“The Fall Guy” (2024) is a reboot of the 80s TV series starring Lee Majors, but it does not share the same narrative beats as the original. Famed stuntman Colt Seavers (Ryan Gosling) retreats from the spotlight, which consequently means ghosting his beloved, wannabe director girlfriend, Jody (Emily Blunt). Producer and agent Gail Meyer (Hannah Waddingham) asks him to look for missing blockbuster star Tom Ryder (Aaron Taylor-Johnson), which she cannot report to the authorities, or the studio may pull the plug on making the movie, “Metalstorm.” Colt agrees to do it once he finds out that Jody’s dream came true, and she is making her directorial debut. He also nurtures the hope that he can win Jody back; however, when his search leads to discovering a dead body, he realizes that the stakes are higher than he thought. Will he be able to find Tom, bring the culprit to justice and ensure that Jody’s movie gets shot?

“The Fall Guy” is the perfect commercial date movie. Two incredibly charismatic movie stars at the top of their game get to be in a romantic comedy with zero nudity or sexual situations while also featuring stunt record breaking action from director David Leitch, who was a former stunt man and helmed notable action movies like “Atomic Blonde” (2017) and “Deadpool 2” (2018). Side note: “Bullet Train” (2022) and “Fast & Furious Presents: Hobbs & Shaw” (2019) have been in my queue for a long time, but I do not feel a sense of urgency to see them and have passed on opportunities to do so. Before the film started, Leitch and Gosling explained that this flick is a love letter to stuntmen who work behind the scenes to make the stars look good. Some audience members with acting experience confirmed that Leitch and Gosling live up to their promise and adored this movie because of it. Based on the deafening sound of laughter, claps, gasps, and cheers, it will be a hit. I really wanted to like it, but it took forever to get into it, and I never got swept away, but it is not because of the filmmakers lack of trying. My artsy fartsy self reared its head and would not shut up.

I would have preferred a two-hour six-minute loop of Gosling performing “I’m Just Ken” at the Oscars, or Gosling and Blunt just riffing in real life. Gosling can do anything. He is hot, affable and self-deprecating. Blunt seemed to be suppressing a laugh each time she shared a scene with him. They had great chemistry and seemed comfortable with each other so it is easy to buy the romance and root for them. It was also very cute how they wanted the best for each other, not themselves. It was a nice change that Gosling, not Blunt, was the star that the camera gawked at. Blunt gets dressed in clothes that are designed for the female gaze and are all about comfort. Still Gosling could have done a few more shirtless scenes. I wanted a different, more boring movie with a behind the scenes glimpse of Jody, the Metalstorm Editor (Angela Nica Sullen) and the Metalstorm Writer (Kalkidan China) with Gosling in a romantic subplot, which I never expected from this movie, but wished for as I silently revised the film in my head. Is that fair? No. Did I do it anyway? Yes. Yes, I did.

“The Fall Guy” had pacing problems, which were tempered as the story unfolded, but it took a long time to heat up. It was impossible to forget that two incredibly hot and charming adults in committed, long-term relationships with children are supposed to be playing characters in their first real relationship and are awkward. The best scenes between the two were when they are quietly catching up in a car. I’m probably the only one in the theater that was a bit uncomfy when Jody uses her position to settle her score with Colt by reshooting a difficult, dangerous stunt. It is still a hilarious scene since everyone on set knows what’s going on as they wait for her to finish torturing him so they can shoot another scene then eventually give in to the vibe by transforming the set into group therapy while wearing  absurd costumes and speaking through a voice changer.

“The Fall Guy” is at its best when it spoofs other films or makes veiled fun at other stars. “Metalstorm” is set on a planet like Arakkis, the desert planet from the “Dune” franchise, and when Leitch shows a scene from the fictional movie, there is often a woman wailing on the soundtrack, which had me in stitches. Real talk: “Metalstorm” seemed like a good time. Also just when Taylor-Johnson seemed to be making fun of one celebrity, he switched gears and seemed to embody another (sneezes *Tom Cruise*, coughs *Matthew McConaughey*). You decide who is being referenced in the line, “He runs weird and can’t do action.” Some of the Post-it notes were genius. (“Mamoa or Momoa”) The homage to “John Wick: Chapter 3 – Parabellum” (2019) was adorable: Jean Claude, who only listens to French commands. Two female Kelpies portrayed the stunt dog. The running “Miami Vice” theme was a great nod to the 80s without being redundant since that era lately provides a deep well of nostalgia.

While the meta dialogue explaining the significance of Leitch’s visual choices was probably deeply insightful for the audience who is unaccustomed to film analysis, it was a little on the nose. It feels like revealing the secret to a magic trick during the act. Also “The Fall Guy” opens with a montage of action sequences from other movies, and Leitch dives into his archive, which seems big-headed even for Hollywood. The action scenes are fine but can be monotonous after a while though the running joke that Colt cannot get a cup of coffee to save his life was pleasing. The trippy scene felt too gimmicky with blows accentuated with sparkles.

Yale graduate, Winston Duke, who acted in such memorable hits as “Black Panther” (2018) and Jordan Peele’s sophomore film, “Us” (2019), was underutilized as Colt’s best friend and “Metalstorm” stunt coordinator though he gets more to do than be supportive later in the “The Fall Guy.” Oscar nominee Stephanie Hsu was in a forgettable, insignificant role as Tom’s personal assistant. Some actors make a meal out of a morsel. They did their job, but no scene was stolen when they came on screen. Hsu is a gifted comedian in films such as “Joy Ride” (2023) and “Shortcomings” so it feels like movie malpractice to treat her like an actor just getting her break as if she was a recently promoted extra. Surely there was room for her to shine a little without detracting from the story’s trajectory or stealing the spotlight from the stars. Venti Kushner (Zara Michales) seemed as if she was going to play a more prominent role, but all her work ended up on the cutting room floor.

An unrecognizable Waddingham was the surprising lynchpin of “The Fall Guy.” Though playing the archetype of the Hollywood producer and hiding her light under a big wig, lots of layers and broad glasses, she stood out. Some of her professional looks were memorable and sleek enough to deserving copying. It was a nice touch to make her inseparable from her cell phone with a gold chain strap. If you are an experienced moviegoer, you’ll predict her character’s twist, but Waddingham made it fun when it could have been cartoonish, boring, and predictable. Gail was a delicious character in Waddingham’s hands.

Another nice touch was the soundtrack. Kiss’ “I Was Made for Lovin’ You” served as Colt’s theme song. The karaoke scenes were terrific, and while a spinning dumpster stunt was impressive, I wanted to stay with the tamer fare. “Thunderstruck” is on the verge of being overused, especially so soon after “Thor: Love and Thunder” (2022), but it still works. Even Taylor Swift gets a moment.

There is a post credits scene so stick around. I theoretically appreciated “The Fall Guy” but it just was not right for me, or I was in the right mood. Sometimes actors want to have fun, especially after such a serious opus as “Oppenheimer” (2023), so I applaud everyone willing to change course and do it in such a deft fashion.