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The Nice Guys (2016)

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In 1970s Los Angeles, a mismatched pair of private eyes investigate a missing girl and the mysterious death of a porn star.


Shane Black
886 ( 9)
8 wins & 34 nominations. See more awards »



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Cast overview, first billed only:
Russell Crowe ... Jackson Healy
Ryan Gosling ... Holland March
Angourie Rice ... Holly March
Matt Bomer ... John Boy
Margaret Qualley ... Amelia Kuttner
Yaya DaCosta ... Tally
Keith David ... Older Guy
Beau Knapp ... Blueface
Lois Smith ... Mrs. Glenn
Murielle Telio ... Misty Mountains
Gil Gerard ... Bergen Paulsen
Daisy Tahan ... Jessica
Kim Basinger ... Judith Kuttner
Jack Kilmer ... Chet
Lance Valentine Butler ... Kid on Bike


Set against the backdrop of 1977 Los Angeles, The Nice Guys opens when single father and licensed PI Holland March (Gosling) is hired to investigate the apparent suicide of famous porn star Misty Mountains. As the trail leads him to track down a girl named Amelia (Qualley), he encounters less licensed and less hands-off private eye Jackson Healey (Russell Crowe) and his brass knuckles, both hired by the young hippie. However, the situation takes a turn for the worse when Amelia vanishes and it becomes apparent that March wasn't the only party interested. As both men are forced to team up, they'll have to take on a world filled with eccentric goons, strippers dressed as mermaids and even a possible government conspiracy. Written by @onecriticalgeek

Plot Summary | Plot Synopsis


Nice pair See more »

Motion Picture Rating (MPAA)

Rated R for violence, sexuality, nudity, language and brief drug use | See all certifications »

Parents Guide:

View content advisory »


Official Sites:

Official Facebook | Official site | See more »





Release Date:

20 May 2016 (USA) See more »

Also Known As:

Dos tipos peligrosos See more »

Filming Locations:

Los Angeles, California, USA See more »


Box Office


$50,000,000 (estimated)

Opening Weekend USA:

$11,203,270, 22 May 2016, Wide Release

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Dolby Digital



Aspect Ratio:

2.39 : 1
See full technical specs »

Did You Know?


Similarly to the studio's marketing campaign for Inherent Vice (2014), Warner Bros. released a 70s-style trailer, complete with Betamax artifacts, an optical soundtrack audio crackle, and an "introducing" credit for Kim Basinger. See more »


During Holland March's search for Amelia Kuttner, the bourbon bartender recognizes her and claims that she was at the bar recently, drinking "Bourbon Martinis," to which March responds, "Well, that's disgusting." A Martini is a cocktail composed of either gin, or vodka, mixed with dry vermouth and served straight-up, or on the rocks with olives or a twist of lemon.

A Manhattan, however, is a cocktail composed of either bourbon, or rye, mixed with sweet vermouth and bitters and served straight-up, or on the rocks with a cherry. A Rob Roy is prepared and served the same way, but substitutes the bourbon, or rye for scotch.

March is correct in expressing his disgust towards Amelia's drink order. See more »


[first lines]
Misty Mountains: How do you like my car, Big Boy?
See more »


Ain't Got No Home
Written by Clarence 'Frogman' Henry (as Clarence Henry)
Performed by The Band
Courtesy of Capitol Records under license from Universal Music Enterprises
See more »

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User Reviews

wackily retro and refreshingly nihilistic
16 November 2016 | by lasttimeisawSee all my reviews

Shane Black's third feature film, after his tent-pole stint in IRON MAN 3 (2013), THE NICE GUYS returns to his home turf L.A. as in his palatable debut KISS KISS BANG BANG (2005). A retro-70s odd-pair comedy couples a stone-faced heavy Jackson Healy (Crowe, sizably ballooned in his physique, whether intentionally or otherwise) and a goofy private eye Holland March (Gosling), who are set to look for a runaway girl Amelia Kutner (Qualley), but soon discover several deaths happened to those who are connected to a porno movie made by Amelia, in defiance of her mother Judith (Basinger), a honcho in the United States Department of Justice.

Black is conversant with the genre ropes, apportions much physical endeavor to Healy, socking low-lives, close-range combating with pro assassins, and leaves the brain work to an ostensibly lackadaisical March, a single father perennially tailed with a premature teenage daughter Holly (Rice), who feistily teams with the duo in their children-improper outings (including a licentious party thrown by an AV producer), and coolly transforms into a dauntless heroine in the process of solving this desultory mystery.

Yes, the plot is half-heartedly baked, there is no need of audience to connect the dots, a timely cue always routinely pops up to keep the story rolling, no matter how far-fetched it seems (a cash- delivery mission is interleaved in a slapdash flurry without rounding off its suspicious corners), and an crucial character can be conveniently dispatched right after beans having been spilt, just because her mission is completed, or maybe because she is a gorgeous, idealistic fruitcake, doesn't deserve a happy break?

However, what brings home to viewers is Black's deft execution of a roller-coaster ride (almost) without brakes, under a minutely reconstructed milieu and location faithful to the ethos. Black pranks routine action shticks with unexpected but absolutely droll twists, e.g. the duo's put-on- an-impassive-face retreat in an elevator when body count is mounting thanks to a then- disembodied hit-man Johnny Boy (Bomer, in a thankless uglified villain mold), peppered with wry Nixon jokes and wacky dream scenes; he also invigorates bravado with cracking gallows humor, for instance. when they are held at gunpoint by a vixen Tally (DaCosta), like father, like daughter, Holly can be madcap on some odd occasion.

The Gosling-Crowe interplay stimulates pleasurable chemistry and rapport under Black's devil- may-care rein, especially Gosling, seems to have an inherent knack at comic timing, and the newcomer Angourie Rice, skillfully straddles both pockets of precociousness and greenness, altogether they form a unique two-dads-one-daughter triad (without a palpable gay context).

For nostalgist, THE NICE GUYS also marks a L.A. CONFIDENTIAL (1997) reunion of Crowe and Basinger (who is another Botox victim borne out of the insecurity of aging) almost two decades later, Crowe can still lead a picture with his rotund but still agile figure, while Basinger can barely find a decent role to boost her waning career. The film doesn't fare well in the box office front, which might hinder the prospect of a sequel so to speak, maybe the 70s milieu is chiefly appealing for the reminiscent and cinephile, lesser to today's Millennials core audience, also justice doesn't fully prevail in the end, and an almost nihilistic overtone doesn't enhance its popularity either.

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