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A still of Ryan Gosling and Emily Blunt in ‘The Fall Guy.’ (Photo via Universal/IMDb)

“The Fall Guy” is a high-flying journey and an all-around love letter to the stunt community. From the sets of a Hollywood blockbuster to the seedy Australian underworld, Ryan Gosling and Emily Blunt lead us through a refreshing, heartfelt action-romance that deserves to be seen in theaters.

Read Associate Creative Director Cameron Johnson and Creative Director Kyle Heise’s takes below.

Cameron’s Take: 

8/10

I typically hate going to theaters for action movies, especially if they have a fanbase.

I’m thinking of comic book movies – no matter how far I wait from the release date, I end up next to fans who are desperate to prove they’re the best nerd in the room. They laugh at every joke, cheer for every punch and react disproportionately excited because “they can’t help it.” These are typically adult taxpayers reacting to movies written primarily for 10-to-13-year-olds. I’m not suggesting a ban on audible reactions to a movie (though I’d sign that petition), I’m just annoyed with people who make themselves an unwanted part of the viewing experience.

That said, “The Fall Guy” is a reaction-worthy journey that genuinely deserves immediate, audible praise. The audience laughed, cheered and reacted disproportionately excited for its humor, action and surprisingly heartfelt characters, and I was right there with them.

Seeing it at the SXSW world premiere in the Paramount Theatre was an obvious bonus, but it’s a story that works in any theater. Director David Leitch, producer Kelly McCormick and stars Ryan Gosling, Emily Blunt, Winston Duke, Stephanie Hsu and Hannah Waddingham stick the landing in this high-flying action-romance set in the Australian criminal underworld amidst a blockbuster movie production.

Inspired by the 1981 CBS drama of the same name, we’re introduced to Gosling’s character Colt Seavers, a 40-something stuntman who was nearly killed in an on-set accident months prior. Present-day Seavers has left the stunt industry, disillusioned with his ability to perform and terrified of getting injured again. After months alone as a valet, Seavers receives a phone call from Waddingham’s Gail Meyer, a producer who needs help finding the missing lead of the upcoming movie “Metalstorm.” Seavers rejects the offer until he learns the film is directed by his ex-girlfriend and lost love, Blunt’s Jody Moreno.

What follows is the incredibly kinetic and hilarious journey of a capable yet terrified action hero. Gosling shows every bit of his innate charm, and though Blunt is a non-action player, she gets to show Moreno’s competency and ingenuity in trapping our villains by the story’s end.

Duke’s role dangerously teeters on the edge of the “best friend” trope. His primary role is to deliver one-liners and exposition, occasionally joking with Seavers before disappearing around a corner. Thankfully, Duke joins the gunplay by the midway point and earns his own cheers with some crafty fight scenes and an all-out stunt battle against rival henchmen during the film’s climax.

Unfortunately, Stephanie Tsu’s role is not as substantial as expected considering her presence on the SXSW Q&A panel following the premiere. She gets involved in a great chase sequence but is overshadowed by Gosling’s acrobatics and the presence of Jean-Claude, an adorable and fiercely loyal stunt dog. Afterward, Tsu falls into the wireworks despite making the most of her brief, action-packed scenes.

Waddingham and Aaron Taylor-Johnson share a hammy “Pinky and the Brain”-style dynamic, scheming and plotting how to get away with Johnson’s act of murder, only to be hoisted on their own petard in a counterscheme by Moreno. Nearly every cast member gets a moment to shine, and if hints of a sequel during the Q&A aren’t just throwaway banter, it would be great to see them continue their roles in some way.

This is a quintessential blockbuster action movie. Despite being an adaptation, it feels fresh and not chained down to any continuity or fan expectations the way the MCU or “Fast and Furious” franchises are. It’s a sorely needed dynamic in theaters these days —and yes, this is definitely a theater-going experience. I couldn’t imagine feeling as enthusiastic about it if I hadn’t been with other movie fans, and it’s a reaction the stunt community greatly deserves.

Kyle’s Take:

9/10

I’ve seen “The Fall Guy” twice. 

I saw it the second time with a full crowd at Cinemark. However, the first time I saw it was at its world premiere during SXSW with the Paramount Theatre in Downtown Austin filled to capacity of over 1,000 people. Ryan Gosling, Emily Blunt, Hannah Waddingham, Stephanie Hsu, Winston Duke, director David Leitch and producer Kelly McCormick were seated in the crowd with their friends, families and colleagues in the center-floor rows. 

Never in my whole life have I had a theater-going experience like “The Fall Guy.” The audience filled the Paramount Theatre with a rising and falling tide of cheers, laughter and gasps. Don’t get me wrong, we could have been phoning it in for Gosling’s benefit, but who cares?  It doesn’t make it any less real or special. 

When Cameron and I entered the line at 2 p.m. for the 6:15 p.m. premiere, the energy was already palpable. The buzz grew over the next four hours and once we got in, the energy peaked. Movie fans swarmed the lobby and aisles, running all over to find a spot. Cameron and I beelined to the front and, finding all the seats taken, hauled our line-weary bodies up to the balcony. We found a spot right in the middle, and the crowd around us took shape. 

The seemingly craziest part of the night, maybe even crazier than how I’d photograph the cast and crew two hours later, was how Gosling entered from the red carpet as I was waiting in line for the men’s bathroom. Suddenly, dozens of fans hovered toward him all while Oscar-winning director Daniel Kwan of “Everything Everywhere All at Once” walked right past. 

Before the moment passed, someone took notice of Kwan and turned, wide-eyed. “Keep making great movies,” they said, shocked. “Thanks,” Kwan said as made his way to his seat, popcorn and concessions in hand. 

I tell this story to show some contrasts. I’ve had two very different theater-going experiences with “The Fall Guy.” Despite this, Cameron is right in his take from above — this movie must be seen in theaters, no matter if Gosling is in the crowd or it’s that one fan who gets up to pee every five minutes. 

The Friday-night crowd at the Cinemark, just as much as the SXSW world premiere (I will not be shying away from pointing out that I was there), encapsulates what the theater is all about. “The Fall Guy” brings an escapist quality that only the biggest, loudest and craziest films can bring, and it deserves a full audience in attendance. Cars are blown up, motorbikes jumped through the air, stuntmen thrown out of buildings and the biggest celebrities are action stars — sometimes that’s just all you want. 

The larger-than-life spectacles that everyone can enjoy are what made me fall in love with movies to begin with. It’s why directors want their movies to be played in theaters — a strong theater experience can elevate a movie into a full-fledged cinematic experience, and that is what “The Fall Guy” is for me.