El especialista

Cuando se hace una comedia de acción poco exigente, es exactamente así. Lo más dudoso se deja de lado de inmediato: la trama criminal en el armazón de la película es muy simple y un poco tonta, pero en realidad no importa en absoluto. Todo lo llevan adelante en primer lugar los atractivos de acción llenos de acrobacias, pero sobre todo el carisma de los dos protagonistas principales. Ryan Gosling y Emily Blunt funcionan muy bien juntos, tienen una química visible y sus juegos verbales a veces recuerdan a clásicas comedias románticas screwball. De hecho, de Drew Pearce y David Leitch es en realidad una especie de carta de amor a todos los especialistas, miembros "invisibles" del equipo y a la industria cinematográfica en general, y la idealización romántica de todo el proceso creativo sin una pizca de cinismo simplemente funciona muy bien para el público. (25.04.2024)

Barbenheimer continúa en forma de actor incluso en 2024 y tuvimos un adelanto en los Oscar. La muestra en IMAX no me impresionó, pero dada la alta calificación, le di una oportunidad al especialista de acrobacias. No conectó en absoluto con mi estado de ánimo, me aburrí en la primera tercera parte. Luego David Leitch nos mostró algunas piezas interesantes y la película se deslizó hacia la categoría de comedia de acción loca al estilo de los años ochenta con una muy buena componente musical. Bueno, no me entretuvo, miré el reloj varias veces y ni siquiera me ayudó el hecho de que me guste tanto Ryan Gosling, como Aaron Taylor-Johnson, quien claramente disfrutó interpretando al loco. Probablemente me hubiera gustado más una película en la que aparecieran Cillian Murphy y Margot Robbie :-) David Leitch seguirá en mi memoria como aquel que junto con Chad Stahelski dio al mundo del cine el fenómeno de Sin control. (03.05.2024)

David Leitch pays homage to the stunt craft and filmmaking, and it's enjoyable entertainment that won't offend anyone in the cinema, but it just doesn't live up to his previous effort Bullet Train - that was far more substantial in terms of action and humour, and more importantly it was R-rated, so I liked it better. It's quite ironic that the film's strengths don't include the action, which is more creative and interesting than excellent, and the humour is only mildly amusing rather than a loaded comedy ride, but the film gets plus points elsewhere. Like the great chemistry between Ryan Gosling and Emily Blunt, it had emotion and this whole romance thing works great, but what I liked most was the behind the scenes of the filmmaking, where Leitch shows a lot of things from the other side and I enjoyed that. There are also a lot of movie references, I really liked the action scene on LSD at the disco (probably the most original fight ever) and then the finale, which is decently spectacular and fun. The icing on the cake is the trailer for the final film which is reminiscent of Honest Trailers (the same guy speaks by the way), I was very pleased with that. Fun, playful and heartfelt. 8/10 (09.05.2024)

Stuntman Ryan Gosling must find a lost movie star in order to save the film of his beloved Emily Blunt. And for her, he'll go through hell. David Leitch delivers an entertaining tribute to the stunt craft and all those who practice it. He combines great action with surprisingly even better romance, a nice bit of wit and humor, and the obvious joy of goofing around on set with the friends he's spent his entire career with. And it's great to watch. (29.04.2024)

Ryan Gosling is the action hero that modern masculinity needs, and this film is a magnificent culmination of the roles that he has played so far and his image. Instead of bombastic macho tough guys, here we have a guy who can handle wild physical challenges, but he also knows how to come to grips with his emotions (even if it’s only by listening to plaintive songs in his car) and can be sensitive, supportive and friendly towards others while taking himself with a sense of detached humour. And on top of that, he’s also both hot and adorable. In addition, The Fall Guy offers up a bombastic tribute to stunt work that comprises a grand culmination of the work done by the stunt and choreography group 87eleven, or rather its production division, 87North. Besides the trademark style of fight choreography, the filmmakers fortunately focused primarily on the logistically more challenging aspects of stunt work with automobiles, explosions and collisions, and every possible kind of fall, which they execute not only for the camera, but also for the narrative. All of this is done mainly with the aim of lobbying for the rectification of the nonsensical neglect of stuntpeople at the hands of the Academy of Motion Picture Arts and Sciences. (However, it could possibly be argued that the Academy doesn’t overlook stuntpeople because it would want to somehow draw attention away from the behind-the-scenes magic of film, but solely because most members of the Academy don’t understand the industry and the results of voting would correspond to that, as is the case with the animation category.) In light of all of that, The Fall Guy also works as a refreshingly exaggerated romantic comedy that takes the female point of view rather than the usual male perspective. Though it’s true that the film is somewhat handicapped by the uneven screenplay and exceedingly obvious utilitarianism of the individual peripeteias, which serve as an excuse for staging particular bits of choreography, this is offset by the fact that the filmmakers know how to shoot everything with maximum effectiveness and entertainment value, which is not true of the film’s spiritual ancestor, Hooper (1976), by the first stuntman-turned-director, Hal Needham. (03.05.2024)