The ’90s saw a lot of gritty action films that combined elements of buddy comedy and neo-noir, ”The Last Boyscout” was one such movie, delivering an entertaining but uneven experience made memorable for its opening sequence involving an American Football player going on a shooting spree on the field of play. Directed by Tony Scott and written by Shane Black, the movie stars Bruce Willis as Joe Hallenbeck, a disgraced former Secret Service agent turned private detective, and Damon Wayans as Jimmy Dix, a fallen football star who together solve a crime involving drugs, sex and multiple murders.

A trademark of Shane Black’s writing style. One of the film’s strengths lies in its sharp and witty dialogue. The chemistry between Willis and Wayans helps make the humour feel natural in what is otherwise dark and violent film. Their chemistry adds a layer of camaraderie that keeps the audience engaged even when the plot gets evermore obscured. Willis, in particular, excels at delivering dry, sardonic one-liners that punctuate the action with a dose of humour.

The plot revolves around a conspiracy involving corruption in professional football, and the duo find themselves entangled in a web of deceit and danger. While the premise is intriguing, the execution often falls victim to clichés and predictability. The narrative lacks the complexity and depth seen in some of Shane Black’s other works, such as “Lethal Weapon” or “Kiss Kiss Bang Bang.” The film’s attempts to blend genres sometimes result in a tonally inconsistent experience, making it challenging to fully invest in the story.

The action sequences, a staple of the ’90s buddy cop genre, are just as exhilarating as they are formulaic. Tony Scott’s direction brings a stylized visual flair to the film, with intense shootouts and plenty of explosions. However, the action can feel gratuitous at times, evaporating the chance of a more nuanced picture.

The supporting cast, including Halle Berry and Taylor Negron, adds depth to the ensemble, but their characters often remain underdeveloped. Halle Berry’s blins and you’ll miss her role as Cory, the estranged wife of Wayan’s character, feels particularly underutilized, missing an opportunity to explore the dynamics of their relationship beyond mere plot convenience.

Despite its flaws, “The Last Boy Scout” succeeds in delivering moments of pure entertainment. The film’s soundtrack, composed by Michael Kamen, complements the gritty atmosphere, enhancing the viewing experience. The neo-noir aesthetic, characterized by moody lighting and urban landscapes, contributes to the film’s distinctive visual style.

In conclusion, “The Last Boy Scout” has enjoyable banter, solid performances from Willis and Wayans, and bursts of exhilarating action. However, its narrative shortcomings, tonal inconsistencies, and reliance on genre clichés prevent it from reaching the heights of excellence seen in other entries in the buddy cop and neo-noir genres. While it may not stand out as a timeless classic, it remains worthwhile for fans of action-comedy looking for a dose of ’90s nostalgia.

IMDB