The Fall Guy (Movie)

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    Movie Trailers Have Gotten Worse. Why Aren’t Studios Having Fun With Them?

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    Promos give away too much or too little or are misleading or don’t leave anything out. We could go on. But there are ways to fix them.I know the trailer for David Fincher’s 2010 drama, “The Social Network,” by heart.We hear the soft sounds of a children’s choir singing Radiohead’s “Creep” as a montage of mundane Facebook interactions flashes across the screen. When the voices hit the lyric “you’re so very special,” the camera zooms out of a pixelated image to reveal the face of Jesse Eisenberg as Mark Zuckerberg. It’s almost a minute in when footage from the actual movie starts to play and Zuckerberg chatters about wanting to get into Harvard final clubs. From there it’s a quick escalation of tension that reaches a peak when Andrew Garfield strides onscreen screaming, “Mark!” That’s when the tagline appears: “You don’t get to 500 million friends without making a few enemies.”Just thinking about it, I get chills. “The Social Network” is a great movie. The “Social Network” trailer is also a great movie. It just happens to be only 2 minutes and 30 seconds long.Movie trailers are, at their most basic level, marketing, of course. But they can also be so much more, little short films unto themselves, defined by excellent editing and the ability to create a feeling of thrilling anticipation. I love a great trailer, yet I can’t help but feel that there’s been a drought recently. And I’m not alone. My social media feeds are flooded with trailer-related complaints. (Currently one of the main targets is the trailer for “Speak No Evil,” which has been charged with showing the entire movie.)With studios scrambling to fill theaters, they seem to be struggling to figure out what kind of trailers will draw audiences. Instead of taking chances, they are making creatively inert spots. There are trailers that give away too much (“Trap”), trailers that are disappointingly generic (“A Quiet Place: Day One”) and trailers that feel tonally off (“Gladiator II”). Mostly, no one is having any fun with them anymore.Throughout Hollywood history, trailers have taken many forms. In the industry’s early days, the appeal to the audience was direct. The trailer for “Citizen Kane” spends about 30 seconds on a shot of a microphone descending while the director and star Orson Welles explains in voice-over that “what follows is supposed to advertise our first motion picture.” We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Watch Ryan Gosling Perform His Own Stunt in ‘The Fall Guy’

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      The director David Leitch narrates a sequence from the film featuring Gosling and Emily Blunt.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.Spicy margaritas, bad decisions and one big stunt make up this sequence from “The Fall Guy.”Ryan Gosling stars as a stuntman named Colt Seavers alongside Emily Blunt as a cinematographer, Jody Moreno. In this flashback, the two have a flirty conversation over the radio about having a drink after work as Colt prepares for a stunt on set.For the scene, which involves Gosling’s character falling several stories inside a building, the “Fall Guy” director David Leitch said they opted to create the moment practically and have Gosling perform the stunt himself.This meant hooking the actor to a rig called a descender, used to drop a stunt performer off a building, and then a mechanism provides deceleration for the final 10 feet.Read the “Fall Guy” review.Learn about the filmmakers’ campaign for an Oscar for stunts.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      The ‘Fall Guy’ Filmmakers Have a Cause: Give Stunts an Oscar

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      The academy is keeping mum about the prospect, but the movie is part of a renewed push for a new Academy Award first considered more than 30 years ago.The life of stuntmen and women is never glamorous. The job is to take the fall, endure the pain, break the bone, then walk away — unsung, battered and bruised. They usually move on to the next gig without ever seeing the finished product. They rarely get invited to the movie premiere. Oscars? Forget about it.That narrative seems to be changing with the new action-comedy-romance “The Fall Guy,” the loose film adaptation of the 1980s television show that opens Friday. The movie, directed by the former stuntman David Leitch, stars Ryan Gosling as Colt Seavers, a down-on-his-luck stuntman who returns to set after a nasty accident to solve the mystery of a missing leading man (Aaron Taylor-Johnson) and, more important, to get the girl (played by Emily Blunt).The director David Leitch and producer Kelly McCormick said they wanted to give stunt performers their due.Suzanne Cordeiro/Agence France-Presse — Getty ImagesNot only does the film give the best portrayal of the life of a stuntman since Burt Reynolds starred in the 1978 action comedy “Hooper,” directed by another ex-stuntman, Hal Needham, but so much of the promotional efforts have placed the stunt crew front and center, including the newly minted world-record holder Logan Holladay (he rolled a retrofitted Jeep Grand Cherokee eight and a half times) and the high-fall virtuoso Troy Lindsay Brown. They and two others served as Gosling’s doubles in the film.At the Berlin premiere, the team broke through a brick wall with another double, Ben Jenkin, riding on the hood of a truck. In London, Holladay wheelied in on a motorcycle and Jenkin crashed through some breakable glass.And on Tuesday at the Los Angeles premiere, Brown tumbled from a 45-foot-high scissor lift onto a blowup mattress and Justin Eaton, another Gosling stunt double, engaged in a three-way fistfight with all of the performers breaking through another sheet of faux glass. Then Jenkin flipped from the balcony of the Dolby Theater onto the stage moments before Gosling took the mic to declare, “This movie is just a giant campaign to get stunts an Oscar.”Gosling joked, “This movie is just a giant campaign to get stunts an Oscar.”87 NorthIndeed, putting the stunt performers on the very stage where the Oscars are held is all part of deliberate efforts by Leitch, his producing partner and wife, Kelly McCormick, and the marketers at Universal to give these action pros their due. “It’s an important part of why we made this,” Leitch said in an interview. “We wanted to humanize these people. It really does hurt. And yet, we don’t really know what they feel because they’re not supposed to be seen.”They may become more visible if the couple have their way. The push for an Oscar category is not the subtle subtext of “The Fall Guy”; it is the text. There’s even a moment in the movie when Gosling’s Seavers is asked if stunt performers receive Oscars for their work. “Stunts?” he replies. “No,” then raises his glass to the “unsung heroes.”“It’s baked into the film,” the screenwriter Drew Pearce said in an interview from his home office. “There are not that many members of the crew who can break their back by going into work that day. The idea that they wouldn’t be acknowledged but me sitting in here on a laptop is, obviously, doesn’t seem just in any way.”The hit television show “The Fall Guy” ran for five seasons in the early 1980s, and its epic action, including truck jumps and high-elevation falls, proved to be a source of inspiration for the many Gen Xers who now dominate the stunt community. It even inspired those who didn’t make it into that world but found their way to Hollywood, like Pearce (who, as a child, concocted a stuntman course in his backyard only to discover his crippling fear of heights) and another of the film’s producers, Guymon Casady.Casady first convinced the TV show’s creator, Glen A. Larson, to license the property to him some 20 years ago, only for it to languish in the studio development process, as various iterations, including one with Dwayne Johnson and another with Nicolas Cage, fell apart. In 2019, Casady tried again, reviving the project with Leitch, who was fresh off his success on “Fast & Furious Presents: Hobbs & Shaw” and about to start “Bullet Train.” Leitch had begun his career as Brad Pitt’s stunt double and worked as a director and producer on the “John Wick” series.“The big idea from the very beginning was to make a movie where we were honoring the stunt craft,” Casady said. “That was an important idea for David, obviously, given his background, but we thought it was also a really unique character.”Yet, Leitch and company’s efforts are not new.Stuntman-turned-second-unit-director Jack Gill joined the Academy of Motion Picture Arts & Sciences in 1991, determined to get himself and his colleagues recognized. The academy told him it would take three to five years of hard work to add the category. Cut to 2024, and Gill, who has no affiliation with “Fall Guy,” is still holding out hope that this happens in his lifetime. The new movie has made him optimistic.“It is a great representation of what a stunt person actually has to put up with and what they go through,” he said in an interview from a set in Phuket, Thailand. “I think a lot of the academy members that vote on whether we get an Oscar category are still a little bit in the dark about what we do. I don’t think they realize that most of the action is designed by us. It’s not designed by the writer or the director.”Jack Gill, with his wife, the actress Morgan Brittany, in his stuntman days. He has been pushing for an Oscar for the profession since 1991.Parker/Hulton Archive Via Getty Images/Hulton Archive, via Getty ImagesTo drive that point home, Chris O’Hara, who orchestrated the action on “The Fall Guy,” is now the first professional to earn the title stunt designer — a new designation approved by the Screen Actors Guild and the Directors Guild of America — that establishes a benchmark for the work of a stunt coordinator and better aligns O’Hara’s work with other department heads on sets, including production and costume designers.O’Hara grew up in the business with Leitch, worked on “John Wick,” and served as his second-unit director and stunt coordinator on “Hobbs & Shaw.” For years he was content to stay in the shadows.“We knew what we did,” he said. “We weren’t out there to get recognition, accolades and attaboys.”But that changed when he started seeing his peers in visual effects ascend the Oscar stage. “They are amazing people at their craft, and visual effects are an essential part of filmmaking,” he said, but he pointed out that most of the effects being recognized involved action sequences with stunt performers. “I just think we need to be included. We are part of the film industry. We are part of cinema.”There are currently 101 stunt performers in the academy. They are part of the Production and Technology branch, which includes colorists, script supervisors and line producers, among others. Unlike other branches, which each have three governors to lobby on their behalf, this branch is headed by one.Yet Gill, Leitch and McCormick are encouraged by the progress the academy has made, including its decision to laud stunt work at the Oscars in March with a tribute that Gosling and Blunt introduced and that Leitch and McCormick produced.“I personally think that tribute is a huge step forward,” McCormick said. “If they didn’t want to recognize the stunt industry, they easily could have filled those two minutes with something else.”Gill is hopeful that the progress achieved by casting directors — who landed their own Oscar category beginning with the 2026 Academy Awards — can be replicated for stunt performers. Yet the academy is remaining mum on if or when this will happen. Its president, Janet Yang, attended the Los Angeles premiere of “The Fall Guy” on Tuesday, but a representative declined to comment on the status of a potential new Oscar.“Here I am, 33 years later, and we’re closer now because of the casting category,” Gill said. “They opened the door to the fact that, yes, we can create new branches and we can create new categories, which before they had told me was virtually impossible.”He added, “We’re trying to follow in their footsteps and jump right in behind them. With ‘Fall Guy’ coming out, I think we’ve got a good shot at it.” More

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      ‘The Fall Guy’ Review: Ryan Gosling Goes Pow! Splat! Ouch!

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      The actor charms as a swaggering stunt man, alongside an underused Emily Blunt, in the latest skull-rattling action movie from David Leitch.Like a certain energized bunny, Ryan Gosling’s charmer in “The Fall Guy” takes a licking and keeps jauntily ticking as he runs and leaps, tumbles and punches and vaults through the air like a rocket. The actor has shed his “Barbie” pretty-in-pink look, if not his signature heat-seeking moves to play Colt Seavers, a stuntman with a long résumé, six-packs on his six-packs and a disregard for personal safety. Plunging 12 stories in a building atrium, though, is just another bruising day on the job for Colt until, oops, he nearly goes splat.Directed by David Leitch, “The Fall Guy” is divertingly slick, playful nonsense about a guy who lives to get brutalized again and again — soon after it starts, Colt suffers a catastrophic accident — which may be a metaphor for contemporary masculinity and its discontents, though perhaps not. More unambiguously, the movie is a feature-length stunt-highlight reel that’s been padded with romance, a minor mystery, winking jokes and the kind of unembarrassed self-regard for moviemaking that film people have indulged in for nearly as long as cinema has been in existence. For once, this swaggering pretense is largely justified.There’s a story, though it’s largely irrelevant given that the movie is essentially a vehicle for Gosling and a lot of stunt performers to strut their cool stuff. Written by Drew Pearce and based (marginally) on the 1980s TV series of the same title starring Lee Majors, it opens shortly before Colt’s 12-story plunge goes wrong. After some restorative time alone baring his torso, he resumes stunt work, drawn by the promise of a reunion with his ex, Jody (a welcome if underused Emily Blunt). She’s directing a science-fiction blowout that looks like the typical big-screen recycling bin, with bits from generic video games, the 2011 fantasy “Cowboys & Aliens,” and both the “Alien” and “Mad Max” franchises. Cue the flirting and the fighting.Leitch is a former stunt performer who has his own estimable résumé, which includes doubling for Brad Pitt, whom he later directed in “Bullet Train.” Leitch has a company with Chad Stahelski, yet another former stunt performer turned movie director who’s is best known for the “John Wick” series with Keanu Reeves. Working in tandem with physically expressive performers like Pitt, Reeves and Charlize Theron (Leitch directed “Atomic Blonde”), the two filmmakers have, in the post-John Woo era, put a distinctive stamp on American action cinema with a mix of martial-arts styles, witty fight choreography and, especially, a focus on the many ways a human body can move (or hurtle) through space.There are arsenals of guns and all manner of sharp objects that do gruesome damage in Leitch’s movies, “The Fall Guy” included. Yet what seizes your attention here, and in other Leitch and Stahelski productions, is the intense physicality of the action sequences, with their coordinated twisting, wrenching and straining bodies. A signature of both directors is that they emphasize the intense effort that goes into these physical acts, which is understandable given their backgrounds. (Like Fred Astaire, they show off the body, head to toe.) In their movies, you hear the panting and see the grimacing as fists and feet and whatever else happens to be around (a fridge door, a briefcase, a bottle) connect with soft tissue and hard heads.Like the impressively flamboyant practical effects in “The Fall Guy,” this focus on the body reads like a rebuke to the digital wizardry that now characterizes action movies. Each time Colt crashes to the ground in “The Fall Guy,” the moment announces his and the movie’s authenticity (however you want to define that). There’s a macho undertow to this — real men, real stunts — which dovetails with how his romance with Jody is, by turns, comically, sentimentally and, at times, irritatingly framed, including via split-screen mirroring à la “Pillow Talk.” Jody may be Colt’s boss, but he’s the one who has to save the day after some gnarly business with a star and producer (Aaron Taylor-Johnson and Hannah Waddingham).The issue of authenticity is a thread that the story jokingly pulls with a scene in which Colt’s face is digitally scanned and in a subplot involving a deep fake. (It’s funnier if you don’t think too hard about the fact that A.I. was an existentially fraught issue in the 2023 actors’ strike.) Tapping into his inner Tom Cruise, Gosling makes love to the camera and performs some of his own showstopping moves, at one point while atop and almost under a speeding garbage truck. Given that “The Fall Guy” is an ode to stunt work, it’s only right to note that the actor’s stunt doubles were Ben Jenkin and Justin Eaton, his driving double was Logan Holladay while his double on that nosebleed of a plummet was Troy Brown. Kudos, gentlemen.The Fall GuyRated PG-13 for falls, fights, crashes and explosions. Running time: 2 hours 6 minutes. In theaters. More