No assembly RequireD

Movie making is truly something magical. Whether it’s a big budget studio film or an independent do it all yourself production, it’s a miracle that any movie gets made at all with all the behind the scenes chaos. But when everything comes together it’s inspiring. Often however what reaches the big screen is merely a small percentage of what it takes to create a film. The actors and sometimes the directors get the big fame but a film production is made up of often thousands of people who never even get so much as a thank you. The unsung heroes often risking a lot for it all to come together. One of these major groups of risk takers (the biggest of them all) are the stunt performers. When we first start David Leitch’s THE FALL GUY it begins with a voice over letting us know that stunt performers have always been in film since the very beginning. We just don’t see them. And while some of the greatest action and adventure films are known for their amazing stunt performances it’s made so the big time actors are seen doing the stunts. It’s not cruel but just the way the game works in fact it would look quite poor if Harrison Ford as Indiana Jones all of a sudden turned into a man from Glendale in one frame and back to Ford in the next. But that’s one of the many magical points of stunt performances, get in, get out and go unseen. But as time goes on and behind the scenes secrets become more apparent the call for a better respect for stunt workers has thankfully skyrocketed. This includes everything from stunt workers becoming more prominent directors (Leitch himself was a stunt man for the likes of Brad Pitt and Matt Damon) as well as talks of finally honoring them at the Academy Awards with a Best Stunt category. (A union of stunt performers has yet to be formed). All this love and appreciation for stunt workers and the unsung heroes is at the root of THE FALL GUY. A joyful thank you to everyone who makes these dreamlike films come true. Not to mention an adorable romance between two of Hollywood’s go-to good time performers, Ryan Gosling and Emily Blunt. On paper this is an easy home run and what makes THE FALL GUY all the more exciting is that it is actually one of those movies that delivers on its promise and then some. A film that is so excited to entertain you that it uses some of the stuff in the book of Hollywood staples but knows while less can be more what’s even better is more of that more. Car chases, helicopter explosions, epic romances, adorable dogs, hell even an ongoing (and terrific) use of a famous KISS song. All of it is in here because in the filmmakers eyes we deserve it. Based on today’s audience I’m not sure if that’s true but if Ryan Gosling and Emily Blunt think I deserve a good time then god damn it I’m all in! So tighten that harness and get ready to launch right off that ledge because we are now no longer Ken’s instead we are fall guys ready for the next big explosion.

Colt Seavers (Ryan Gosling) falls down a lot. A stunt man for one of the world’s biggest movie stars Tom Ryder (Aaron Taylor-Johnson doing a hilarious bizarre attempt at a McConaughey accent) Colt is there anytime Ryder needs to jump, crash, get punched, set on fire you name it. He’s there for it all. One of the best stunt man in the business Colt loves his job not because he works alongside a huge talent but because work has allowed him to find a connection in Jody (Emily Blunt) a small time camera operator who works on most of the same productions. An early segment allows us to see how every fall and punch is taken with a smile from Colt knowing he gets to talk to Jody immediately after giving his stunt guy thumb up sign of safety. It’s a romance that to Colt is only seen in the movies making it all the more tragic when it ends quickly after Colt gets a serious back injury on a stunt. While the the whole romantic comedy set up of already establishing a relationship isn’t new Gosling and Blunt immediately sell us on their chemistry from quick charming banter to just their doe eye glances that would make any one swoon. This banter continues in a much more cut throat manner when years later Colt, who is now valeting cars gets a chance to be on another Tom Ryder film this time directed by Jody. Using it as a chance to see her again it’s meet with Jody wanting nothing to do with him but like most former super attractive couples who re-connect they can’t stay away from one another whether they like it or not. THE FALL GUY definitely gets in tongue in cheek look at the film industry with Jody directing a big budget sci-fi film that feels Dune one moment and Zack Snyder the next. The work of the art is not as important as getting to Hall H at comic con (one of the films very on the nose but hysterical approaches to a jaded industry). 

THE FALL GUY seems to be one of the rare studio films that is two types of films greatly blended together. While the action aspect is a special delight throughout the not so secret weapon of the film is its romance from Colt and Jody. Gosling is always a charmer that is undeniable, but what works best here is less the neediness of Ken or even the sarcasm of his Crazy, Stupid Love character but instead a truly broken man. Sure some of the scenes of him crying along to a very famous pop stars song gets a big laugh, but its his sincerity of wanting to prove to Jody he can be better than the man who pushed her away. For Gosling it comes all too easy, but that doesn’t mean the same goes for Colt. When Tom Ryder goes missing from set Colt finds himself in some deep waters and running away from some very big stuntmen in the form of guns for hire. Lietch along with screenwriter Drew Pearce (adapting the story from the 1980’s show of the same name) constantly uses these big action sets to display Colt’s love for Jody and his now willingness to do everything for her. Blunt on the other hand as Jody gets to show off some free spirited comedic chops as a director trying to hold it all down but knowing this man she wants nothing to do with is the one she wants to be closest too again. It’s familiar territory for the genre but any scene involving Blunt belt out a karaoke version of Phil Collin’s “Against All Odds” is a win in my book. Even Blunt’s slight mistreatment of Colt on set making him do the same stunt over and over again while berating him on a megaphone about how the movie’s story may be similar to there own (it’s not) is hysterical allowing Blunt to really show off her deadpan humor while also being a riot for anyone whose worked on a set that has had the misfortunate of being derailed for the director’s own heartache.

Even with all the crowd pleasing feels of THE FALL GUY the film still carries such an in pocket slew of references not just to other films but even better the production side and things only those who have had a grueling day on a film set can appreciate. The film doesn’t belittle the industry as say,  “Tropic Thunder” or “Get Shorty” (both phenomenal movies) but rather show how every bit of big studio budget making comes down to lesser known jobs putting in the hours while the bigger names get to deal with their personal issues. The film’s own stunt crew and members become characters of the film themselves and there is so much love for those background actors forced into sweaty and uncomfortable monster suits that they practically become their own little side gag observing the chaos from the side (much like a real set). The mystery of Ryder’s disappearance may not be built in great suspense but its means to getting to resolving the mystery and then escaping its outcomes is a stuntman’s delight. For every moment that it can be there are practical effects, and even when you don’t think it could be the film saves its proof for a wonderful credits reel. But way before that is the strong admiration for throwing every stunt at the performers. The film in itself becomes almost a resume for Leitch’s production company 87 North, and even more so stunt coordinator Chris O’Hara. Not to mention the accuracy of having their stunt crew in the film don the classic super dark sunglasses, button up Hawaiian shirts and a pair of cargo shorts or two. For anyone who goes to Disney World for The Indiana Jones Epic Stunt Spectacular or even especially Universal’s WaterWorld show this one is tailor made for you because much likes these shows what makes stunts even better is the ability to laugh at the dangers these performers are putting themselves in and who doesn’t love a good callback to those hot days at MGM studios where you truly believed that Harrsion Ford not look alike was actually getting run down by a giant bolder. Leith Leitch even knows how to amp you up from the first moment with an all too on the nose badass songs. Seriously whoever’s idea it was to bring back AC/DC’s “Thunderstruck” from its constant misuse as well as make KISS’s “I Was Made for Lovin’ You” the films anthem deserves a giant raise. It’s one thing to get these songs in their appropriately used action packed setting but to bring in a ballad version when all seems lost, its just all so brilliantly planned, much like stunt performing itself.

This is an industry who continues to have a long way to go to win back the trust of both the audience and the filmmakers, and while many studios know this they continue to ignore it. It is not that Universal is its savor, (far from it) but when a big budget movie actually goes out of its way to show the dangers of A.I. and deepfake well maybe (and I stress maybe) there is someone paying attention. THE FALL GUY is not going to be the savior that makes sure cinema does not head into the wrong tech direction, it may not even be the movie to finally convince the Academy to support the stunt performers themselves but it cannot be denied how much respect it has given to them and has now allowed a new modern audience to see for themselves. Stunts that are not just amazing, but led by two of the biggest actors that can sell this long delayed appreciation. Once again it is the rare studio film that gets it right and one you want to root for again and again. There are far too many inspirational posters talking about how the fall isn’t important but rather how you get up, well THE FALL GUY is here to say no the fall is important and yes you need to get back up but its not to stand up but rather fall again. And again. And again.

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THE FALL GUY PREMIERED AT THE SOUTH BY SOUTH WEST FILM FESTIVAL. IT WILL BE RELASED IN THEATERS BY UNIVERSAL STUDIOS MAY 3