How’s this for a Hollywood Full Circle story for you:
David Leitch was Brad Pitt’s stunt double on “Fight Club” and a number of other projects. Brad Pitt played a stunt double in “Once Upon a Time in Hollywood.” David Leitch eventually became a top-tier action filmmaker, directing “Atomic Blonde,” “Deadpool 2” — and “Bullet Train,” starring Brad Pitt.
Now comes Leitch’s rousing and action-packed and funny and even heartwarming “The Fall Guy,” with Ryan Gosling playing a stuntman who often doubles for Hollywood’s biggest star — just as David Leitch once doubled for Brad Pitt. Ta-da! (Sidebar: This is the THIRD time Gosling has played some kind of stunt performer, after “Drive” and “The Place Beyond the Pines.”)
Loosely inspired by the Lee Majors-starring TV show from the 1980s and given a rocket-booster jolt of stardom from the pairing of Gosling and Emily Blunt, “The Fall Guy” is pure popcorn entertainment — an absolutely ludicrous yet consistently entertaining, old-fashioned action/romance combo platter that plays like a feature-length pitch to the Academy to add a best stunts category (as it should).
If you’re looking for anything more than an escapist adventure featuring two of our brightest stars exchanging banter in between kissing scenes, set against the backdrop of some jaw-dropping practical effects stunts (mostly performed, of course, by doubles who are filling in for Gosling), you’ve wandered into the wrong theater. The screenplay often falls back on lazy clichés (karaoke sequence, anyone?) and the final act takes place in a universe that has no connection to anything resembling reality, but the action sequences and the playful chemistry between Gosling and Blunt save the day.
“The Fall Guy” opens with Gosling’s Colt Seavers on the set of an action film starring the global superstar Tom Ryder (a self-deprecating Aaron Taylor-Johnson), an arrogant egomaniac who is constantly bragging about doing his own stunts. (Spoiler alert: He’s lying.) Colt doesn’t care about Ryder’s dismissive attitude toward him; he’s too busy gushing about the love affair he’s having with Emily Blunt’s Jody Moreno, a camera operator on the film. Why, it’s the stuff of movies!
Fast forward 18 months. After a near-fatal accident on that set, Colt is a broken man in more ways than one. He’s retired from stunt work, he has a job as a valet, and he has fallen off the grid. When the powerful producer Gail Meyer (a hilarious Hannah Waddingham) rings Colt and offers him a job on a big-budget sci-fi epic shooting in Australia starring none other than Tom Ryder, he has no interest in returning to the game — until Gail informs him that Jody is directing the film in her feature debut. Down Under here we come!
Once Colt arrives on the location set for “Metalstorm,” which looks like a cross between “Dune” and “Mad Max,” he learns Jody is still furious with him for ghosting her. She takes it out on him by ordering repeated takes of a particularly painful stunt, all the while airing her grievances over a bullhorn. Winston Duke scores some laughs as a stunt coordinator who often quotes dialogue from action blockbusters, while Stephanie Hsu is terrific as Tom Ryder’s long-suffering personal assistant.
When Tom goes missing for reasons that defy logic, it’s an excuse for Colt to put his stunt man skills to work as he investigates, finds himself mixed up in all sorts of dangerous hijinks and is eventually framed for murder. If you spend even a nanosecond examining the particulars of the case and the developments that ensue, the whole structure falls apart — so it’s best to just sit back and marvel at the amazing stunt work
“The Fall Guy” is filled with self-referential, “meta” moments, whether it’s a scene where Colt enters a booth where his face can be scanned for use in perpetuity, or a sequence in which Jody and Colt are on the phone, discussing the possibility of Jody employing a split-screen technique in “Metalstorm,” and the conversation itself is rendered in … split-screen. Even the plot of “Metalstorm” is one big metaphor for the relationship between Colt and Jody. None of it this is particularly subtle, but it’s good fun, and it continues all the way through the closing credits, where we get to see the real-life stunt performers who did nomination-worthy work on the film.
If only the Academy had a category in which they could be nominated.
