First impressions: Action Stuntman with Gosling and Blunt

I think David Leitch mainly enjoys his work. He shoots with stars, makes fun action movies where he gets the stars to do some little stunts (Charlize Theron had a lot of fun on the set of Atomic Blonde) and doesn’t care too much if it’s going to be a hit in theaters, if it’s going to leave a deeper mark, or if he will get any prizes for it. In addition, he does not go the franchise way, but chooses sympathetic themes and follows his own line. Which I really enjoy, so I’m really looking forward to seeing his latest film The Stuntman with Ryan Gosling and Emily Blunt in a few days. Especially after reading the following impressions of the rest of the editorial staff.

As Mr. Hunger:

A little different than I expected, but just as good as I hoped. The Stuntman is a film that exudes joy that its creators made it and that they were able to make it just like this. David Leitch is unexpectedly tame in action scenes, don’t expect stylized wildness like in Bullet Train or God forbid Hobbs and Shaw. Ryan Gosling and the others here are seriously stuntmen, not superheroes, so they think twice before jumping from eight meters to the ground. In addition, Leitch is not afraid to cut when necessary, and here he clearly mocks the mannerisms of some directors and their desire to “let’s do it in one shot.” And here he cleverly mixes boyish physical action, sometimes slightly shot humor, fun heroes and a cutely naive detective.

He the Stuntman looks almost like the eleventh episode of the third season of a popular series from the eighties and nineties. That is, as long as it is played on a serious note. Fortunately, Leitch knows how to work with humor and his Stuntman is not afraid to be laughably absurd. What is most surprising, however, is not the craftsmanship and the obvious effort to pay tribute to the people who make it so beautiful in Hollywood spectacles, but the romance. Ryan Gosling and Emily Blunt are one of the best couples to hit the cinemas in the last few years and I could enjoy their flirting for two hours in a movie where not a single car exploded, where there wasn’t a single fight and even one unicorn! I enjoyed those two hours from start to finish. Maybe even as good as the people who filmed Stuntman.

As Jokolo sees it:

I’m glad that after Once Upon a Time in Hollywood and Babylon, another film is coming to the cinemas, which presents the same theme in a completely different way – the unbridled love of films and their filming. Fall Guy is packed to the brim with scenes that showcase just how much the filmmaker’s dream craft is, and it’s in these moments that the film is at its strongest. Especially when Ryan Gosling and Emily Blunt are flirting together on set. Once again, it is a thriller, whose main asset is excellent casting. The couple has a great chemistry between them that works in both comedic and romantic situations.

Once we’re on set and shooting, the picture is so much fun and great looking. Of course, David Leitch also went out of his way in the action scenes, which scream to the world the most – the stuntmen and stuntwomen are great! And hopefully everyone will be convinced of that after this film. Especially after the breathtaking final action sequence. A bit disappointing is that the film is not very functional in its crime line, which unfortunately does not give much space to Aaron Taylor-Johnson. In addition, sometimes I was disturbed by the slightly confused editing, which inexplicably reduced the intensity of many action scenes. But it’s still the kind of bold action fun ride that theaters were made for. When a film is made out of love, you can tell.

As Rimsy sees it:

“Nihilism is sexy bacon.” Stunt is a fresh and self-aware ride that combines successful and old-fashioned action with readable romantic comedy schemes. There is no shortage of charisma of Emily Blunt and, of course, Ryan Gosling, and the kinetic nature of the film, together with the many pop culture references, successfully helps to forget that at its core this is a predictable and unoriginal story. Rarely, however, does it succeed in covering the ordinary foundation with such a number of popular attractions that it doesn’t even matter in the end.

Stuntman does not encourage the viewer to think deeply, preferring to offer universally understandable and accessible entertainment, which also functions as a love letter to a neglected industry. David Leitch’s roots cannot be denied, and if the stunt community was waiting for some mainstream argument to convince the Oscar Academy of the importance of this profession, now it has it.

Expect a review in the next few days.

You can find an overview of other action films this year here: