Falling Hard for The Fall Guy

I don’t usually include personal anecdotes in film reviews, lest they detract from the critical discussion at hand, but I’d just like to open this review by saying that I brought my 87-year-old Croatian grandmother with me to my advance screening of The Fall Guy in IMAX, and after we got her situated in her ADA seat and watched the trailers and the movie itself started rolling, revealing a medley of impressive stunts, she leaned over and said, in a very matter-of-fact way, “this is an action movie!” The Fall Guy has a lot going on, but the most important thing about it (indeed, the thing about itself that it most wants you to know) is that it is an action movie and that action movies are made not merely with actors and directors, but entire teams of stunt performers who risk their lives and limbs for movie magic, and do so for comparatively minuscule credit. The film is directed by David Leitch, who, prior to his career directing many memorable blockbuster action movies , including John Wick , Hobbs & Shaw, Deadpool 2, and Bullet Train, was a stunt performer and coordinator, himself. Most action movies have the feel of being driven by narrative, with stuntwork bolstering and buttressing and filling out the story. The Fall Guy, which was written by Drew Pearce and Glen A. Larson (based on the 80s TV series of the same name), feels like the opposite kind of affair: one in which the narrative exists to connect stunt setpiece to stunt setpiece to stunt setpiece. This isn’t to say that the narrative of The Fall Guy isn’t enjoyable or doesn’t make sense (because it is, and it does), but to underscore that The Fall Guy is, first and foremost, a passionate, high-octane, two-hour love letter to movie stunts and the people who make them. And more! So much more. Here’s some of the more. Our story follows Colt Seavers (Ryan Gosling, locked and loaded and endearing as ever), a stuntman of many talents who falls off the map after an on-set accident results […]

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