https://www.indiewire.com/criticism/movies/the-stunt-driver-movie-review-1235216178/
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“Anyone can discover whether Carter actually jumped the Saint Lawrence by either watching “The Devil at Your Heels” or looking up its Wikipedia page.”
“Read More: Film Reviews The Stunt Driver TIFF Daily Headlines Daily Headlines covering Film, TV and more.”
“Yet Dowse doesn’t exactly set out to write, co-produce, and direct a narrative photocopy of a non-fiction film.”
“In his documentary, Fortier doesn’t shy away from highlighting Carter’s eccentric sensibility and his flamboyant rhetoric, but he doesn’t treat the man like a joke.”
“Melancholy trickles from the Canadian actor’s eyes, which impressively betrays his character’s assured disposition and reveals a longstanding emotional wound.”
““The Stunt Driver” opens on Carter, played by Jay Baruchel , who exaggerates the real man’s bravado to comic and poignant ends, undergoing hypnosis live on a Montreal radio program to probe the roots of his fears.”
“When the veteran engineer sees how shaken up his client is after exiting a vehicle going 250mph ride, Keller becomes a pillar of support for Carter while also trying to convince him he doesn’t actually have to jump.”
“(Lafortune’s counterpart in “The Devil at Your Heels” is an American stuntman named…Kenny Powers.) “The Stunt Driver” mines humor from the ridiculous logistical details of Carter’s jump, such as an 100-foot ramp that never gets paved smoothly or a car so potentially explosive that it could burst into flames at any moment.”
“It’s a concise description of the stuntman and daredevil’s personal ambition and the mortal failure he risks every time he performs.”
“Canadian filmmaker Michael Dowse , the director of proudly regional comedies like “FUBAR” and “Goon,” whose subjects are lovable, debaucherous underdogs, is likely the perfect person to fictionalize such a rich piece of Canadian history.”
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“The film’s best dramatic scenes feature Helms trying to break through his friend’s blinders so he can understand the people in his life prefer him alive than dead.”
“Powered by WordPress.com VIP TIFF ‘The Stunt Driver’ Review: Jay Baruchel Plays a Canadian Daredevil Trying to Pull Off an Impossible Stunt in a Fun 1970s Throwback TIFF: Michael Dowse’s tribute to Ken Carter mines comedy and tragedy from the stuntman’s unwavering dedication to jumping the Saint Lawrence River in a rocket car.”
“A chronicler of the masculine condition, Dowse mines the most tenderness not from Carter’s relationship with Gloria, a thin character whom Leboeuf valiantly tries to instill with genuine personality, but with Keller, the only voice of reason in his circle.”
“Though he initially views Carter as a foolhardy clown, Keller softens his perspective after testing his resolve during a dry run with the rocket car on a level surface where he deliberately lies to the stuntman about how fast it will run.”
“By Vikram Murthi Plus icon Vikram Murthi @fauxbeatpoet More stories by Vikram ‘Union Town’ Review: Barbara Kopple Returns to Her Labor Roots by Unevenly Covering the Plight of New York Delivery Workers Read more ‘The Illusion of an Everlasting Summer’ Review: A Photographer’s Portrait of Two Argentine Cousins Poignantly Captures the Passage of Time Read more ‘The Row’ Review: A Man Rows Across the Pacific in a Documentary that Makes His Inspirational Voyage Feel More Like a Vanity Project Read more September 11, 2026 10:45 pm Add us as a Google Preferred Source 'The Stunt Driver' Mongrel Media Share Share on Facebook Post Share on LinkedIn Show more sharing options Submit to Reddit Pin it Post to Tumblr Email Print This Page Share on WhatsApp “Ken Carter jumps cars for a living, and people like to see him do it,” declares Gordon Pinsent, narrator of the 1981 National Film Board of Canada-produced documentary “The Devil at Your Heels,” over footage of the man in question being driven away in an ambulance after smashing up his ankle attempting to vault a ’64 Chevy over 12 cars.”
“(Most of the comedy in “The Devil at Your Heels” comes from Pinsent’s wry voiceover.) Dowse follows Fortier’s lead by poking mild fun at Carter’s braggadocio while fundamentally respecting him as a dreamer who wouldn’t quit.”
“Eventually, Wilkins scraps the idea of a televised event, along with a live audience, in favor of a film sold to Japanese investors for an international audience.”