The Fall Guy is not just a movie; it’s an exhilarating ride that captures the essence of stunt performing while intertwining a heartwarming romance. Before diving into the film, many might not realize that its title refers to the specialized stunt performers who leap from great heights. This film, directed by David Leitch—a former stuntman himself—offers a fresh take on a popular '80s TV series, blending action and humor with a compelling narrative.
As the story unfolds, we follow Colt Seavers, played by Ryan Gosling, a stuntman grappling with his past and an embarrassing incident that forced him out of Hollywood. His journey is not just about breathtaking stunts, but also about reconnecting with Jody Moreno, portrayed by Emily Blunt, a camera operator and the love he left behind. The film resonates with audiences, highlighting the struggles of those behind the scenes in the cinematic world and the emotional depth that can exist in what might seem like a simple action flick.
Throughout the film, the chemistry between Gosling and Blunt shines, making the audience root for their characters. The balance of humor and heart is a testament to Leitch’s skillful direction, which keeps viewers engaged while paying homage to the often-overlooked artistry of stunt performers. The movie is a celebration of not just stunts but also the personal stories that intertwine with the action, making it a unique cinematic experience.
Eighteen months later, Colt gets a call from Ryder’s meddling producing partner, Gail (“Ted Lasso’s” Hannah Waddingham), begging him to come to the Sydney set of the star’s latest movie, a silly sci-fi epic called “Metalstorm,” which just happens to be Jody’s directorial debut. Ryder has gone missing. Gail needs Cole’s help to find him and, as long as he’s there, maybe execute a few stunts and, who knows, win back Jody’s love.
The movie’s screenwriter, Drew Pearce, knows a thing or two about action flicks (and, quite likely, action divas and studio interference), with credits that include “Iron Man 3” and Leitch’s “Hobbs & Shaw.” He fills the breezy first hour of “The Fall Guy” with clever, self-referential riffs on big-budget filmmaking, the proper use of split screens and the curious lack of an Oscar category for stuntwork. (If there was one — and there should be — this movie’s stunt designer, Chris O’Hara, would win it in a walk.)
In one of the movie’s most inspired sequences, Jody makes Colt explain why he ghosted her, through the guise of explaining
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