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Tag: Ryan Gosling

QuickView: The Fall Guy (2024)

“I’m not the hero of this story; I’m just the stunt guy.”

Colt Seavers

I have a soft spot for David Leitch, the stuntman-turned-director, who has produced some of the most creative and reliably entertaining action films of the last decade, particularly as the once-staple action comedy has fallen out of favour. Loosely based on an 80s TV show of the same name, The Fall Guy is an ode to Leitch’s former profession, with a stuntman reluctantly returning to work only to find himself immersed in real danger as he hunts for a missing movie star. The subject matter becomes increasingly meta as a number of action sequences flit between moviemaking stunts and the finished cinematic product, a further layer added during the credits which provide the film’s actual stunt crew with their moment in the spotlight. The heart of The Fall Guy is a love story, evident from the opening blast of “I Was Made For Lovin’ You”, which is used not only as a recurring needle-drop but woven throughout Dominic Lewis’s bombastic score which combines orchestra, 80s synth and rock. Ryan Gosling shines, by turns charismatic and jaded, with guileless sleuthing reminiscent of his role in The Nice Guys. Emily Blunt’s Jodie is more rounded than a mere love interest, her bitterness selling the romance as much as the pair’s chemistry. Meanwhile the supporting cast provides colourful caricatures of Hollywood archtypes. The acting allows us to buy in, but ultimately The Fall Guy is only as good as its action choreography — fortunately it delivers, from a checklist of classic action shots to fresh variations on familiar stunts with clever flourishes. This is all more than entertaining enough to overlook a few plotholes — expect to laugh and spend a significant portion of the two hour running time grinning inanely.

8/10

QuickView: Barbie (2023)

“Barbie has a great day every day. Ken only has a great day if Barbie looks at him.”

Narrator

Barbie’s opening riff on 2001: A Space Odyssey (seen in the teaser trailer) feels like a statement of intent: it is meaningless to children whilst establishing the themes of feminism and the doll’s historical context. Although Margot Robbie and Ryan Gosling are perfectly cast — each able to portray insecurity and heartache beneath the plastic veneer — director Greta Gerwig was the primary draw for me, because she is such a surprising choice for Mattel to entrust its most valuable brand. She and Noah Baumbach have penned a hugely ambitious script that grapples with identity, women’s liberation, corporate and social satire, and patriarchy within the framework of Barbie and Ken travelling to the real world. I have never seen cellulite used as a call to adventure before, but that is also where the themes begin to muddle. Early on we see how perfection can be its own prison, forcing Barbie to hide her existential crisis, yet her quest for most of the film is restoration of that “perfection”. There is pointed commentary, like the undertone of violence in the attention that Barbie receives in the real world by comparison to Ken. Most of the satire is gentle, however, the film needing to appease its corporate masters and appeal to a core audience which adores the toy. The production design and attention to detail (like a waterless shower) is exquisite, like The Lego Movie embracing the limitations of the toy. Arguably its strongest allegory is when Ken (who as a doll has no identity beyond Barbie’s himbo boyfriend) discovers on arrival in the real world that men can hold all manner of jobs and power, this reversal providing a stark illustration of how important Barbie’s representation of women can be for girls. Yet the narrative result is for Ken to introduce patriarchy to Barbieland and inexplicably succeed. A rant about the cognitive dissonance of being a woman (and, by extension, how it is impossible for a doll representing women to be liked) is astute but swiftly followed by the Barbies manipulating the Kens into turning on one another, culminating in a huge song and dance number (allowing Simu Liu to shine as a rival Ken). Thematically, it’s a bold and broad mess of competing ideas. The thing is, it’s all really entertaining. If superhero films can be praised for their entertainment value despite underdeveloped attempts at sociopolitical commentary, so too can Barbie.

7/10

QuickView: First Man (2018)

“When you get a different vantage point, it changes your perspective.”

Neil Armstrong

First Man should not be mistaken for a film about the Apollo programme; as its name suggests the biopic is focused solely on the contribution of Neil Armstrong, sidelining everyone else. The claustrophobic nature of spaceflight is realistically presented through tight shots that leave us gazing into Ryan Gosling’s eyes with a regularity that eventually becomes tedious (although some viewers may disagree with this assessment). This is combined with an interesting decision to shoot the moon landing with IMAX cameras. If seen in that format the larger screen is entirely unused outside of that 15 minute sequence. Although impressive, IMAX viewing for this alone is far from essential. Gosling’s portrayal is deliberately understated whilst Claire Foy delivers the film’s strongest emotional performance as Armstrong’s wife. The most surprising aspect is an effective exploration of traditional masculinity and the burden placed on men who are left unable to share their emotional pain, with resulting impact on their families. Ultimately First Man is overlong but satisfying.

7/10

QuickView: Crazy, Stupid, Love (2011)

“I don’t know whether to help you or euthanize you.”

Jacob

Infuriating punctuation aside, this romantic comedy strives for greater quality and depth than its peers, even as it relies on familiar tropes. It is largely successful through acting talent and valuing thoughtful drama over laughs. Steve Carrell is allowed to make the newly single Cal sympathetic rather than a sad sack caricature. Where the comedy surfaces, it is typically wry rather than laugh-out-loud, with the best lines tending to have darker overtones. It is noteworthy that the central couple are a middle aged husband and wife who share remarkably little screen time. As is often the case with even the smarter rom coms, the movie struggles to find a conclusion and falls back on awkwardly saccharine displays, despite undermining the “grand gesture”.

7/10

The Ides of March (2011)

director: George Clooney
writer: George Clooney, Grant Heslov, Beau Willimon
starring: Ryan Gosling, George Clooney, Philip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood
running time: 101 mins
rating: 15

I’ll do or say anything if I believe in it,
but I have to believe in the cause.

The portrayal of politics in The Ides of March (its title an overt reference to the betrayal and assassination of Caesar) is unrelentingly cynical, but it has little need to convince its audience: while the twists and turns of the plot are compelling, there is no shock or disbelief because this world is so instantly recognisable in its realism.

Stephen Myers [Ryan Gosling] is an idealistic staffer on the Presidential campaign for Governor Mike Morris [George Clooney] in the Democratic primaries. With only two candidates still in the running, Ohio is the crucial state that will decide the race, but Morris refuses to compromise on his principles by making deals to win. Myers finds his own integrity tested as the campaign continues.

Many will mistake this for a political film when really its focus is on single character’s struggle with integrity set against a political backdrop, perhaps highlighted best by a shot of Myers’ small silhouette against the backdrop of a gigantic US flag. There is no strong political message here — the campaign is between two Democrat senators; comments on the Republicans are merely asides. Images such as a Shepard Fairey inspired campaign poster for Morris are more to ground the proceedings in the present day political atmosphere than to designate targets. Notably the source material, Willimon’s play Farragut North, was based on the 2004 primaries and not the Obama campaign.

Instead this is a powerful thriller with not a single bullet fired, yet many scenes have a heightened intensity as a result. One lingering exterior shot of a van — we know the conversation ongoing inside though we are not privy to the dialogue — is as taut as any execution scene and in its precise construction we half expect to hear a muted gunshot accompanied by a cloud of red mist. To cultivate this atmosphere without need for violence or exploitative tricks is a testament to Clooney’s assured, yet understated, direction.

The central cast is incredibly strong and all turn in excellent performances. Gosling has the most nuanced role even if his character’s shift is ultimately in a single direction. Meanwhile the rest of the cast tend to be reacting more to the machinations of others. Clooney oozes crowd-pleasing charm, while Hoffman and Giamatti make great rival veteran campaign managers with differing styles, one prizing loyalty while the other is more jaded. Wood may be the least prestigious name amongst the leads but her ability to switch between seductive confidence and vulnerable naïveté sells her character.

Ultimately, while non-partisan, The Ides of March is still a scathing condemnation of the political process, moreso because we are treated to the damage caused on a personal level as well as the overarching hypocrisy. The latter will not surprise the audience, but the former still brings home the message in a powerful fashion.

rating: 3.5/4

"A film is a petrified fountain of thought."

(CC) BY-NC 2003-2023 Priyan Meewella

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