The Big Bang is a film noir-style thriller about Los Angeles private investigator, Ned Cruz (Banderas), who is hired by a recently paroled Russian boxer to locate his missing girlfriend Lexie (Guillory) and retrieve the US$30 million worth of diamonds that she took from him.

Cruz’s quest to find Lexie lands him in the most bizarre of situations in the dirtiest and most dangerous areas of LA, where he comes across a variety of eccentric characters. In his investigation, Cruz finds various clues on different characters connected to Lexie, such as an enigmatic Hollywood action star (Van Der Beek) and an independent porn producer named Puss, ironically portrayed by rapper Snoop Dogg – ironically because of his character's name of course, and not because of the porn producer role. Eventually, the trail of clues lead Cruz to the mastermind behind it all, billionaire Simon Kestral (Elliot) with the intentions of recreating the Big Bang underneath the New Mexico desert.

Straight from the start, the plot of The Bing Bang is chaotic and may leave audiences in disarray as they try to keep up with the plot. What at times seems like it is meant to be a multi-stranded story never really comes together the way it should. Back-to-back scenes don’t flow, with the tone often changing quite suddenly.

The stylistic elements of the film are derivative and the failed pastiche approach does it no favours. While it is clearly influenced by Tarantino films such as Pulp Fiction and Reservoir Dogs, it lacks the charm and intelligence of these crime classics. At times the film also delves into, and tries to recreate old-school film-noire qualities, which it overall also fails to do.

The budget of The Big Bang was well under US$20 million, and although much better has been made for much less, it would be difficult for the film to compete with its much better funded action-film peers.

The only saving grace of the film is the always dependable Antonio Banderas as Cruz. The role doesn’t quite live up to his most famous of turns in films such as Desperado and Once Upon a Time in Mexico, but he actually carries the often over-dramatic dialogue with a great sense of nonchalance. Supporting roles are little more than caricatures, and Banderas’ headline status is never in any danger.

This is by no means the worst action film to be churned out by the Hollywood conveyor belt, but the melodrama of the plot is not backed up with any originality.