My Old Ass (2024)

Direction: Megan Park
Country: Canada

Megan Park’s sophomore directorial feature, My Old Ass, is a refreshingly spontaneous coming-of-age comedy that captures the vibrant, messy tapestry of teenage life with authenticity and warmth. At the heart of the film is a breakout performance by Canadian singer and actress Maisy Stella, making her feature film debut after her time on the musical television series Nashville.

Stella is Elliott, an 18-year-old who, during the course of a mushrooms trip, has contact with her 39-year-old self (Aubrey Plaza). What begins as a quirky exchange of life advice quickly becomes a heartfelt exploration of self-discovery, as Elliott grapples with the rebelliousness of youth and the unpredictable outcomes of love. 

Sweet but not cheesy, the film stands out for its originality and relatable charm. While it may not reinvent the teen rom-com genre, it handles themes like sexual orientation with a light, natural touch, brimming with hopefulness, self-discovery, and a sense of wonder about life and love.

Park, who impressed audiences with The Fallout in 2021, opts for simplicity, focusing on genuine human connection. This approach succeeds largely due to the chemistry of her leads, with Stella’s Elliott beautifully complemented by Percy Hynes White’s performance. My Old Ass is a gutsy and endearing ode to youth, a well-crafted tale of living life to its fullest and confronting the inevitable fear of loss. It’s an enjoyable, life-affirming watch that will leave you smiling, even if its charm is more fleeting than indelible.

The Second Act (2024)

Direction: Quentin Dupieux
Country: France

The comedic style of prolific French director Quentin Dupieux can often oscillate between the amusingly absurd and the frustratingly inconsequential. While Daaaaaali! (2023) fell short of convincing, The Second Act emerges as a surprising, satirical triumph. With its playful mise en abyme and elaborate form, the film delves into the world of cinema, where actors revolt against a script they deem mediocre. To make everything more insane, they are being directed by artificial intelligence, which also wrote the script.

The stellar and assured cast—Léa Seydoux, Vincent Lindon, Louis Garrel, Raphaël Quenard, and Manuel Guillot—are in complete control, and the story gains perspective and weight in their capable hands. The real fun of the film lies in its blurring of boundaries between representation and reality, leaving viewers guessing as the layers of fiction intertwine and collapse. Even lacking full dramatic meaning, it sneaks up on you. Yet, you should doubt everything you see and hear. 

Unapologetically, Dupieux skewers the egos and absurdities of the film industry, tackling issues such as homophobia, technology's encroachment on creativity, and the tension of strained relationships—all with his trademark irreverent humor. The Second Act demands to be seen, preferably with an audience that doesn't know what it's in for. It’s the kind of cool and kooky narrative that leaves you walking out of the theater feeling like you've seen something special, even if you can't quite figure out what that ‘special’ was. 

The film owes everything to its gifted actors coping with the provocative ideas of a script that becomes a therapeutic trust exercise of their own. This ferocious, dichotomous masquerade is never boring.

Daaaaaali! (2024)

Direction: Quentin Dupieux
Country: France

Daaaaaali! is a low-boil absurdist comedy written and directed by French auteur Quentin Dupieux, yet it falls short of the engaging flair seen in his previous films like Smoking Causes Coughing (2022) and Yannick (2023). The plot follows French journalist Judith Rochant (Anaïs Demoustier), who meets several times with the extremely self-absorbed Spanish painter Salvador Dali - portrayed here by five different actors—Gilles Lellouche, Édouard Baer, Jonathan Cohen, Pio Marmaï, and Didier Flamand. 

Dupieux’s narrative, with its fluctuating timelines and loosely woven structure, aims for surreal, absurdist satire but often misses the mark. Despite its vibrant eccentricities, the film struggles to deliver substantial humor or thematic coherence, resulting in a narrative that feels both superficial and exhaustingly repetitive. While there are sporadic laughs, the film bogs down in long stretches of banality and redundancies. Daaaaaali! is as fake and annoying as its title. The cast is great, the film is not.

My Favourite Cake (2024)

Direction: Maryam Moghaddam, Behtash Sanaeeha
Country: Iran 

Iranian filmmakers Maryam Moghaddam and Behtash Sanaeeha bring us My Favourite Cake, a tragicomic romantic drama set in Tehran and starred by Lily Farhadpour and Esmail Mehrabi. Farhadpour portraits Mahin, a 70-year-old widow who, feeling stifled by loneliness and routine, decides to seek her personal freedom in a society closely monitored by the regime. Her journey brings her to Faramarz (Mehrabi), a divorced taxi driver and former soldier who mirrors her isolation. Their unexpected and spirited romance blossoms with ease; their dialogue feels natural, and their expressions of joy are vibrant. Love and optimism breathe new life into their world, casting their future in a hopeful light. But is there really a future for them? 

The basic plot is infused with immeasurable joy and overwhelming sadness in equal measures, relying on the warmth of its characters and beautifully crafted imagery that radiates light and life. Mahin and Faramarz quickly become endearing to the audience, their happiness infectious as their one-night connection grows more meaningful with every frame.

My Favourite Cake offers an enriching blend of heartfelt storytelling subtly woven with political undertones expressed through repressed emotions, ethical conflicts, and the constant vigilance of nosy regime loyalists. Awarded at the Berlinale, this film presents a stirring and genuine portrayal of romance later in life, a slice of life that resonates deeply. Unfortunately, the directors were unable to attend the festival to receive their awards, as Iranian authorities confiscated their passports and imposed travel bans.

Bookworm (2024)

Direction: Ant Timpson
Country: New Zealand

The lighthearted comedy Bookworm offers a delightful father-daughter adventure set against the lush wilderness of New Zealand. Directed by Ant Timpson with a screenplay by Toby Harvey, the film follows 11-year-old Mildred (Nell Fisher), a witty, sarcastic bookworm, and her estranged father Strawn Wise (Elijah Wood), a washed-up American illusionist who arrives to care for her after her mother is suddenly hospitalized. Together, they embark on a camping trip to track down the legendary Canterbury Panther. 

Set against scenic landscapes, Bookworm brings feel-good charm and beautiful visuals. While it could have leaned more into its quirky potential, and though some scenes feel slightly off and the finale a bit forced, the film maintains solid family-friendly appeal and leaves viewers with a warm sense of happiness. Surprisingly impish, it’s an adventure comedy with more good moments than missteps.

Beetlejuice Beetlejuice (2024)

Direction: Tim Burton
Country: USA

The much-vaunted return of Tim Burton, who rose to fame with films such as Edward Scissorhands (1990), Ed Wood (1994), and Sweeney Todd (2007), happens with Beetlejuice Beetlejuice, a visually inventive yet flawed sequel to his 1988 cult classic. Despite the 36-year gap, the original ‘80s vibe lingers in this formulaic work, whether you call it absurdist supernatural comedy or macabre dark fantasy or both. Michael Keaton returns, reprising his role as the trickster demon, as well as Winona Ryder as psychic Lydia Deetz, and Catherine O’Hara as her eccentric stepmother, Delia. The cast expands with Monica Belucci as a stitched-up, soul-sucking ghost, joined by Danny De Vito, Jenna Ortega, Willem Defoe, and Justin Theroux. Unlike the others, the latter two had never worked with the director before.

While packed with Burton’s trademark surrealism, the plot — scripted by Alfred Gough and Miles Millar — feels chaotic, marked by frantic pacing, loose subplots, and forgettable villains. The film tries to balance nostalgia for long-time fans with attempts to win over a new generation but often feels like a haphazard spectacle. Despite its energetic antics and quirky visuals, Beetlejuice Beetlejuice lacks the cohesion needed to truly captivate, leaving audiences dizzy yet unsatisfied. When the credits roll, you may feel you’ve spent 104 minutes in a world of Burton-esque antics, but without much of a payoff.

Wolfs (2024)

Direction: Jon Watts
Country: USA

Inspired by his admiration for solitary anti-heroes in films such as Le Samourai (1967), Ghost Dog (1999), and Collateral (2004), director Jon Watts sets up a New York crime story in Wolfs, but most of it feels worn-out and lackluster. This film reunites Brad Pitt and George Clooney, who portray experienced crime scene cleaners having extreme difficulties teaming up as requested by their clients. 

The film’s intriguing opening is engaging but it quickly unravels, descending into shallow banter, self-mockery (mostly revolving around aging), and formulaic action scenes toward oblivion. Though it initially seems to channel Coen Brothers’ dark, quirky tone, it takes a wrong turn, injecting syrupy moments that come off as laughably ridiculous and will likely irritate genre fans.

Wolfs is clumsy, overly formulaic, and incompetently lazy, following a banal, unoriginal plot weighed down by cheesy dialogue and underbaked story elements. Lacking any type of genius, it’s a waste of talent and energy on all levels.

Between the Temples (2024)

Direction: Nathan Silver
Country: USA

Directed and co-written by Nathan Silver, the comedy-drama Between the Temples strives to be quirky and offbeat, but ultimately misses the mark. Starring Jason Schwartzman and Carol Kane, the film is staged with a bunch of embarrassments that feel more flat than profound. 

The story revolves around Benjamin Gottlieb (Schwartzman), a 40-year-old kosher cantor struggling to cope with the death of his wife. He finds a glimmer of hope in Carla Kessler (Kane), his former music teacher, whom he agrees to help prepare for a late-in-life bat mitzvah. 

While the premise holds promise, the execution falters. The film never finds its rhythm, frequently losing momentum just when it should be gaining traction. Lacking the wit and style it aspires to, Between the Temples tries to inject energy into situations that implode under the weight of its own excessive pressure. 

Despite satisfactory performances from Schwartzman and Kane, the result is disappointingly televisual, culminating in a bewildering climax, full of emotional swings, that is the opposite of a knockoff. Not much in the material stimulates, and the film, sloppily rendered and off-punttingly screwy, doesn’t leave an impression.

Kneecap (2024)

Direction: Rich Peppiatt
Country: Ireland / UK

Kneecap is an ebullient, schizophrenic biopic about the Belfast-based hip-hop trio of the same name, which unexpectedly became the symbol of a civil rights movement dedicated to preserving their native language. Written and directed by Rich Peppiatt, the film thrives on the impetuosity of the rappers—Liam, Naoise, and JJ—their energetic music, anarchic irreverence, and the politically charged atmosphere of Northern Ireland. Though the film occasionally wavers between authenticity and promotional flair, it delivers enough sharp moments and humor to keep audiences engaged. 

While the true story is refreshingly original, the film’s sensationalist execution—marked by a fast editing and bouncing rhythm—feels like a pastiche of Trainspotting (1996) and 8 Mile (2002), with a dash of Guy Ritchie’s gangster flair thrown in the mix. Despite leaning on a familiar formula and evoking a sense of déjà vu, there’s a palpable passion driving the project. This gritty urban narrative brashly entertains, capturing the rebellious spirit of a trio criticized for glorifying drug use, anti-social behavior, and violence in their lyrics. As they pursue success, they must navigate opposition from Ulster-loyal police, politicians, and dangerous paramilitary groups. Without breaking new ground, Kneecap effectively captures the spark and controversy surrounding the group.

How to Make Millions Before Grandma Dies (2024)

Direction: Pat Boonnitipat
Country: Thailand 

The intergenerational comedy drama How To Make Millions Before Grandma Dies is a temperate charmer, though it wrestles with some predictability in its plot. Directed and co-written by 34-year-old filmmaker Pat Boonnitipat in his feature debut, the film manages to strike an emotional chord while maintaining a light touch. The narrative centers on M (Putthipong "Billkin" Assaratanakul), a college dropout and compulsive gamer with a tendency to squander money. He volunteers to care for his 79-year-old grandmother (Usha "Taew" Seamkhum), who is dying from stomach cancer, but his motives are questionable from the start.

Despite uneven, the film delivers a feel-good experience, offering a sober and bittersweet reflection on family relationships. It can be quite mellow in spots but definitely not choppy, celebrating cranky grandmothers with big hearts and fierce independence. Even in its most painful moments, How to Make Millions retains a sense of gentleness, thanks to an accumulation of small details—both sad and funny—that make the characters relatable and endearing. Seamkhum, in particular, delivers a standout performance, grounding the film in authenticity. 

It’s not hard to guess where the story goes, but this Asian neo-realist effort sincerely acknowledges the sadness of being near death with both heartbreaking and heartwarming gestures. Boonnitipat makes an unabashedly sentimental move with an irresistible sweetness.

Didi (2024)

Direction: Sean Wang
Country: USA

Didi is a thoughtful and heartwarming coming-of-age comedy-drama that offers a slice of Asian-American life, marking the debut of Taiwanese filmmaker Sean Wang, who also wrote and produced. The film draws on his personal experiences growing up in the Bay Area, delivering an authentic and emotionally rich narrative.

Set in Fremont, California, the story follows 13-year-old Chris (Izaac Wang) who grapples with family tensions, the awkwardness and insecurities of first love, and guilt over past mischief. At the same time, he navigates the complexities of friendship, discovering a passion for videography and skateboarding. An introspective posture mixed with inopportune words creates challenges in expressing his true self.

Chris’ struggles are presented with realism and relatability, immersing viewers in the embarrassment and cringe-worthy moments of adolescence as he tries to carve out his own identity. Didi delivers both funny laughs and meaningful moments. It’s an understatedly charming little movie that hits the mark; a debut with a real heart that radiates vulnerability, resilience, and authenticity, offering plenty of pleasurable rewards.

The performances are the heart of this observant film bolstered by a sharp-witted script that explores and examines teenage angst and frustration. Wang is certainly someone with a promising future, layering all the dramatic elements with poise and weaving together humor and drama into an engaging story that feels both personal and universal. The competent cast, which includes Joan Chen as Chris’ single mother, gives us reasons to care about the characters in this gratifying contribution to on-screen cross-cultural teen environment.

There's Still Tomorrow (2024)

Direction: Paola Cortellesi
Country: Italy

Paola Cortellesi, widely recognized in Italy as a TV presenter and comedian, as well as for her diverse roles in film, television, and theatre, makes a powerful directorial debut with There’s Still Tomorrow. This black-and-white feminist manifesto, which she co-wrote and stars in, is a bold political comedy-drama that confronts patriarchy head-on. It channels the spirit of classic Italian cinema, evoking the pink neorealism of directors like Luigi Comencini and Dino Risi, all while overflowing with style and determination. 

Set in the 1940s, the film strikes a delicate balance between laughs and tears as it follows the challenging life of Delia (Cortellesi), a hardworking woman who endures daily physical abuse at the hands of her obnoxious war veteran husband Ivano (Valerio Mastandrea). Instead of voicing her suffering, Delia chooses to silently endure the pain and quietly save money, all while plotting her own form of resistance. 

Infused with a quiet yet righteous anger, the film is caricatural in many ways, disguising the scenes of brutality with romantic songs and dancing moves. It even facilitaties a bit here and there in terms of plot, but remains compelling, vivid, and intoxicating. With its strong visuals and a crucial message of resilience and hope, this film holds nothing back—and what’s not to love about that?

Cortellesi shines, addressing the sensitive topic of domestic violence with tact and a deliberate avoidance of melodrama, opting instead for a slightly offbeat tone that is further enhanced by the film's anachronistic soundtrack. The surprising ending takes viewers to a completely different direction, and I was amazed how much I started to care about the main character. There’s Still Tomorrow drives home a narrative that is both deeply engaging and impactful, successfully resonating with audiences while delivering a powerful message of women’s emancipation.

Thelma (2024)

Direction: Josh Margolin
Country: USA 

Thelma is the first feature film by Josh Margolin, who drew inspiration from the real-life experience of his own grandmother, now 103. Gorgeous to watch, the film alternates belly laughs, dramatic considerations, and startling occurrences, following the improbable adventures of the title character - compellingly portrayed by June Squibb. 

Thelma is a 93-year-old fascinated by computers who falls victim to a phone scam, losing $10k. Realizing that most of her friends are gone, Thelma turns to Ben (Richard Roundtree in his final role), who lives in a nursing home, and to her geeky but over-controlled grandson Danny (Fred Hechinger). The narrative unpacks with a refreshing, feel-good vibe, spreading an infectious charm that outweighs some of the predictability around the edges.

Thelma is smoothly crafted entertainment, never grounded in pain despite the sad reality that getting old sucks. A funny ride made with precision and verve, this senior-focused comedy uses veteran actors to bring out the joys of a rowdy journey evoking the old times. Margolin is often successful in eliminating the too-sweet taste of sentimentality, favoring laughter instead. He summons Squibb and Roundtree to do the job, and they deliver with graceful charisma. 

Tune out the hype for countless other comedies as this one is delivered with poise and understatement, most refreshing qualities in a genre that often bombards viewers with forcible and imbecilic situations.

Babes (2024)

Direction: Pamela Adlon
Country: USA

Actress turned director Pamela Adlon makes her directorial feature debut with Babes, a quintessential New York comedy centered on motherhood and female friendship. While not a revolutionary tale, the film draws its strengths from fine performances, side steps, juicy details, and broken of taboos.

The story follows Eden (Ilana Glazer), who unexpectedly becomes pregnant after a one-night-stand, and her long-time best friend, Dawn (Michelle Buteau), who is married and has just had her second child. Tensions between the nearly inseparable pair escalate to a frantic boil, exacerbated by the emotional fluctuations and frustrations of being a mom. 

Though the catalogue of family troubles and various conflicts is familiar, the film is humanely observed and profuse on witty banter. The dialogue is fast and pungent, and the pacing is suave, all delivered with a good heart. Even the most clichéd moments can feel emotionally true in this lighthearted film, which, despite its faults, tries to march to a different drum than the most of Hollywood comedies.

Babes might not be as funny as some have claimed, but focuses on how these two friends rely on each other and grow through life's blessings and adversities. It’s an entertaining film aimed at adults.

Problemista (2024)

Direction: Julio Torres
Country: USA

Problemista is the directorial feature debut by Salvadoran-American Julio Torres, who embraces fantasy to tell the story of Alejandro, an aspiring toy maker from El Salvador who struggles to keep working and living in New York. Torres himself portrays the main character.

After losing his job as an archivist for FreezeCorp - a company specialized in freezing terminally ill humans to be awakened at some point in the future - Alejandro desperately finds a new sponsor for his work Visa and easy gigs on Craigslist to stay afloat. The solution is Elizabeth (a red-haired Tilda Swinton in top form), a neurotic, washed-up art critic whose painter husband (the rapper RZA) has been frozen.

The film flows stonily, with an offbeat vibe that often seduces, yet the wittiness is not a constant, working intermittently. The film is stronger on the dramatic side, with its best moments tapping into a sadness and disappointment with the world that most people will relate to. Swinton’s unbeatable delirium is a perfect foil for Torres’ apathetic confidence in a well-acted surrealist comedy whose main strength is the mood. 

Problemista is only partially satisfying and easy to overlook, but hope is its last word - even if it means achieving things forcibly - and some aspects addressed are so true that they stay with you. It surely could have been better, but this is still a positive debut for Torres, who hired Isabella Rossellini as the film’s narrator.

Do Not Expect Too Much From the End of the World (2024)

Direction: Radu Jude
Country: Romania 

After the polemic and somewhat superfluous Loony Porn (2021), the incredibly talented Romanian writer-director Radu Jude continues to claim a spot at the peak of contemporary cinema with Do Not Expect Too Much From the End of the World, another love-it-or-hate-it endeavor that places an independent young woman under relentless observation in a radically changing Bucharest. 

Ilinca Manolache plays Angela Raducanu, an exhausted and underpaid production assistant working for an Austrian company that exploits workers and has a reputation for destroying Romanian forests for profit. Overworking to the point of risking falling asleep at the wheel, she navigates the chaotic Bucharest traffic - often filled with macho drivers - to interview handicapped people for a devious TV show. With no time for herself, she finds solace in posting provocative TikTok videos where she impersonates a man with moronic behavior and lousy ideas. Two key moments of the film include a frank conversation with her boss, Doris Goethe (Christian Petzold’s muse Nina Hoss), and an encounter with the wishy-washy German filmmaker Uwe Boll (himself).

Using footage, the film creates a link with Angela Merge Mai Departe, a 1981 feminist Romanian feature directed by Lucian Bratu, centered on a female taxi driver under the communist dictatorship. This raffish and pertinent divertissement brings a lot of truths to light, touching on themes such as neoliberal capitalism, sexism, corruption, exploitation, resignation, and impunity in a tortured urban society that simply has no time to enjoy life.

Jude evokes the social realism of Jim Jarmusch and Jean-Luc Godard - creative in form, tenacious in the storytelling - and infuses a caustic humor that, cutting sharper than a knife, is often quite delicious. More jarring than sweet, Do Not Expect Too Much From the End of the World is an eye opener for our hectic times. A must-watch.

Am I OK? (2024)

Direction: Tig Notaro, Stephanie Allyne
Country: USA

Tig Notaro and Stephanie Allyne teamed up to direct Am I OK?, a comedy-drama centered on the anxieties and vulnerabilities of coming out later in life and the intricate paths of friendship. Written by Laura Pomerantz, the film stars Dakota Johnson and Sonoya Mizuno, who are not only convincing in their roles but often funny.

Lucy (Johnson) and Jane (Mizuno) are longtime best friends. Lucy works in a spa and just realized she might be gay after a a negligible, unsuccessful, and vapid number of relationships with men. Jane, promoted by her boss and ready to move to London, tries to help her friend navigate her complex affairs with an excessively self-assured temperament that is not always helpful. In the desperation of finding the path to love, things only get more confused and complicated.

Radiating warmth and humor, the film’s main strength lies in two beautifully observed complementary performances, hitting the mark in its attempt to generate sympathy for the characters’ struggles. If the ending had been better imagined and less predictable, viewers would have an even stronger incentive to watch it. 

Humanist Vampire Seeking Consenting Suicidal Person (2024)

Direction: Ariane Louis-Seize
Country: Canada 

Humanist Vampire Seeking Consenting Suicidal Person, the feature debut by Montreal-based filmmaker Ariane Louis-Seize, is a fine blend of dark vampirism, comedy, and coming-of-age storytelling that stems from her need to tame her own anxieties about death. The director, who collaborated with Christine Doyon on the script, found great success in the excellent performances of Sara Montpetit and Félix-Antoine Bénard.

Rising star Montpetit, whose skills had come to fore in Maria Chapdelaine (2021) and Falcon Lake (2022), plays Sasha, a sensitive young vampire who refuses to kill humans for sustenance, opting instead for blood bags carefully prepared by her parents. Her rejection of her nature and subsequent diagnosis with PTSD raises concern within the family, leading her to live with her cousin Denise (Noémie O'Farrell). While forcing herself to hunt, she bumps into Paul (Bénard), a depressive, bullied, and suicidal boy with whom she falls in love, shares similar dark inner struggles. 

Sharply edited by filmmaker Stéphane Lafleur (You’re Sleeping Nicole, 2014), the film, as dark as it is touching, is filled with surprising depth, sharp humor, and melancholy strangeness. The offbeat undertones suit the dichotomy between life and death as well as the non-conformist romance. This is a fable of elegant despair, an instant entry in the vampire canon that feels refreshingly gothic. Louis-Seize opts for a stable camerawork, while the gorgeously nocturnal cinematography by Shawn Pavlin fits hand in glove. The soundtrack is the cherry on top, and Montpetit’s powerful work dazzles and moves us. The vampire tale survives!

Hit Man (2024)

Direction: Richard Linklater
Country: USA 

Flirting with film noir and sly romance, Hit Man is the latest film by Richard Linklater (Boyhood, Before trilogy), who directs it with down-to-earth awareness from an insightful script he co-wrote with the leading actor, Glen Powell. The story, based on the 2001 Texas Monthly magazine article of the same name by Skip Hollandsworth, gracefully balances tension and mordant wit. 

Powell portrays Gary Johnson, a philosophy professor and tech nerd who works undercover for the New Orleans police as a fake contract killer. His task, carried out thoroughly, consists in closing deals with the ones who try to hire him and then arrest them. Everything runs smoothly until one day he breaks the protocol to help Madison Figueroa (Adria Arjona), a desperate woman trying to escape an abusive husband. Their instant chemistry leads them into a dangerous game with unpredictable outcomes.

Flowing with a comfortable pace, the narrative reminds you how bonds between people may change you unexpectedly and drastically. Linklater, showcasing his versatility and effortless cinematic approach, has taken a familiar premise and imbued it with a unique identity, a notion explored here in a darkly comic way. Despite its unequivocally amoral nature, I found myself cheering on the protagonists’ lawlessness.

Hit Man is breezily acted, consistently funny, often charming, and noir enough to provide a great time in the theater.

The Fall Guy (2024)

Direction: David Leitch
Country: USA 

Filmed in Sydney, Australia, The Fall Guy tells the fictional story of Colt Seavers (Ryan Gosling), an action stunt performer madly in love with Jody Moreno (Emily Blunt), a camera operator turned director. This unsung hero becomes the victim of a conspiracy headed by film star Tom Ryder (Aaron Taylor-Johnson), whom he doubles in all action scenes, and the cunning producer Gail Meyers (Hannah Waddingham). Suddenly, he realizes that it’s not just his career at risk, but his life. 

Loosely based on the 1980s television series of the same name, this self-indulgent action-packed rom-com works on steroids, overloaded by a variety of impossible acrobatics, falls, and explosions to the point of exhaustion. Drew Pearce’s script never comes together, and the unequal parts of comedy, romance, and action fail to coalesce. As a result, its excessive artifice quickly leads to tedium.

Director David Leitch, who boasts a 20-year career as a stuntman himself, previously exhibited a penchant for chaotic scenarios in Bullet Train (2022). Here, he fails to deliver a compelling satirical look at a major Hollywood production seen from behind the screen. With numerous redundant action scenes, flopped soundtrack choices, and sparse laughs, The Fall Guy feels as contrived and frivolous as the stunts it showcases, never deciding on whether to be a parody or an homage to the brave, always-invisible Hollywood stuntmen.