This movie bangs pretty hard. Kiss Kiss Bang Bang is self-aware of its tropes, and it’s an effectively humorous take on the detective genre. The narrative seems to flow naturally well to accommodate the windy cat-and-mouse game, allowing the three main characters to converge in their investigations. The conspiracy behind Veronica Dexter’s death becomes revealed in bits and pieces, allowing the novel-like structure to flourish. I found it clever to align Harry’s story with those of the fictitious Johnny Gossamer novels. It almost feels as a justification for his wannabe idiocy and a salient warning for his potential fate. He tries to picture himself as this heroic detective-like figure, but he exposes himself to graphic danger. It is also a vigorous plot when it comes to the relationships of these characters, representing a constant push-and-pull between Harry, Perry, and Harmony. Perry is trying to guide both Harmony and Harry out of the case, but both of them sink deeper into the rabbit hole. The relationship between Harry and Harmony is muddy at best; in multiple occasions, their sexual tension is interrupted by revelations and past occurrences. Confoundingly, it is the hunt that drives them together, merging both of their stories in the pursuit of detective glory.
I thought this was a very good, but not great film. I was unconvinced by some of the romantic tension, some of the jokes are outdated in today’s climate, and the constant unexpectedness made me weary. Despite it trying hard to carve out its own identity in style and story, Kiss Kiss Bang Bang falls to many of the early-2000s Hollywood stereotypes like hyper-sexualization and romantic sideplots.
