NEW YORK (OSV News) – Screwball comedies showcasing couples verbally duking it out in the battle of the sexes comprised a significant and often winning subgenre during the Golden Age of Hollywood. Whether the sparring partners were Gary Cooper and Jean Arthur or William Powell and Carole Lombard, audiences were likely to enjoy every round.

Such examples of amusing tension are comparatively rare these days, which makes the advent of “The Fall Guy” (Universal) a refreshing development. Although ostensibly an actioner — and a snappy one at that — director David Leitch’s loose adaptation of the eponymous 1980s TV series has even more appeal as a toothsome romantic comedy.

Unfortunately, however, the wit and engaging sentiment that characterize Drew Pearce’s script are offset by an excess of off-color dialogue. As a result, this bit of otherwise classy fun can only be endorsed for grown-ups.

After a near-fatal accident, veteran Hollywood stuntman Colt Seavers (Ryan Gosling) loses confidence in himself and leaves the film business. He also cuts off contact with Jody Moreno (Emily Blunt), the aspiring director he’d been dating, though he continues to carry a torch for her.

Having hit the skids and become a restaurant parking attendant, Colt is summoned back to the world of Tinseltown by producer Gail Meyer (Hannah Waddingham). She’s at work on the science fiction epic that will represent Jody’s feature debut.

The lavish project is under threat, however, as Gail eventually explains, because its lead, Tom Ryder (Aaron Taylor-Johnson) — the egotistical star for whom Colt used to substitute — has disappeared. Gail begs Colt to track the actor down and, with Jody’s welfare in mind, he complies.

As a cover for carrying out this surreptitious mission, Gail has arranged for Colt to join the set of Judy’s production. This offers Judy the opportunity to take sweet revenge on Colt for his ghosting of her.

The screenplay tends to turn Colt’s misdeed into more of an obstacle to reconciliation than it might represent in real life. But the path to reunion is a thoroughly enjoyable one to travel, especially as it leads through some savvy satire of the entertainment industry’s mannerisms.

Although one exchange in the dialogue can be interpreted as suggesting that Colt and Judy’s former liaison included a sexual component, this remains uncertain. As for what’s seen on screen, past or present, nothing of the sort transpires. Instead, they pursue their kicks by doing fast doughnuts in Colt’s truck.

While Pearce keeps his lovers away from the bedroom, he also lowers the tone with a constant barrage of S-words. It’s a shame that indulging in them necessarily restricts the appropriate audience for his sharp barbs and Leitch’s well-choreographed bumps.

The film contains considerable stylized violence, including gunplay, a possible offscreen premarital sexual relationship, several instances each of profanity and milder swearing, fleeting rough language, pervasive crude talk and obscene gestures. The OSV News classification is A-III — adults. The Motion Picture Association rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.

Copyright © 2024 OSV News

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Want to be a yoga influencer?

If ever you wanted to be a yoga influencer, then Mind Body Spirit will cure you of that. Just kidding, as it isn’t the practice of yoga that makes this a horror movie, but rather an old book full of ancient rituals. I always find myself thinking “Has nobody watched Evil Dead?” whenever they embark on reading out loud from weird books.

However, for this particular horror story, the book was left behind by the lead character’s grandmother. Anya has just inherited her grandmother’s old house and before she finds the book, she also discovers a huge part of the house. Including a strange room and a huge attic.

Both would have made me leave the house immediately. And if not then, the things that happen next most certainly would have. You see, I have actually watched a whole lot of horror movies, so I already know that this cannot end well for Anya.

From self-help to despair

Anya has never met her grandmother, but the book (along with the house) was left for her. While Anya’s mom begs her to leave the place and recognizes that her grandmother was not a good person, Anya looks at it all like some sort of fate.

What starts as a spiritual self-help guide that Anya follows to kick off her aspiring career as a yoga influencer turns into something very sinister. The only other person in Anya’s house is an already established lifestyle influencer who tries to help Anya get started – because Anya’s mother asks her to.

While Anya is portrayed wonderfully (and also creepily, at times) by Sarah J. Bartholomew, the influencer Kenzi is portrayed by Madi Bready. I loved how we also got to watch commercials for various products that sponsor these influencers.

Not least seeing Kenzi from KenziFit in her element. A great detail that made it all come alive and feel very real.

For Sale is an interesting little comedy horror. Mason McGinness (Andrew Roth, The Wire) is a smarmy salesman who is not above cutting some corners to close the deal. When he pushes things too far, he finds himself out of a job and a home. He has a chance to right his life if he can sell a house with a sordid past and lots of unwanted guests.

The debate between practical effects and CGI is an ongoing one that will only end when there are no longer audiences old enough to have nostalgia for old school effects. Even though special effects are a relatively big part of For Sale, it does not offer much to that particular argument. Instead, it is an example of the effectiveness of simplicity.

For Sale is a haunted house movie, so there has to be ghosts, mysterious happenings, and strange sightings. While nothing is Savini-esque and the budget does not allow for massive computer generated spectacle, the film is great at using small moments to create maximum terror. There are some excellent jump scares and the use of shadows add to the biggest moments. When the specters who inhabit the house make their appearances, they have a cheesy look that works with the story being told.

Charm may be the strongest thing about the film. Quirky music and characters are the biggest takeaway from For Sale. Roth is particularly good as the shady agent who will do anything to get his sale. He is in just about every scene and his personality ensures that anyone watching will not be bored of him. The plot is more about the development of his character than the actual scares.

For some, this may end up being an issue. For Sale skirts around the horror elements for the vast majority of the time. It is not until about an hour in that the story truly kicks in. Everything before is set up. This would be fine – and it is very well paced – except a tone is never established. It is not tense enough for horror fans, but also does not provide constant laughs. And when the terror finally does take center stage, things come to a screeching halt.

The ending is also a little erratic. At first, it appears as if viewers will be getting a more family friendly ending complete with Mason learning a life lesson. This is before a dark turn that leads to a confusing finale that is sorta cute and sorta funny but incomplete more than anything else.

For Sale opens on digital platforms May 7

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