THE LONG KISS GOODNIGHT (1996)

There’s a prolonged and increasingly irritating debate amongst cinephiles regarding the quintessential alternative Christmas film. While predictable staples such as Black Christmas (1974), Gremlins (1984), and Eyes Wide Shut (1999) are routinely cited and possess an undeniable seasonal subject, they are frequently overshadowed by the poster child of festive carnage, Die Hard (1988). However, regardless of where one’s snowflake of opinion lands in this debate, Yuletide action hardly ends with John McClane. A glistening bauble that has languished in undeserved obscurity is The Long Kiss Goodnight. Directed by Renny Harlin (A Nightmare on Elm Street 4: The Dream Master) and written by Shane Black (Last Action Hero), the criminally underrated action vehicle intertwines festive cheer with a seedy undercurrent of government corruption, punctuated with enough pyrotechnics to curdle a glass of eggnog.

Amidst the idyllic Christmastime of suburban Pennsylvania, Samantha Caine (Geena Davis) is an impossibly saccharine schoolteacher and devoted mother who suffers from amnesia. With no recollection of her life before inexplicably washing ashore eight years prior, she has since forged a picturesque life with her husband (Tom Amandes) and young daughter (Yvonne Zima). However, when she’s involved in a seemingly innocuous car accident, troubling fragments of her past begin to resurface. Desperate for answers, she enlists the help of streetwise private investigator Mitch Henessey (Samuel L. Jackson) to dig into her past. During his routine enquiry, he unwittingly stumbles upon a vast conspiracy involving government operatives and sinister assassins. He also discovers that Samantha’s true identity is Charly Baltimore, a lethal CIA operative thought to be dead. As Samantha’s memories begin to resurface, so too do the enemies who once sought to erase her existence. Alongside the reluctant Mitch, the pair must thwart a government conspiracy before the ghosts of her past unleash a catastrophic reckoning upon the present.

After showcasing her formidable range in such diverse genres of films such as Tootsie (1982), The Fly (1986), and Thelma & Louise (1991), Geena Davis delivers a marvellously mercurial performance as both Samantha Caine and Charly Baltimore. Demonstrating her impressive capabilities with an incredibly dexterous turn, the actress embodies a protagonist who oscillates between an idyllic naiveté and ferocious tenacity. As Samantha, she imbues the character with a saccharine innocence shaped by middle-class suburbia. Yet, there’s an undercurrent of unease behind her eyes that subtly suggests this milquetoast existence is a masquerade for something primal lurking beneath. After metamorphosing into Charly, she portrays the hardened assassin with a devil-may-care cynicism and an inhibited recklessness underlined by dark mascara. 

There are many conflicting layers that Davis needs to bring to the surface, and the results could have been fatal in the hands of a less capable performer. However, she transitions between nurturing domesticity to violent predator with an unsettling grace, feeling equally comfortable in a leather trench coat smoking a cigarette as she is in a gingham dress baking Christmas biscuits. It’s a delicate balancing act between fragility and ruthlessness, but she compartmentalises the opposing sides of her character’s personality wonderfully.

Additionally, the eternally cool Samuel L. Jackson had already established himself as a magnet and unpredictable screen presence in everything from Pulp Fiction (1994) to Die Hard: With a Vengeance (1995). Yet, his performance as the morally ambivalent private investigator caught in a whirlwind of espionage and identity crises stands as an under-appreciated triumph. As Mitch Henessey, he’s the archetypal washed-up detective with a penchant for bad decisions and even worse luck. However, Jackson takes what could have easily been a wisecracking sidekick and imbues him with a potent combination of his trademark charisma, emotional nuance, and controlled chaos. While showcasing his impeccable comedic sensibilities and terrific chemistry with his counterpart, he carefully threads moments of pathos into his performance. This vulnerability surfaces most poignantly when Mitch reveals his genuine fears and during tender moments with his estranged son. These small but significant emotional beats all coalesce into a performance that surpasses what the pulpy premise might suggest. It’s not difficult to see why Jackson has described the character as his favourite role on more than one occasion. Watching him render a seemingly irredeemable figure into a strangely endearing underdog is a poignant reminder of why he is one of the most beloved actors of our generation.

Unfortunately, time hasn’t been kind to director Renny Harlin. His swashbuckling catastrophe Cutthroat Island (1995) practically bankrupted the independent production company Carolco Pictures, whereas the woeful Exorcist: The Beginning (2004) effectively administered the last rites to an already dying franchise. Since his enjoyably ludicrous creature feature Deep Blue Sea (1999), the director has struggled to deliver anything of substance. Yet, during the 1990s, he possessed an uncanny ability to elevate formulaic genre fare into high-octane entertainment. Much like he did with Die Hard 2 (1990) and Cliffhanger (1993), The Long Kiss Goodnight continues to showcase Harlin’s penchant to orchestrate bombastic action with an expert’s precision. A spectacular sequence involving gunplay inside a train station demonstrates Harlin’s unabashed abandon for explosive storytelling. During a breathtaking moment of pulp heroics, Samantha and Mitch attempt to outrun an exploding grenade by leaping from a window. As the fiery blast billows behind them, Samantha relentlessly fires her gun to shatter the ice below and cushion their fall.

It’s the apotheosis of ‘90s action maximalism, and some detractors will argue Harlin’s stylish idiosyncrasies obliterates substance. However, unlike the soulless cacophony of his contemporaries such as John Woo’s Hard Target (1993) and Michael Bay’s Bad Boys (1995), the filmmaker ensures each action sequence is inextricably woven into Samantha’s transformation. Samantha’s awareness of her previous identity returns in stages with each kinetic fight scene or explosion functioning as a crucial linchpin in her metamorphosis from milquetoast suburban housewife to lethal operative. A seemingly innocuous display of knife skills evolves into the charmingly misplaced assumption that she was once a chef. Later, when the devoted member of the PTA receives a visit from an unexpected assailant, she despatches him by cracking his skull with a glass pan of freshly baked lemon meringue pie. As she licks the swirls of cream and blood off her fingers, she whispers, “Chefs do that” to her traumatised husband and daughter. It’s a meticulously choreographed ballet of close combat and improvised weaponry that simultaneously pulses with visceral intensity and narrative purpose.

The parallels between The Long Kiss Goodnight and The Bourne Identity (2002) are inescapable, despite preceding Matt Damon’s outing as the amnesiac assassin by six years. Yet, while the Bourne franchise succumbed to the stoic trappings of realistic espionage, The Long Kiss Goodnight finds its perfect counterbalance in Shane Black’s razor-sharp screenplay. Having already cemented his reputation with Lethal Weapon (1987) and attained industry infamy commanding record-breaking fees for The Last Boy Scout (1991), the screenwriter had established himself as Hollywood’s purveyor of blockbuster thrills imbued with acerbic wit and narrative sophistication.

His script for The Long Kiss Goodnight ignited a fierce bidding war amongst studios before New Line Cinema secured the rights for an unprecedented $4M. Although it was subjected to uncredited revisions, Black’s unmistakable imprint remains deeply embedded in the film’s DNA. The gleeful juxtaposition of Christmas cheer with unflinching violence combined with his idiosyncratic pithy dialogue and neo-noir sensibilities permeate every frame. Nowhere is this more apparent than in the dynamic between Samantha and Mitch. Their rapport crackles with Black’s signature blend of sardonic humour and nonchalant cool, never descending into artifice. In retrospect, The Long Kiss Goodnight served as a crucial stepping stone for Black’s career, foreshadowing his distinct brand of postmodern noir that would eventually crystallise in his directorial debut, Kiss Kiss Bang Bang (2005).

While Black’s scathing humour and deceptively intelligent penchant for repartee maintains a propulsive rhythm, The Long Kiss Goodnight occasionally buckles under the weight of its convulsion. As Samantha pieces together the fractured remnants of her past, the screenplay spirals into an increasingly tangled web of government corruption, covert assassinations, and the kind of overwrought theatrics grandiosely nicknamed “Operation Honeymoon”. A minor subplot introduced without the necessary groundwork is the kidnapping of Samantha’s daughter during the explosive third act. It’s a thread that could have deepened the emotional stakes or provided psychological heft, but it feels more like a perfunctory contrivance rather than an organic development. For those prepared to be reasonably forgiving and willing to suspend a considerable degree of disbelief, The Long Kiss Goodnight offers a degree of pulpy entertainment. However, Black’s enthusiasm ultimately drowns in its convoluted ambitions.

Although Black’s screenplay is excessively complicated to a fault, The Long Kiss Goodnight was remarkably prescient in portraying female action protagonists. While Sigourney Weaver (Alien) and Linda Hamilton (Terminator 2: Judgment Day) had already cemented the archetype of intelligent and physically formidable heroines, mainstream action cinema of the mid-’90s remained largely beholden to exploitative tropes. That same year, ludicrous images of Pamela Anderson brandishing a pistol from the comfort of a bubble bath in Barb Wire (1996) fell into acceptable boundaries for female representation. Admittedly, Harlin succumbs to the obligatory shower scene after Samantha despatches several assassins. Yet, he subverts expectations by focusing on the blood surrounding her feet to emphasise the brutal consequences of her metamorphosis. Even the hardest cinephiles can’t deny The Long Kiss Goodnight was ahead of its time, presenting a female heroine whose transformation from suburban schoolteacher to deadly assassin is treated with far more narrative weight. Much like Luc Besson’s Nikita (1990), it reinvigorated the audience’s interest in a new wave of female-led action films such as Underworld (2003), Salt (2010), and Atomic Blonde (2017).

While The Long Kiss Goodnight may not ascend to the heights of Die Hard 2 or Cliffhanger, it remains an exhilarating foray into Renny Harlin’s explosive world that had defined much of his commercial oeuvre. It’s an under-appreciated relic of 1990s action cinema, brimming with memorable characters, acerbic wit, and audacious action sequences. Unfortunately, it’s not without its imperfections. Shane Black’s convoluted screenplay attempts to juggle his signature sardonic humour, labyrinthine plotting, and emotional gravitas with predictably uneven results. Despite these missteps, there’s an undeniable pleasure to be found in Geena Davis’ and Samuel L. Jackson’s glorious on-screen chemistry. Davis’s transformation from amnesiac schoolteacher to lethal operative is executed with grit and charm. Whereas Jackson’s underrated turn injects the 120-minute runtime with levity as he chews on every bit of delicious dialogue with tenacity. The Long Kiss Goodnight may be an exercise of style over substance, but it offers enough nostalgic charm and Yuletide thrills to satisfy genre fans.

USA | 1996 | 120 MINUTES | 2:39:1 | COLOUR | ENGLISH • SPANISH

Limited Edition 4K Ultra HD Blu-ray Special Features:

Arrow Video’s marvellous 4K restoration of The Long Kiss Goodnight showcases an immaculate 2160p Ultra HD transfer. Sourced from the original 35mm camera negative under the auspicious eye of director Renny Harlin himself, the transfer is presented in its original aspect ratio of 2.39:1.

Dolby Vision lends a welcome level of increased richness to the colour palette. Black levels are rich and satisfyingly deep, revealing an unobtrusive veneer of grain from start to finish, whereas the white snows of Pennsylvania are pristine and stand out wonderfully. Thankfully, the oversaturated skin tones that haunted the previous presentation are non-existent, with flesh tones appearing naturally. The image is deceptively sharp and contains an excellent amount of clarity with rendering that draws out plenty of delineation. Individual clothing textures from Samuel L. Jackson’s electric wardrobe remain beautifully discernible, whereas the clarity of the wallpaper inside Samantha’s home is incredibly impressive. The Long Kiss Goodnight was never the sharpest image, but this new restoration delivers a cleaner and stabler image when compared to Warner Bros.’ 2011 transfer. Much like Arrow’s recent release of Harlin’s Deep Blue Sea, it’s another masterful upgrade.

This 4K release of The Long Kiss Goodnight features three audio tracks with optional English subtitles. Arrow Video provide an English DTS-HD 5.1 Master Audio, English LPCM 2.0 Stereo, and a brand new immersive Dolby Atmos Mix. The Long Kiss Goodnight features plenty of explosions, and the Dolby Atmos Mix embraces every boom with pristine clarity. It’s a monstrous track that threatens to blow the subwoofer, but it’s wholly appropriate for a presentation this thunderous. Action effects, including blistering gunshots and shattering glass, pierce the soundscape and are precisely placed throughout the side channels for maximum effect, whereas discrete expansions in the overhead channels offer some really impressive surround activity, with thunderclaps and raindrops creating an immersive experience. Dialogue is not quite prioritised and is noticeably quieter in comparison to the rest of the sonic mayhem. However, it remains discernible and is smartly prioritised at the front.

Disc 1—Feature & Extras (4K Ultra HD):

• NEW 4K restoration by Arrow Films from the original 35mm negative approved by director Renny Harlin.
• 4K Ultra HD (2160p) presentation in Dolby Vision (HDR10 compatible).
• Original DTS-HD MA 5.1, stereo 2.0. and new Dolby Atmos audio options.
• Optional English subtitles for the deaf and hard of hearing.
• NEW audio commentary by film critic Walter Chaw.
• NEW audio commentary by film critics Drusilla Adeline and Joshua Conkel, co-hosts of the Bloodhaus podcast.
• Theatrical trailer & image gallery.

Disc  2—Bonus Features (Blu-ray):

• NEW ‘Symphony of Destruction’, a new interview with stunt co-ordinator Steve Davidson.
• NEW ‘Long Live the New Flesh’, a new interview with make-up artist Gordon J. Smith.
• NEW ‘Girl Interrupted’, a new interview with actress Yvonne Zima.
• NEW ‘Amnesia Chick’, a new visual essay by film scholar Josh Nelson.
• NEW ‘The Mirror Crack’d’, a new visual essay by critic and filmmaker Howard S. Berger.
• NEW ‘A Woman’s World’, a new visual essay by film scholar Alexandra Heller-Nicholas.
• Deleted scenes.
• Archive promotional interviews with director Renny Harlin and stars Geena Davis, Samuel L. Jackson and Craig Bierko.
• Making Of, an archive promotional featurette.
• Behind the Scenes, archive EPK footage from the filming of The Long Kiss Goodnight.

Cast & Crew

director: Renny Harlin.
writer: Shane Black.
starring: Geena Davis, Samuel L. Jackson, Brian Cox, Patrick Malahide, David Morse, Craig Bierko & Yvonne Zimma.