THE STUNT DRIVER
Starring: Jay Baruchel, Ed Helms, Ben Foster, Laurence Laboeuf, Joe Cobden, Marc Beaupré, and Dan Bakkedahl
Director: Michael Dowse
BODE
The Stunt Driver finds writer-director Michael Dowse returning to his knack of telling relatively offbeat Canadian stories. This time, it’s a true one, as he depicts stuntman Ken Carter’s (Jay Baruchel) decade-long attempt to set up a one-mile jump over the St. Lawrence River. The film may be a bit by-the-numbers in structure, and some characters are less developed than others (the women, particularly). But it’s consistently funny, has a cleverly inventive mix of staged recreations and archival footage (including from the NFB documentary The Devil at Your Heels), and an utterly endearing performance from star Baruchel at its centre. It’s easily one of his better films in some time.
AMARÚ
The Stunt Driver’s docudrama format is perfect for the comedy’s dry humor as it is one big smash-cut of a film. Jay Baruchel, Ed Helms, and the entire ensemble constantly state how ridiculous the real-life stunt is, then immediately say “f*** it, let’s do it.” While the constant abruptness from scene to scene can get repetitive, the honest approach to insanity brings a heartfelt relatability to the passion and purpose that’s needed to put everything into a goal. The film is funny and sincere, even as its building pressure can sometimes end in a whimper.
QUENTIN
I didn’t connect with The Stunt Driver because, given its oddball characters, general quirk, and absurd (even if true) story, I kept waiting for it to fall into the same realm as Hot Rod or John Bronco. I understand that is a problem for me and my expectations, but as earnest as it ultimately is as it explores “The Mad Canadian” Ken Carter’s (Jay Baruchel) misplaced underdog bravado, this movie simply didn’t deliver what I wanted. In hindsight, it feels like the pitch was “Talladega Nights, but serious;” however, when you’re expecting otherwise, the experience ends up being unsatisfyingly bland. Great 70s aesthetic, though.
This film was reviewed by Bode as part of Bitesize Breakdown's coverage of the 2026 Toronto International Film Festival.