Before we begin, let’s take a moment to clarify that headline: The Long Kiss Goodnight is not a masterpiece. Sorry to break it to you, Renny Harlin, but your finest work falls just short of Lawrence of Arabia and all those other films about schoolteachers discovering their killer pasts. Harlin’s career is full of highs and lows, including last weekend‘s The Legend of Hercules, but everything about Harlin’s “style,” from even his lowest points, came into focus for 1996’s The Long Kiss Goodnight. When Harlin’s name shows in the opening credits for his quasi-spy thriller, a grenade appears, appropriately (and visually) declaring this is the director’s most explosive outing yet. Harlin maintains a jovial energy through the film’s entire runtime, but much of the its success is attributed to screenwriter Shane Black. Black’s sensibility rings loud and clear underneath Harlin’s bombast: a dark sense of humor, an unlikely duo at the center, inventive set pieces, and clever setups and payoffs.