... | Eugene (credit only) | |
| Jessica Anderson | ... | Upscale Women (uncredited) | |
| Richard Alan Brown | ... | Harry Lockhart - Age 16 (uncredited) | |
| Mary Castro | ... | Model at Party (uncredited) | |
| Justin A. Davis | ... | Cool Guy at Party (uncredited) | |
| Deanna Dozier | ... | Kristin (uncredited) | |
| Sebastian Feldman | ... | Pool Party Guest (uncredited) | |
| Laurence Fishburne | ... | Bear in Genaros Beer Commercial (voice) (uncredited) | |
| Richard Grieco | ... | B-Movie Actor (uncredited) | |
| Jaelin Palmer | ... | Pie Eating Contest Kid (uncredited) | |
| Cat Rowe | ... | Pool Party Girl (uncredited) | |
| Jasen Salvatore | ... | Actor at Audition (uncredited) | |
| Steve Somers | ... | Young Harmony's Dad (uncredited) | |
| Tom Willett | ... | Abe Lincoln (uncredited) | |
| Rachel Zeskind | ... | Woman in Pool (uncredited) | |
Directed by | |||
| Shane Black | |||
Writing credits(WGA) | ||
| Brett Halliday | (novel "Bodies Are Where You Find Them") (in part) | |
| Shane Black | (screen story) | |
| Shane Black | (screenplay) | |
Produced by | |||
| Jessica Alan | .... | associate producer | |
| Susan Downey | .... | executive producer (as Susan Levin) | |
| Carrie Morrow | .... | co-producer | |
| Steve Richards | .... | executive producer | |
| Joel Silver | .... | producer | |
Original Music by | |||
| John Ottman | |||
Cinematography by | |||
| Michael Barrett | (director of photography) | ||
Film Editing by | |||
| Jim Page | |||
Casting by | |||
| Mary Gail Artz | |||
| Barbara Cohen | |||
Production Design by | |||
| Aaron Osborne | |||
Art Direction by | |||
| Erin Cochran | |||
Set Decoration by | |||
| Jeannie Gunn | |||
Costume Design by | |||
| Christopher J. Kristoff | |||
Makeup Department | |||
| Robin Black | .... | special makeup effects artist | |
| Wade Daily | .... | key makeup artist: second unit | |
| Scott H. Eddo | .... | key makeup artist (as Scott Eddo) | |
| Sean Flanigan | .... | key hair stylist | |
| Lee Joyner | .... | special makeup effects artist (as Lee Goyner) | |
| Ralis Kahn | .... | special makeup effects artist | |
| Jim Kail | .... | makeup artist (as James R. Kail) | |
| Michael Moore | .... | key hair stylist: second unit | |
| Nelly Recchia | .... | special makeup effects artist | |
| Francine Shermaine | .... | hair stylist | |
| Brenda Solomon | .... | hair special effects | |
| Cale Thomas | .... | special makeup effects artist | |
Production Management | |||
| Carrie Morrow | .... | unit production manager | |
| Scott Fort | .... | production supervisor (uncredited) | |
Second Unit Director or Assistant Director | |||
| Ty Arnold | .... | first assistant director: second unit | |
| Ty Arnold | .... | second assistant director | |
| Marco Black | .... | first assistant director | |
| Kurt Bryant | .... | second unit director | |
| Vernon Davidson | .... | second second assistant director (as Vernon A. Davidson) | |
| Steve Lonano | .... | additional second second assistant director (as Stephen Lonano) | |
| David Waters | .... | second assistant director: second unit (as David 'Muddy' Waters) | |
Art Department | |||
| Mike Carrillo | .... | property master (as Michael Carillo) | |
| Danielle Clemenza | .... | art department assistant | |
| Robert Consing | .... | storyboard artist | |
| Larce Crawford | .... | construction foreman | |
| Joe Del Monte | .... | construction coordinator | |
| Gustavo R. Ferreyra | .... | prop shop | |
| Charlene 'Charli' Gerhardt | .... | buyer | |
| Robert Hale | .... | head paint foreman | |
| Mark Kusy | .... | property assistant (as Mark S. Kusy) | |
| Jason Lasser | .... | set designer | |
| William F. McLaughlin | .... | property master: second unit (as William McLoughlin) | |
| Charles Reyes | .... | labor foreman (as Charles J. Reyes Jr.) | |
| Buddy Ray Reynolds | .... | assistant property master (as Buddy Ray Reynolds-Maichel) | |
| Carisa Rosenthal | .... | on-set dresser | |
| Ron Sica | .... | lead (as Ronald Sica) | |
| Andy Swan | .... | on-set dresser: second unit (as Andrew R. Swan) | |
| Audrey Zaldumbide | .... | graphics designer | |
| Aileen Febles | .... | art coordinator (uncredited) | |
| Scott Kitchen | .... | construction foreman (uncredited) | |
| Michele Munoz | .... | propmaker (uncredited) | |
| Jason Baldwin Stewart | .... | assistant food stylist (uncredited) | |
| David Tomeo | .... | stand-by painter (uncredited) | |
Sound Department | |||
| Richard Adrian | .... | supervising sound editor | |
| Christopher Alba | .... | first assistant sound editor | |
| Gregg Barbanell | .... | foley artist | |
| Brent Brewington | .... | utility sound | |
| David E. Campbell | .... | sound re-recording mixer (as Dave Campbell) | |
| Michael C. Casper | .... | sound re-recording mixer (as Mike Casper) | |
| Valerie Davidson | .... | supervising foley editor | |
| William R. Dean | .... | sound effects editor (as Bill Dean) | |
| André Dias | .... | dubbing editor | |
| André Dias | .... | dubbing mixer | |
| Ezra Dweck | .... | pre-dub mixer | |
| Aleksandr Gruzdev | .... | pre-dub mixer (as Alex Gruzdev) | |
| Paul Hackner | .... | dialogue editor | |
| Mark Larry | .... | supervising sound editor | |
| Daniel J. Leahy | .... | sound re-recording mixer (as Dan Leahy) | |
| Del Martin | .... | digital engineer | |
| David McRell | .... | digital engineer | |
| James Morioka | .... | dialogue editor | |
| Thomas J. O'Connell | .... | adr mixer | |
| Jason Piatt | .... | foley mixer (as Jason Platt) | |
| Troy Porter | .... | adr mixer | |
| Ken Strain | .... | boom operator (as Kenneth Strain) | |
| Stephen Tibbo | .... | production sound mixer (as Stephen A. Tibbo) | |
| Von Varga | .... | utility sound | |
| Ezra Dweck | .... | additional sound re-recording mixer (uncredited) | |
| Aleksandr Gruzdev | .... | additional sound re-recording mixer (uncredited) | |
| Eddie Kim | .... | sound editor (uncredited) | |
Special Effects by | |||
| Charles Cooley | .... | key special effects | |
| Ricky Farns | .... | special effects senior technician | |
| Timothy B. Graham | .... | special effects | |
| Mark Roberts | .... | special effects technician | |
| Tom Seymour | .... | special effects technician (as Thomas Seymour) | |
| J.D. Streett | .... | special effects supervisor | |
| Sandra Stewart | .... | special effects technician (uncredited) | |
Visual Effects by | |||
| Adam Avery | .... | additional visual effects | |
| Stephen Bender | .... | additional visual effects | |
| John Breslin | .... | visual effects supervisor: Photon VFX | |
| Dean Cranney | .... | data management | |
| Richard David Hall | .... | digital compositor: Photon VFX (as Richard Hall) | |
| Daniel Harvey | .... | visual effects producer: Photon VFX | |
| Josh Kent | .... | digital compositor: Lola Visual Effects | |
| Scott Kinsey | .... | digital compositor: Lola Visual Effects | |
| Adam Lisagor | .... | visual effects coordinator: Lola Visual Effects | |
| Michael Meagher | .... | visual effects executive producer: Lola Visual Effects (as Tony Meagher) | |
| Warwick Mellow | .... | digital artist: Photon VFX | |
| Damon Milman | .... | digital artist: Photon VFX | |
| Thomas Nittmann | .... | visual effects producer: Lola Visual Effects | |
| Kim Pearce | .... | senior systems administrator | |
| Cheryl Potter | .... | visual effects editor: in-house | |
| Murray Smallwood | .... | digital artist: Photon VFX | |
| Craig Stevenson | .... | digital artist: Photon VFX | |
| Colin Strause | .... | 3D technical supervisor: Lola Visual Effects | |
| Greg Strause | .... | visual effects supervisor: Lola Visual Effects | |
| Edson Williams | .... | visual effects supervisor: Lola Visual Effects | |
| Martin Wiseman | .... | digital effects producer: Photon VFX | |
| Loeng Wong-Savun | .... | Inferno artist: Lola Visual Effects | |
| Yoshiya Yamada | .... | 3D artist: Lola Visual Effects | |
| Craig Clarke | .... | digital compositor (uncredited) | |
| Nicky Ladas | .... | system administrator (uncredited) | |
| Brian Nugent | .... | compositor (uncredited) | |
| Loren Robinson | .... | digital compositor (uncredited) | |
Animation Department | |||
| Gary Mau | .... | animator: main title animation | |
Casting Department | |||
| Jennifer Bender | .... | extras casting | |
| Farrah Fox-Collis | .... | casting associate | |
| Mariann H.W. Lee | .... | extras casting | |
Costume and Wardrobe Department | |||
| Virginia Burton | .... | costume supervisor | |
| Bob Moore Jr. | .... | set costumer (as Robert Moore) | |
| Courtney Ormond | .... | on-set costumer | |
| Courtney Ormond | .... | on-set costumer: second unit | |
| Courtney Ormond | .... | set costumer | |
| Nancy Smytka | .... | on-set costumer (as Nancy E. Smytka) | |
| Douglas J. Stewart | .... | textile artist (uncredited) | |
Editorial Department | |||
| Tony D'Amore | .... | digital film colorist | |
| Vince Filippone | .... | first assistant editor | |
| Lauren Giordano | .... | editor: main titles | |
| Keith Shaw | .... | colorist: mastering | |
| Jeff Smithwick | .... | film timer (uncredited) | |
| Devin Sterling | .... | digital intermediate producer (uncredited) | |
Music Department | |||
| Andrea Datzman | .... | additional orchestrator | |
| Amanda Goodpaster | .... | music editor | |
| Bruce Harvey | .... | conductor | |
| John Ottman | .... | music score producer | |
| John Ottman | .... | orchestrator | |
| Randall Poster | .... | music supervisor | |
| Jeremy Raub | .... | music editor | |
| George Shaw | .... | additional orchestrator | |
| Casey Stone | .... | music scoring mixer | |
| Frank Macchia | .... | orchestrator (uncredited) | |
| David Sabee | .... | orchestra contractor (uncredited) | |
Transportation Department | |||
| Morris Aroesti | .... | driver | |
| Troy Gould | .... | transportation co-captain | |
| David Travis Grieb | .... | driver: cast | |
| Guy Merrick | .... | transportation co-captain | |
| David Oppenheim | .... | picture car coordinator | |
| Jack Jay Reece | .... | driver | |
| Griff Ruggles | .... | transportation coordinator | |
| Ronald Stinton | .... | transportation co-captain (as Ronald R. Stinton) | |
| Alberto Coto | .... | transportation (uncredited) | |
| Shawn Coulter | .... | transportation (uncredited) | |
| L. Chip Crosby Jr. | .... | additional driver (uncredited) | |
| Charlie Ping | .... | driver (uncredited) | |
Thanks | |||
| Michael A. Simpson | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb USA section |
The term "Kiss Kiss, Bang Bang" was first coined in the 1960s by the Japanese press as a nickname for James Bond. Director Shane Black loved the term and chose it as the movie's title because, "it so clearly represented what this film is." And what exactly is this film? Good question. For starters, it's original. It's a nice change of pace from all of the sequels and remakes we've been inundated with recently. I needed this breath of fresh air after being blind-sided by the news that a remake of Robocop might be on its way.
It's also funny and action-packed. The pace comes at us almost as quickly as the clever dialogue, making it nearly impossible for the average viewer to get bored. You may be offended, you may not appreciate the dark humor, and you may not get the style, but I would predict the majority of you won't get bored. Will I refund your ticket money if you *do* get bored? No, absolutely not. Don't be silly. I'll just say, "Oh well, I guess you're just in the minority on this one!" What I like most about Kiss Kiss, Bang Bang is it's so hard to "genre-lize." See what I did there? Add that term to the Movie Mark Dictionary. When you can't "genre-lize" something then you can't easily force it into any one specific genre. Clever, huh? That's what makes Kiss Kiss, Bang Bang so fun. Is there action? Yes! After all, it's by the same guy who wrote the Lethal Weapon movies. But it's not an action movie.
Is there humor? Indeed. The laughs mostly come from the chemistry between Val Kilmer and Robert Downey Jr. and some of the crazy situations they find themselves in. This is my kind of dark humor. I love to be caught off guard by unexpected moments that make me laugh at things that might not be so funny if they were witnessed in the real world. But this isn't a comedy. The humor is never forced and doesn't have to resort to slapstick or flatulent puppies just to get cheap laughs. Sure, there's a scene that involves peeing on a corpse, but it has to be seen in its context to be appreciated.
If I were forced to affix a label to this then I suppose I'd say it's a darkly comedic murder mystery. It takes itself just seriously enough to keep you in suspense, but it's irreverent enough to simply be fun and entertaining. It works well enough as a farce without ever coming off as a pure parody.
My main complaint is that the story does get a little too confusing. I admit that I openly mocked other reviews that called the story "needlessly complex," but now that I have seen it I totally understand what these reviews are talking about. You'll want to pay careful attention or you'll get lost pretty quickly. I'd even suggest taking notes. If you're not careful you'll become so immersed with keeping up with the rapid-fire dialogue that you could lose focus on the plot details. It's not mind-blowing, but there are just so many characters and minutiae to keep up with that it's easy to lose track of what exactly is going on. If your friends call you "ol' goldfish attention span" then you could be in trouble.
I'm not going to lie to you and tell you that this movie is for everybody. The language gets pretty rough, there is strong sexual content, Val Kilmer is a detective who just happens to be gay and jokes are made at his expense, there's a decent amount of gunplay, and some people just might not appreciate the unconventionality on display.
But I loved the fact that this wasn't formulaic and that the look and style was different than the norm. Black admits to de-saturating the colors in post-production to give the film a crude, rough look. Perhaps some might like their movies a little more bright, but I thought it was quite effective at giving the film the pulp detective story vibe that Black was going for.
I wouldn't recommend this to my mother, so I won't pretend to know whether this fits *your* taste either. It all depends on how you view these kinds of things. Is it gratuitous or knowingly over-the-top? Clever or too clever for its own good? Cheesy or comfortable in its self-awareness? Ask yourself what it takes to offend your senses and let that be your guide.