A star stuntman goes behind-the-scenes to uncover a mystery behind the set his latest film in The Fall Guy, an action-packed update of the TV series that opens in Prague and cinemas worldwide this weekend. Some expectedly excellent stuntwork, along with a fun lead performance from Ryan Gosling and a generally amiable atmosphere, help keep this one fun while the routine narrative often struggles to keep us invested.
The Fall Guy is based on the early 1980s TV series of the same name, which starred Lee Majors as a Hollywood stuntman who moonlights as a bounty hunter to make some extra cash. But this update from writer Drew Pearce (Fast & Furious Presents: Hobbs & Shaw, Mission: Impossible – Rogue Nation) isn’t as interested in building on the world of the earlier series as it is in sliding into low-key modern blockbuster formula.
Gosling stars as stuntman Colt Seavers, the personal stuntman of Hollywood superstar Tom Ryder (Aaron Taylor-Johnson), who is put out of commission with a significant back injury following a stunt gone wrong in the film’s opening sequence. Sunk into depression after his recovery, Colt seemingly retires from the industry to become a valet, ghosting assistant director and would-be girlfriend Jody Moreno (Emily Blunt) in the process.
One year later, producer Gail Meyer (Ted Lasso‘s Hannah Waddingham) convinces Seavers to come to Australia to shoot the latest Tom Ryder film by revealing that the movie is Jody’s big directorial debut, and that she’s specifically asked for Colt. She hasn’t, and still bears a grudge, but Meyer needs Colt to find an MIA Ryder in Sydney lest the whole production goes down in flames.
The Fall Guy plays out as lightweight fluff that the filmmakers take about as seriously as Metal Storm, the B-grade Mad Max ripoff at the heart of the movie. But especially in early scenes, the humor hits often enough to provide consistent low-level amusement, matched by Gosling’s amicable lead, a perpetually-bemused take on his persona from The Nice Guys.
And the stunts are genuinely impressive, with a memorable chase through the streets of Sydney sandwiched between two fight scenes at Ryder’s pad. The final desert-set sequence on the set of Metal Storm looks great and features some wonderful practical work on a dune buggy and in a helicopter, but lacks the real-world stakes of the earlier scenes.
And that’s the central problem with The Fall Guy: the film never takes itself seriously enough for us to care about its story or get invested in its characters. Seavers’ only motivation here is in doing right by Jody, which is largely irrelevant to the movie that surrounds them, and Blunt’s character is so thinly sketched she barely registers. The film’s villains, too, are never evil enough for us to really root against them.
The Fall Guy‘s best moments occur during the end credits, which features behind-the-scenes footage some of the jaw-dropping practical stunts performed for the movie, including the climactic dune buggy jump. But there’s a clear analogue between the professionalism showcased here and the who-cares attitude on the set of Metal Storm; the filmmakers clearly care about their movie, lightweight as it may be, but don’t allow their characters the same level of investment in their own fictional film.
But thanks to Gosling’s performance and the proficient action, The Fall Guy is charming enough to rate a recommendation for undemanding audiences. Director David Leitch (Deadpool 2, Bullet Train), himself a former stuntman, may not deliver a meaningful story here but has put together a love letter to the profession full of inside gags for filmmakers. For more substance, check out Richard Rush’s industry classic The Stunt Man.
2 Responses
Thought The Fall Guy would be a surprise hit this summer, but turns out it’s utter tosh despite the high critic scores, and a huge letdown from Leitch following Bullet Train. Went to see it on opening day and it actually made me angry; this is an idiotic film pandering to a witless audience. The end-credits scenes make it look like the filmmakers had fun making this, but there’s precious little fun for the audience here. Utterly aggravating experience. A begrudging 4/10 for the stunts
Loved the soundtrack and the riffs on I Was Made for Lovin’ You by KISS… fun movie that does exactly what it needs to do. Sad to see it bomb so hard but audiences will find it on streaming in a couple months. Things are looking grim for the multiplex in 2024.