The Fall Guy, a remake of the ’80s action TV show of the same name from director David Leitch (Atomic Blonde, Bullet Train) and writer Drew Pearce (Iron Man 3, Fast & Furious Presents: Hobbs & Shaw), is not exactly a movie that interrogates Hollywood in the same way that films like Tropic Thunder poke fun at it. It does have a few interesting things to say about how giant blockbusters are made, the way directors can be given massive budgets for their first feature only to realize the producers/studio are really in charge, the push for CGI rather than practical effects, last-minute third-act rewrites, and more. There are also some jokes about the importance of Hall H at Comic-Con for a movie’s marketing campaign, and a hilarious jab at Dune and its orientalism, but don’t expect a deep meditation on the current state of the film industry.
What you can and should expect is an endlessly charming and non-stop thrilling action rom-com with a dazzling cast that showcases the sheer joy of watching fiery explosions, people jumping through windows, cars crashing, and fistfights in the most dangerous locations all on the big screen. David Leitch, a former stuntman and stunt coordinator himself, and his 87North Productions crew not only make sure to highlight the elaborate work that goes into crafting stunts but also ensure that every action sequence is filled with pure glee. This is an action flick for people who go running toward the Waterworld stunt show attraction as soon as they enter Universal Studios — a crowd-pleasing triumph about the below-the-line heroes of moviemaking.
The titular “Fall Guy” is Colt Seavers (Ryan Gosling), a dashing stunt performer who suffered an almost career-ending accident that broke his back and spirit 18 months prior. After taking time to heal both his physical and mental health, Colt jumps at the chance to return to the job with the promise of reuniting with his ex Jody Moreno (Emily Blunt) on the set of her directorial debut. Unfortunately, the set is a bit of a mess. The studio isn’t exactly sure what to do with this giant sci-fi romance about a space cowboy who falls in love with an alien. Plus, to make things even worse, the leading man Tom Ryder (Aaron Taylor-Johnson), whom Colt had doubled for long ago, is nowhere to be found. It is executive producer Gail (Hannah Waddingham) who then tasks Colt to find the missing movie star before the production is shut down.
In true action-comedy fashion, Colt falls down a rabbit hole in his search for Tom which leads him to a wild conspiracy. This mystery plot, however, is not very inventive. Some viewers are bound to guess the entire twist rather quickly, but that doesn’t really matter. To paraphrase what a character in the movie says: The mystery is but the sexy bacon bits that surround the actual meat — the stunts. The plot of The Fall Guy is but an excuse to see Ryan Gosling in another performance akin to The Nice Guys. Fresh off his Best Supporting Actor Oscar nomination for Barbie, Gosling’s delightful deadpan delivery and eagerness to do silly physical comedy make for a hysterical performance that can be quite hypnotic, too. Hypnotic in the way that only a Hollywood hunk like Gosling can pull off so effortlessly.
Ryan Gosling’s performance helps boost the romantic comedy aspect of The Fall Guy, which is a huge highlight of the film. Gosling and Emily Blunt, who’s also coming off her Oscar nomination for Oppenheimer, have incredible chemistry. David Leitch is smart enough to allow the duo to be charismatic superstars and just let them shine together without undercutting any of their romantic tension with forced humor. Colt and Jody share long glances and there are several scenes of the two simply staring at each other in silence — you can’t help but immediately want them to get back together. This is the movie The Lost City wanted to be, the earnest, bombastic studio rom-com with great jokes and stunning action that is led by two bonafide A-listers with magnetic screen presence.
Of course, the star of the show is the stuntwork, and The Fall Guy does not disappoint. While we don’t get intricate John Wick-style fight choreography, the film bombards the audience with so many other kinds of impressive stunts that it’s hard not to stare in awe at the high-level craftsmanship on screen. This is a love letter to the art of stunt performing and everyone who plays a role in bringing stunts to life in the movies, no matter how big or small that role may be. It’s a film that features a song about the lack of Oscar love for stunts, a film where Ryan Gosling’s character spends a good chunk of the runtime proudly wearing an IATSE sweatshirt.
Where plenty of movies about filmmaking like Lost in La Mancha focus on the difficulties of making cinema, The Fall Guy constantly shows members of the fictional film-within-a-film’s crew talking about how much they love their job and are happy to be making a blockbuster, even if it can be a total mess at times. In that regard, this is the most endearing and heartfelt movie about filmmaking since the Japanese zombie comedy One Cut of the Dead. David Leitch’s The Fall Guy looks at the blood, sweat, and tears shed in moviemaking, shrugs them off, and says… aren’t movies magical?
There is plenty of variety when it comes to the film’s stunts, from cannon rolls to high falls and fantastic car jumps. What’s more admirable is that these feats serve as an extension of the characters. In the beginning, as Colt is still reeling from his accident, his stunts and fights are more withdrawn and calculated, based on his mental and emotional state. As the plot progresses, Colt’s actions become more daring, his movements broader, letting the stuntwork track his character arc.
One small nitpick, though, is that The Fall Guy, despite being a big love letter to stunt performers — it even ends on a hugely entertaining behind-the-scenes look at the making of the film’s stunts during the credits — has no special treatment or shout-out for the actual stunt crew involved. Guillermo del Toro’s Pinocchio dared to put animators ahead of the voice actors in the end credits to show that they are as big a part of the performances as the celebrities on the poster. The Fall Guy, though, just groups them together, not even highlighting the stunt performers for Ryan Gosling/Colt. Their names don’t appear until after the VFX team’s credit (a weird choice as the CGI vs. practical effects discussion is a big part of the plot).
This small criticism doesn’t impact the story or the film itself, but it still feels like a missed opportunity given how much The Fall Guy highlights the stunt community and widens the public’s perspective on the profession. Part rom-com, part action extravaganza, The Fall Guy is the kind of genuine big-budget crowd-pleaser many people have been longing to see more of.
Release Date: May 3, 2024.
Directed by David Leitch.
Written by Drew Pearce.
Produced by Kelly McCormick, David Leitch, Ryan Gosling, & Guymon Casady.
Main Cast: Ryan Gosling, Emily Blunt, Winston Duke, Aaron Taylor-Johnson, Hannah Waddingham, Stephanie Hsu, Teresa Palmer, & Lee Majors.
Cinematographer: Jonathan Sela.
Composer: Dominic Lewis.
Production Companies: 87North Productions & Entertainment 360.
Distributor: Universal Pictures.
Runtime: 125 minutes.
Rated PG-13.
