“They’re just so angry,” Gosling once sighed.

And yet, marking its upcoming 10th anniversary this month, “The Nice Guys” has established itself as one of the most beloved comedies of the last decade — a decade in which Hollywood studios largely left the genre for dead. A 1970s-set comic noir directed and co-written by Shane Black, “The Nice Guys” paired Gosling and Russell Crowe as private eyes in a Los Angeles crime caper that, a decade later, keeps getting better.

“There’s a lot of interest in ‘The Nice Guys’ today that wasn’t there when it opened. And the box office will attest to that,” Black deadpanned in a recent interview. “But people find these things. I think there’s kind of a joy of finding a movie on streaming or rental and then suddenly kind of realizing: How did I miss this? And ‘The Nice Guys’ was easy to miss.”

Now, “The Nice Guys” is almost always on, in reruns on cable or streaming services. Whenever it’s on Netflix, it ranks among the most viewed on the platform. As more have become familiar with the comic talents of Gosling, in “Barbie” or “Project Hail Mary,” fans inevitably ask: “But have you seen ‘The Nice Guys?’”

Black has known box-office smashes; he originated the “Lethal Weapon” movies. But he’s come to view films of his that didn’t make money as his favorites. In 2005, he made another cult favorite in “Kiss Kiss Bang Bang,” which helped revive Robert Downey Jr.’s career. (Downey makes a cameo as a corpse in “The Nice Guys.”)

“There’s something to being the king of the midnight movie,” says Black. “It’s not the most lucrative thing in the world.”

Comedies go dark

Earlier in the 2000s, comedy was a moviegoing staple. The films of Will Ferrell, Judd Apatow and Melissa McCarthy were some of Hollywood’s most lucrative. Movies like “The Hangover,” “The 40-Year-Old Virgin” and “Bridesmaids” helped define the era.

But as the franchise film grew, and international ticket sales took on greater importance, the big-screen comedy began falling out of favor right around the time Warner Bros.’ “The Nice Guys” (with a $50 million budget) reached theaters, earning about $71 million worldwide at the time. Tastes were also changing. Horror took comedy’s place as the genre of the day.

There are signs that trends may be shifting. This year, “Project Hail Mary” and the just-launched “The Devil Wears Prada 2” have put comedies in front at the multiplex. But over the last decade, funny movies have largely migrated to streaming (Netflix’s pact with Adam Sandler was an early coup) or turned into the stuff of easy-to-miss cult.

Black’s initial germ for the film, writing with Anthony Bagarozzi, was inspired by detective stories like those of William Campbell Gault and Brett Halliday. He’s read so many of them, he says, that “it’s almost a superpower.”

“I thought: There’s so much joy here,” Black says. “There’s so much fun in plot and twists and capers. You light a fuse and these guys go on this wild caper, and in the end, it’s just these two guys that are important. You can’t really remember the caper but it was there to service the idea, the shape of: These guys are at it again.”

If “Chinatown” is a detective tale about a Los Angeles private eye without a car, “The Nice Guys” is about a gumshoe who can’t smell. Gosling’s Holland March reluctantly joins with Crowe’s Jackson Healy, an enforcer, on a missing girl case. The movie is bright and colorful but set against a seedy LA and the adult film industry. With Holland also is his young but wise daughter, Holly (a preternaturally good Angourie Rice).

An heir to ‘Midnight Run’

“The Nice Guys” had an expansive cast, including Kim Basinger, Keith David and, in one of her first big roles, Margaret Qualley. But the heart of the movie is Gosling and Crowe. Neither was especially known for their comic skills at that point. Crowe was coming off the not-exactly-hysterical biblical epic “Noah.” But Black, a believer in the Lowell Ganz-Babaloo Mandel school of comedy (“Splash,” “Parenthood”), had an instinct they’d work well together.

“The thing is, Ryan is just a good actor,” says Black. “He’s funny in everything he does. But he didn’t do a lot of outright comedies. For this, the character was not like a ‘Talladega Nights’ or ‘Step Brothers.’ It’s not that kind of comedy where everything is pushed. It was a story that an actor could do and basically play a real character.”

They key for Black is centering the comedy on grounded characters, like the classic buddy movie “Midnight Run,” which paired Robert De Niro and Charles Grodin. That approach may have gone missing in a decade where most of the few studio comedies that got made went for high-concept laughs. (See “Tag,” a 2018 comedy about adult friends playing tag.)

But “The Nice Guys,” sleazy and silly, gave Gosling a jumping-off point for some of the most sublime pratfalls in recent memory. Gosling had shown a knack for comedy before, but “The Nice Guys” is his coming-out party. No one has ever had his arm broken, or reached the same high-pitched squeal of pain, like Gosling does in the film. In another scene, on a toilet, he tries to balance a pointed gun and a lit cigarette while lifting his pants and repeatedly kicking the stall door open. It’s a ballet worthy of Buster Keaton.

“My favorite that he walked in with one day was where he said, ‘I saw this movie last night with Abbott and Costello where they meet Frankenstein,’” Black recalls. “He said, ‘I’d like to maybe give that type of energy a try.’ When he said that, what he really meant was: I’m going to do a pitch-perfect Lou Costello impression sitting next to a tree for 60 seconds.”

What about a sequel?

Black is most proud of how much Gosling and Crowe were anxious to do anything that made them look cowardly or stupid or inept. “They wanted to be antiheroes,” says Black. Crowe has spoken fondly of his experience on the film, crediting Gosling as his only co-star to ever regularly get him to break character.

Thus the inevitable question: So why not a sequel?

“It’s one of the most common questions I get,” says Black. “The answer, unfortunately, is nebulous.”

“You’re saying to a studio: Hey, we want to get these two big stars. It’s going to cost even more this time. You’re going to spend maybe twice the money on a sequel to a movie that didn’t get you what you wanted back,” says Black. “It’s a tough sell to take a movie that bombed and make a sequel.”

But would he do it, if he could?

“Of course,” replies Black. “This was designed for that. Like I said, it’s a caper. There’s these two and they get in a bunch of trouble and here they go again. You want to see them do it again. There’s a whole bunch of mystery capers you could throw at these guys. You could make a grounded, potentially very interesting, touching movie set not in the ’70s but perhaps in the ’80s.”

In 2016, Gosling called the London premiere of “The Nice Guys” a momentous occasion.

“I wasn’t at the premiere of ‘The Godfather’ or ‘Apocalypse Now,’ but I got a feeling it felt pretty much the same as it does today,” Gosling said. “You’re looking down the barrel of cinematic history.”

Gosling, of course, was kidding. But cinematic history? Maybe.