The Fall Guy - Review

Rating: 5 out of 5

THERE'S a point towards the end of The Fall Guy where Ryan Gosling's frustrated stuntman shouts at his enemy, "what went right?" Well, in the case of this movie as a whole, just about everything.

Inspired by the long-forgotten 80s television series of the same name, David Leitch's film serves as an ode to stuntmen everywhere as well as a love letter to cinema itself and a fun, goofy action movie that delivers on spectacle while never losing sight of the romance that also underpins it.

The plot follows Gosling's Colt Seavers, the long-term stunt double for pretentious leading man Tom Ryder (Aaron Taylor-Johnson), who starts the film at the top of his game and in love with camera operator Jody Moreno (Emily Blunt), only to have his world crash around him following a stunt gone wrong that leaves him injured physically and distraught emotionally.

Some time later, Colt is persuaded by obnoxious producer Gail (Hannah Waddingham) to come back to work on Jody’s first film as a director, a sci-fi epic starring Ryder as a space cowboy, which has entered trouble due to a spiralling budget and a missing leading man.

The theory is that Colt can complete the big stunts on-set, while finding Ryder during his down-time - the incentive being the chance to rekindle his romance with Moreno.

Alas, Moreno still finds herself hurt by having been given the cold shoulder by Colt's wounded macho ego and is less than inclined to pick things up.

Their ensuing relationship is played out against the backdrop of some outlandish movie set stunts, as well as some equally bonkers real-life confrontations with an increasing array of bad guys - all delivered with the type of eye-popping relish that Leitch has already injected into films such as the first John Wick and Atomic Blonde.

As stated, this is a movie that is designed to showcase the unsung talents of his stunt community, while lobbying for their inclusion at future awards ceremonies.

But it goes about this in a deliciously fun way, celebrating the bravado of the behind-the-camera support that so often makes or breaks a movie, while delivering on the spectacle required from a modern blockbuster of this nature.

Simultaneously, it builds a very strong relationship between Gosling and Blunt that gives the film such a strong heart. You'll route for their reunion, while wanting to whoop aloud during every step towards it.

This is in no small part down to the crackling chemistry between Gosling and Blunt, who light up the screen whenever they are together, as well as the clever nature of the script - which contains strong emotional beats while never allowing things to take themselves to seriously. Hence, nothing feels forced. And certain scenes are improvised, lending the film a feel of genuine spontaneity.

The action, too, feels fresh and innovative, while somehow still managing to nod to past movie (and stunt) references. They all stand out in some way - but none more so than a chase sequence set against the backdrop of a karaoke rendition of Phil Collins' Against All Odds and a delicious '80s throwback to Miami Vice, complete with speed boats.

Gosling, as the leading man, also shows off that quintessential ability of his to infuse a project with effortless cool and a nice line in self-deprecating humour, which undoubtedly helps to distil any sense that the film could have become a boys' own style adventure. He is a generous performer, not afraid of tapping into his feminine side, or sharing equal status with his leading lady - as both a scene in which he's caught crying to Taylor Swift and another in which he's beaten up by Blunt will testify.

The Fall Guy somewhat mystifyingly became a box office misfire upon its cinema release earlier this year. But it's too good a film to be consigned to that fate. It's an instant modern classic - a crowd-pleaser par excellence that offers adrenaline surges by the bucket-load and plenty of heart to match.