The behind-the-scenes action rom-com has fantastic leads and a charming anti-blockbuster bent. Our The Fall Guy review:
The deceptive difficulty of action movies, comedies, and their intersection is being able to do something completely stupid with total straight-faced commitment. Like so many easily dismissed parts of film production, a punchline delivered with invested emotion is just as hard to pull off as a pratfall performed with total abandon. If either misses its mark by a hair, you fall flat on your face and leave the audience hating your smug performance or hyperactive flailing.
The ensuing silliness works in part because Gosling gets to go full bumbling PI mode, and in part because it extrapolates’s more grounded on-set problems to hilarious heights. The eventual reason behind Ryder’s absence is ridiculous, as are all the ways in which Seavers has to punch, jump, drive and shoot his way to the other end of this rabbit hole.
There’s the domineering producer , concerned only with her brand-name star and the mandates of the studio. There’s the encroaching AI, utilizing thosethat had us all up in arms last year . And there’s the tantalizing siren song of the VFX department, ready to take care of whatever setpiece you need, cheaply and simply.
Beyond them, though, there isn’t much else to mention. Taylor-Johnson is a one-joke character, as is Seavers’ stunt coordinator Dan , who’s simply a big ol’ movie-quoting dork. But at least we get to see Duke clothesline a goon with his tank-gun arms.
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