At this year’s Academy Awards, The Fall Guy stars Ryan Gosling and Emily Blunt presented a video tribute to stunt performers that included clips ranging from the silent era up through recent action juggernauts like RRR and the Fast & Furious series. It was a step forward for a group whose contributions are frequently undervalued despite, as Blunt put it, “risk[ing] life and limb” for cinema. And yet, the segment didn’t come with an award attached. 

There’s a joke about the lack of Oscars for stunt people in The Fall Guy, directed by David Leitch — himself a former stuntman who doubled for Brad Pitt and Jean-Claude Van Damme before moving up into the director’s chair with John Wick in 2014. This film is based on a TV series of the same name; although stunt performers aren’t officially recognised by the Academy, their daring frequently makes them objects of popular fascination in films and on TV. (Gosling’s already played one twice, in Drive and The Place Beyond the Pines.) 

Although its roots are in the ‘80s, The Fall Guy feels very connected to contemporary Hollywood. There’s also a bit where Gosling’s character, washed-up stuntman Colt Seavers, walks onto the set of the movie that’s hopefully about to revive his career and is asked to step into a booth so his face can be scanned and used in perpetuity by AI — a key sticking point in last year’s SAG-AFTRA strike. The technology is used for evil here, of course, in a movie that preaches below-the-line solidarity and the triumph of pluck and talent over money and ego. 
Love is also a powerful force in this film. It’s what drives Colt to return to stunt work after 18 months of painful rehabilitation in the wake of a near-fatal on-set accident depicted in the opening sequence: When producer Gail (Hannah Waddington) calls Colt, now working as a valet, to persuade him to come back to filmmaking, she tells him that the film’s director, Jody Moreno (Emily Blunt), asked for him specifically.

Colt and Jody shared a connection — expressed here, in part, in a montage of them goofing off with rubber knives and breakaway glass bottles — on a previous film. They tried to stay together after Colt’s accident, but the relationship just didn’t work out. He’s still in love with her, though. And he’ll do anything, including being set on fire and setting a new world record for barrel rolls, to get another chance with her. 

The humour in The Fall Guy is silly, which consistently works; Jody’s “big break” is directing a sci-fi epic called “Metalstorm,” and Lietch and company have a lot of fun playing with the film-within-a-film’s alien costumes. And the story is very self-aware, which mostly works. At times, the movie’s nods to its own structure are charming, like a segment where Colt and Jody discuss the thematic uses of split screen over the phone. They’re in different locations but share the screen thanks to the use of a classic technique — guess which one. Others, like the meta arc of Colt and Jody discovering the power of love while shooting a film about the power of love, can tip over from clever into cheesy. 

The film is so self-aware that it raises questions about which of its flaws are intentional and which are, well, flaws. The filmmaking here is as polished as one might expect from a Hollywood crowd-pleaser, well lit and only occasionally showy in terms of its camerawork. And the combat and car-crash stunts are great — they better be, given the subject matter. But there are places where the film’s VFX are puzzlingly crude compared to the professionalism of the rest of the craft: Gosling is obviously composited into a sequence where Colt skates alongside a speeding truck, for example. 

At the film’s world premiere at SXSW, Gosling was very open about not doing his own stunts for The Fall Guy, a fact he presented with the self-deprecating charm that’s become his signature. And there are times when the movie coasts on Gosling’s charisma — which is fine, honestly, because he’s got enough of it to power three films like this one. And he’s not the only one with star power in this movie: Blunt rises to the occasion as both a romantic and comedic lead, and Winston Duke, Aaron Taylor-Johnson, and Stephanie Hsu all shine in supporting roles. 
This is popcorn filmmaking at its most cheerful and enthusiastic, driven by cheeky needle drops, rousing action, and movie stars. It might not give Hollywood power players any more respect for the contributions of stunt performers and coordinators, but it does put a romantic spin on their work that will continue the public’s love affair with the profession. It also ensures that we’ll continue to see a lot of Ryan Gosling in the coming months, which is never a bad thing. 
8/10

Boluwatife Adesina
Website | + posts

Boluwatife Adesina is a media writer and the helmer of the Downtown Review page. He’s probably in a cinema near you.