Like a sure energized bunny, Ryan Gosling’s charmer in “The Fall Man” takes a licking and retains jauntily ticking as he runs and leaps, tumbles and punches and vaults by way of the air like a rocket. The actor has shed his “Barbie” pretty-in-pink look, if not his signature heat-seeking strikes to play Colt Seavers, a stuntman with an extended résumé, six-packs on his six-packs and a disregard for private security. Plunging 12 tales in a constructing atrium, although, is simply one other bruising day on the job for Colt till, oops, he practically goes splat.

Directed by David Leitch, “The Fall Man” is divertingly slick, playful nonsense a couple of man who lives to get brutalized time and again — quickly after it begins, Colt suffers a catastrophic accident — which can be a metaphor for up to date masculinity and its discontents, although maybe not. Extra unambiguously, the film is a feature-length stunt-highlight reel that’s been padded with romance, a minor thriller, winking jokes and the type of unembarrassed self-regard for moviemaking that movie folks have indulged in for practically so long as cinema has been in existence. For as soon as, this swaggering pretense is essentially justified.

There’s a narrative, although it’s largely irrelevant provided that the film is basically a car for Gosling and quite a lot of stunt performers to strut their cool stuff. Written by Drew Pearce and based mostly (marginally) on the 1980s TV series of the identical title starring Lee Majors, it opens shortly earlier than Colt’s 12-story plunge goes fallacious. After some restorative time alone baring his torso, he resumes stunt work, drawn by the promise of a reunion along with his ex, Jody (a welcome if underused Emily Blunt). She’s directing a science-fiction blowout that appears like the standard big-screen recycling bin, with bits from generic video video games, the 2011 fantasy “Cowboys & Aliens,” and each the “Alien” and “Mad Max” franchises. Cue the flirting and the preventing.

Leitch is a former stunt performer who has his personal estimable résumé, which incorporates doubling for Brad Pitt, whom he later directed in “Bullet Train.” Leitch has a company with Chad Stahelski, one more former stunt performer turned film director who’s is greatest recognized for the “John Wick” sequence with Keanu Reeves. Working in tandem with bodily expressive performers like Pitt, Reeves and Charlize Theron (Leitch directed “Atomic Blonde”), the 2 filmmakers have, within the post-John Woo period, put a particular stamp on American motion cinema with a mixture of martial-arts types, witty struggle choreography and, particularly, a give attention to the various methods a human physique can transfer (or hurtle) by way of house.



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