Connect with us

Movie Reviews

Movie review: ‘The Fall Guy’ jumpstarts the summer movie season

Published

on

Movie review: ‘The Fall Guy’ jumpstarts the summer movie season

Ryan Gosling, left, and Emily Blunt in “The Fall Guy.” Credit: Universal Pictures/TNS

When April meets May, the unofficial summer movie season kicks off, ending a long and treacherous few months of movie purgatory between the holiday season and summer break.

Around this time, theaters begin to bloom with an abundance of “popcorn flicks” — fun, lighthearted action or comedy movies that serve as a good time out for a wide range of audiences. “The Fall Guy,” the latest film starring Ryan Gosling (“Barbie,” “La La Land”), checks all those boxes as it commences 2024’s summer movie season.

Directed by stuntman-turned-director David Leitch, who oversaw “Deadpool 2” (2018) and “Bullet Train” (2022), “The Fall Guy” co-stars Emily Blunt (“Oppenheimer,” “A Quiet Place), as Jody Moreno, a first-time director in need of a stuntman after her previous one disappeared under mysterious circumstances. This comes in the form of Gosling’s Colt Seavers, who just so happened to date Moreno on a past movie set before he suffered a back-breaking accident performing a stunt and was forced to quit his job.

The awkward romance that still lingers between the duo grows even more complicated when Colt is tasked with tracking down the superstar actor he stunts for, Tom Ryder (Aaron Taylor-Johnson), who also has gone awol.

Advertisement

“The Fall Guy” is Leitch’s love letter to the underappreciated role of the stuntman, a theme that absolutely permeates throughout the 125-minute runtime. Every aspect of the film is over-the-top and in-your-face, from the constant explosions of the stunts to the absurdist subplot of Colt investigating the absence of his missing actor.

Like Leitch’s previous films, particularly “Deadpool 2,” the humor is meta, with Gosling often breaking the fourth wall, as well as the plot centering around the behind-the-scenes of a campy space film that frequently pokes fun at movies like “Dune” and “Mad Max.” The humor works most of the time, though the physical comedy and recurring jokes are more consistent than the one-liners, which sometimes fall flat.

It’s ironic that “The Fall Guy” starts off with Gosling’s character breaking his back, because Gosling’s back must hurt from carrying the film. He and Blunt both put in excellent performances, and no one would expect any less after their respective Oscar nominations for “Barbie” and “Oppenheimer.” The pair has innate chemistry that sustains the movie and keeps audiences entertained in a surprisingly touching romance.

“The Fall Guy” is at its best when Leitch takes a step back from directing the written quips and lets Gosling drive the movie forward with his natural charisma, but runs into issues when it gets too caught up in replicating the success of Leitch’s prior films.

In particular, Colt’s meta dialogue often seems like it was written for Ryan Reynolds, the star of “Deadpool” who is infamous for breaking character and the fourth wall, instead of Gosling. Gosling fits much better into the role of the character than Reynolds would, so it’s a shame that there’s a dissonance that lingers over the movie when it becomes obvious that some of Colt’s character quirks weren’t molded for the “right” Ryan.

Advertisement

In addition to the sometimes half-baked jokes, the CGI for “The Fall Guy” is genuinely awful, although it doesn’t necessarily always detract from the experience. Most of the time, it adds to the tacky charm of the backstage comedy; however, there are points at which it seems pretty ironic that a movie about stuntmen relies so heavily on computer-generated action.

All in all, “The Fall Guy” is a refreshing, digestible action-romcom that highlights an unsung subgroup of Hollywood glamor. The movie doesn’t quite know when to step off the brakes at times with its layered plot and barrage of banter, but it’s hard not to have a fun time sitting in a theater with a full bucket of popcorn watching Gosling — and his stuntman — set themselves on fire, bungee jump off buildings and drive cars over cliffs.

Rating: 3/5

Advertisement

Movie Reviews

MOVIE REVIEW: Pixar’s Hoppers is laugh-out-loud funny

Published

on

MOVIE REVIEW: Pixar’s  Hoppers  is laugh-out-loud funny

The Snapshot: Pixar comes out swinging with an energetic and cuddly comedy that pairs big laughs with an earnest message about living alongside nature.

Hoppers

9 out of 10

G, 1hr 44mins. Animated Sci-Fi Family Comedy.

Directed by Daniel Chong.

Starring Piper Curda, Bobby Moynihan, Kathy Najimy, Jon Hamm, Dave Franco and Meryl Streep.

Now Playing at Galaxy Cinemas Sault Ste. Marie.

Advertisement

True all ages fun is increasingly hard to find, and hoping for great, original works out of Hollywood is only getting rarer from the major studios. Thankfully, Disney and Pixar’s Hoppers is making the search a little easier.

Director Daniel Chong (best known for the TV series We Bare Bears) has masterfully directed a frantic masterpiece that is worthy to stand among iconic greats in Pixar’s esteemed catalogue. Filled with bustling action, a brave moral standing, and an endless parade of cuddly animal heroes, Hoppers is a dam great time.

A beaver dam great time, that is.

The story is a bit unusual, set in the northwestern town of Beaverton, Oregon, where a local University student and nature activist named Mabel (Piper Curda) is in a constant fight with the town’s development-driven mayor (Jon Hamm) over a highway expansion over a local glade and nature preserve.

Things gets wild, however, when Mabel’s consciousness gets sucked into a beaver robot through a process called “hoppers” – and suddenly becomes a literal friend of the forest, setting off a chain of events I dare not spoil.

Advertisement

One of the strongest elements in Hoppers is Jesse Andrews’ terrific screenplay, built on a story structure that has made Pixar’s work stand out among family entertainment for the last 40 years. (Part of this film’s release, co-incidentally, marks the studio’s 40th anniversary this year.)

Not only has Andrews filled the plot with multiple organic surprises that repeatedly heighten the stakes of Mabel’s quest to save the glade, but the script also balances the peacefulness of nature to – anchor the story – with the frazzled panic of modern human life to develop the humour.

Getting these juxtaposing elements to work is done swiftly by Chong, Andrews and the talented voice ensemble bringing it altogether. The actors above are all commendable, but the scene stealer is Bobby Moynihan (of SNL fame) as beaver leader King George.

Moynihan’s George is smart, sincere, and socially aware that teaches Mabel some core lessons without making it overly obvious to the audience. Still, the film as a whole effectively gets its messages across about what a realistic plan for living in harmony across species actually looks like – and how to go about trying to do the right thing.

Advertisement

Pixar’s original works have struggled for several years, mainly upended by the COVID pandemic ruining the box office prospects of multiple great movies, including Soul, Turning Red and Onward.

Get ready now for Hoppers to take the spotlight both commercially and among repeat viewings for kids – the film is laugh out loud funny and filled with heart. This is the best original film from Pixar since Coco almost a decade ago.

Read more here: You can’t miss Pixar’s Coco (2017 review)

The only small critiques, in fact, is that the main conflict doesn’t fully emerge or develop until halfway through the film, and the pacing is a bit slow until we get to the actual animal “hopping” that comes at the end of the first act. What’s also missing is the ethereal discovery of poignancy that made Pixar’s earliest filmography seem truly special.

Still, don’t let these small quips deter you. Hoppers is the first great film of 2026 and an absolute blast watching at the cinema.

Advertisement

Children, parents, grandparents, neighbours, your mailman – everyone should see it this weekend. And seeing it sooner is a great way to encourage the development of more original, thoughtful and fun movies like this to be made.

Hop to it, beavers!

Advertisement
Continue Reading

Movie Reviews

‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

Published

on

‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

Pankaj Kapur in ‘Jab Khuli Kitaab’
| Photo Credit: ZEE5

Cracks in conjugality constitute a common conflict device in Hindi cinema. Usually, the male commits the bhool and expects forgiveness. Most fissures appear early, but what if a grandmother reveals a long-buried truth? Can the man accept it as easily as he expects forgiveness? Seasoned actor and theatre practitioner Saurabh Shukla gives new meaning to a prescribed book, making us both chuckle and reflect.

Being a cinematic adaptation of his play, the constraints of the medium are not completely erased, but it shines as a heartfelt exploration of love’s endurance.

The film’s core premise revolves around a decades-old secret — Anusuya’s (Dimple Kapadia) confession of an indiscretion early in their marriage — that surfaces after she awakens from a coma. This revelation forces Gopal (Pankaj Kapur) to re-examine 50 years of trust through the lens of this buried truth as a forgotten ad hoc presence in his life threatens to become a permanent peeve. Enter Negi (Aparshakti Khurana), a young client-chasing lawyer who becomes an unlikely facilitator of tough conversations, legal proceedings, and emotional confrontations.

A still from the film

A still from the film
| Photo Credit:
ZEE5

Jab Khuli Kitaab (Hindi)

Director: Saurabh Shukla

Advertisement

Duration: 115 minutes

Cast: Pankaj Kapur, Dimple Kapadia, Aparshakti Khurana, Sameer Soni, Nauheed Cyrusi, Manasi Parekh

Synopsis: Gopal and Anusuya’s decades-long marriage is shaken by a revelation.

Though the transgression is a distant memory, its emergence shatters Gopal’s sense of shared space with Anusuya. He questions whether the life he built was an illusion. The woman he cared for seems suddenly unfamiliar. The film asks questions that may seem flimsy but persist in memory. For instance, Anusuya’s love for poetry that Gopal never really discovers, or the concept of marzi (inclination) in relationships.

Meanwhile, the revelation shakes the family unit. The parents initially try to shield the children from the truth, but the tension inevitably seeps in. Initially, it seems the son and son-in-law are bitten by the Baghban bug, but as the film progresses, the writing provides space for a dialogue on how companionship extends beyond the couple.

The film quietly reflects on the role of memory in a marriage, treating it as a central force that both sustains and disrupts long-term bonds. Gopal’s growing dementia suddenly seems like a cure for his marital problem. Without underlining, Shukla also explores the impact of the revelation on Gopal’s social psyche. Suddenly, a seemingly progressive man starts behaving like a parochial uncle, as we find dozens of them around us these days. Is it always the personal that shapes the political socialisation? Another uncle reminds us that laughing too much leads to days of sorrow, as if the Almighty has assigned us a quota of happiness.

Advertisement
A still from the film

A still from the film
| Photo Credit:
ZEE5

Kapur’s masterful control shines through in Gopal’s progression from bewilderment and stubborn pride to vulnerability and, eventually, the rediscovery of love. Over the years, Kapur has shone in the estuary of comedy that holds a tragedy in its fold. He lives the script’s shifting tones. From the tender caregiving scenes in the beginning to the profound internal shift in demeanour and body language toward the film’s resolution— the transformation feels earned and believable.

It is hard to believe Dimple as a wilting wife, but soon we realise it’s the gravitas in her voice and personality that makes Anusuya a believable picture of regret and resilience.

We know the coma is more like a metaphor, but the medical aspect is treated with a heavy hand. The plot unfolds in a somewhat linear and foreseeable way, with the revelation and its consequences following expected beats. The contrivances, the dot-to-dot mechanics of storytelling, surface in the second half as if the director is keen on arriving at the crux without peeling the layers properly. But it is the chemistry between Shukla and Kapur that prevents this bittersweet dramedy from becoming schmaltzy. 

Jab Khuli Kitaab is streaming currently on ZEE5

Continue Reading

Movie Reviews

‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

Published

on

‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

In cinema logic, sharks, especially great whites, make excellent characters in animation. From Bruce in Finding Nemo to Mr Shark, the master of disguise in The Bad Guys, these apex predators turn their great gummy mouths with many pointy teeth into jolly good fellows.

In Hoppers, the 30th animation film from Pixar, there is a great white called Diane (Vanessa Bayer), who, despite being a scary assassin, has such sweet, shining eyes and a warm smile that one cannot help but grinning back.

Hoppers (English)

Director: Daniel Chong

Voice cast: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, Dave Franco

Storyline: A fierce animal lover uses a new technology to converse with animals and save their habitat from greedy, self-serving humans

Advertisement

Runtime: 104 minutes

We first meet Mabel (Piper Curda) as a little girl trying to set all the animals in school free and being sent home for her pains (and also because she bites one of the teachers trying to stop her). Her busy mother drops Mabel with her grandmother (Karen Huie) who shows her the peace and quiet that can be hers if she only stops to listen.

The glade where grandmother Tanaka teaches her this valuable life lesson becomes a special place for Mabel. Years later, after her grandmother has passed, 19-year-old Mabel is a college student and still fighting for animal rights.

Matters come to a head when the mayor of Beaverton, Jerry Generazzo (Jon Hamm) plans to blow up the glade to build a freeway. Mabel tries to get signatures from the citizenry to stop the freeway plans, but that comes to naught as people quickly turn away from the zealous Mabel.

Frustrated, with no recourse in sight, Mabel chances upon a beaver making its way to her university’s biology lab. First worried that her biology professor Sam (Kathy Najimy) is doing some unspeakable animal experiments, Mabel is nonplussed to find that Sam, with her colleague Nisha (Aparna Nancherla) and graduate student Conner (Sam Richardson), have developed a revolutionary technology to transfer human consciousness to robot animal.

Advertisement

Mabel uploads her consciousness into a robot beaver and sets off to thwart the mayor. Seeing the world from the animals’ perspective gives Mabel a unique point of view. Hoppers has jokes, chases, largeness of heart and solid science — not consciousness-switching with robot animals or flying shark assassins but the fact that beavers are the environmental engineers of the natural world.

The voice cast is wonderful, from Bobby Moynihan as the beaver king, George to Dave Franco as Titus, the prickly butterfly who becomes the insect king after Mabel accidentally kills his mum — the Insect Queen, played with terrifying grandeur by Meryl Streep.

The animals are delightfully delineated, from the spaced-out beaver, Loaf (Eduardo Franco) to Ellen (Melissa Villaseñor) the grumpy bear. The animation is lovely, with each of the animal and human characteristics clearly outlined. From the mayor’s grasping to Sam’s brilliance, Mabel’s fervour to Loaf’s stillness, and the different animal monarchs’ regality, it is all given marvellous life.

ALSO READ: ‘The Bride!’ movie review: Maggie Gyllenhaal’s glam-goth Frankenstein can’t hold its stitches

The “pond rules” ensure that the animals are not completely anthropomorphised — a sticky point in animation films where carnivores and herbivores hang together without even a sneaky licking of lips!

Advertisement

Smart, funny, exciting, honest, and touching, Hoppers is the kind of film you can watch with the bachcha party and elders alike, with a happy grin. And then there is Diane of the red, red lips and sparkly white rotating teeth — yes, Hoppers boasts that level of detailing.

Hoppers is currently running in theatres

Published – March 06, 2026 07:08 pm IST

Advertisement
Continue Reading

Trending