After the slow turnout of films post award season, we have finally entered the time of the blockbuster. And while there’s great anticipation for the films coming out mid-summer, Hollywood’s already revved up with their newest action-comedy, The Fall Guy (2024).
With charismatic leads, a multitude of hilarious supporting actors, and an emphasis on the behind-the-camera work of our favourite films, The Fall Guy has much to offer for a variety of moviegoers. While it lacks certain nuances or complexities some may want, it never characterises itself that way, promising only one thing: fun.
From 80s TV to the Big Screen
The Fall Guy not only showcases the behind-the-scenes work of stunt performers but also surprises viewers with its other major influence. Airing from 1981 to 1986, ABC’s The Fall Guy received decent ratings yet never a solid fanbase.
Upon news that the series would be rebooted, many had one major question: What’s so special about this show that it deserves a reboot? The answer: Nothing inherently tied to the original series. According to director, David Leitch, 2024’s The Fall Guy simply “takes the idea of a stuntman as the jumping off point.” Instead of harkening back to the 80s show, Leitch wanted to portray the unsung work of stunt performers as a Hollywood spectacular.
Leitch—though now a powerhouse of the action genre—first began his career as a stuntman himself. Originally the stunt double for Brad Pitt, Leitch would later go on to direct him in Bullet Train (2022). His knowledge of the stunt industry propelled him into his success as a director, but The Fall Guy acts as a homage to the craft. While Ryan Gosling would perform some of his own stunts, the film required several different doubles to tackle the more intense scenes. With no CG used, the film even earned a Guinness World Record for cannon roles. With Leitch’s direction, The Fall Guy not only proves entertaining but also a true ode to stuntmen.
A Death Defying Performance
Like any action movie, most of its success relies on its lead. These actors must be able to support the weight of the story, and more importantly to movie executives, draw in a large crowd. Luckily, Ryan Gosling, as stuntman Colt Seavers, embodies talent without compromising it for profit. When introduced to us, Colt details the budding relationship he had with camerawoman, Judy Moreno (Emily Blunt), and how it was thwarted by a failed stunt. We pick up eighteen months later, as a despondent Colt returns to stuntwork with hope for the future.
Riding the high of the success of Barbie (2023) and his subsequent Academy Award nomination, Gosling continues to captivate as the charming yet at times bungling Colt. He captures the genuine dejection experienced by Colt concerning his career and love life. As always, however, he additionally injects well-deserved levity in the film’s more absurd scenes.
At times, however, it seems that Gosling was an odd pick for this film. Though a versatile actor with success in both comedy and drama, his performance feels out of place with the movie’s style. While no stranger to the outrageous and at times campy (once again, let’s remember Barbie), The Fall Guy doesn’t offer enough room for Gosling to fully commit to extravagance yet is not subtle enough for a more subdued performance. At times, it seems like the director, David Leitch, whose works include John Wick (2014) and notably Deadpool 2 (2018), had the part in mind for a different Ryan.
A Cast of Crew Members
Emily Blunt’s Judy is compelling yet often feels pushed to the side in favour of Colt’s story. While Blunt is a commanding force, the writing intended for her often comes across as heavy-handed. This is most notably exhibited when Judy directs Colt in his first scene, using it as a metaphor for their relationship. Instead of embarrassing Cole, however, it’s the audience who’s accosted by this awkwardness. Blunt works terrifically hard to capture the realities of her character while playing on the inherent humour of her situations. Yet, just like Gosling, the film’s writing and style don’t suit her choices, and at times, sadly detract from her performance.
How the film’s writing fails its leads, however, is exactly what empowers the supporting cast. Hannah Waddingham (Ted Lasso, Game of Thrones) plays Gail Meyer, film producer and instigator of the film’s events, calling on Colt to return to the industry. Waddingham’s performance is boisterous and enterprising, showcasing another side of her acting chops that separates her from the dignified persona that Ted Lasso fans are familiar with.
Played opposite of Gail is action star, Tom Ryder, portrayed impeccably arrogant by Aaron Taylor-Johnson (Kick-Ass, Nocturnal Animals). While not featured as much as Waddingham, Taylor-Johnson shines in every scene, capturing the ignorant swagger required of his character. Similarly, stunt coordinator Dan, played by Winston Duke (Us, Black Panther) and Stephanie Hsu (Everything Everywhere All At Once) as Alma, Tom’s personal assistant, perfectly play comedic foils to Gosling. These smaller parts lend themselves beautifully to the film’s more irreverent tone, with their actors capturing the flippant nature of screenwriter Drew Pearce’s script.
A Look Behind the Hollywood Curtain
While such a phrase is often thrown around, The Fall Guy truly has something for everyone. For those looking for something a bit more substantial, however, its universality threatens its novelty.
While it’s nice to see an original Hollywood blockbuster after a barrage of films implicated in the same fictional universes, The Fall Guy lacks freshness. It often falls back onto common tropes and stylistic choices, negating its attempts to stand out from the franchise action films.
Ultimately, however, The Fall Guy isn’t an attempt to redefine the action genre, it’s an ode to it. Audiences have often taken the work of stunt performers for granted and disregarded it throughout much of the history of film and television. While there have been some attempts to highlight such work such as with Quentin Tarantino’s Death Proof (2007) and another Gosling number, Drive (2011), The Fall Guy advocates for increased credit for such artists, with Gosling even stating that the film “is just a giant campaign to get stunts an Oscar.” Unlike other blockbuster action films, The Fall Guy unapologetically gives stunt performers their spotlight, allowing them to finally get top billing.
