When it comes to compiling a list of Hollywood’s most unforgettable stunts, there’s no one-size-fits-all approach. Some prefer heart-pounding action sequences where the star is clearly and undeniably in danger (as seen with early silent comedians, Jean-Paul Belmondo, Jackie Chan, and Tom Cruise); others might opt for a death-defying stunt performed by an unnamed double whose fate you may not care about deeply (accompanied perhaps by the Wilhelm scream signaling their supposed demise). Lastly, there are those who enjoy intricate human choreography involving various elements such as horses, trains, cars, or planes, with Plutarch potentially earning a posthumous credit for his work as a stunt coordinator on “Spartacus” in this category.
The term “stunt” is often difficult to define accurately, especially when it comes to precision driving, flying, fighting, or falling. This term may seem to undervalue the level of skill required. Historically, “stunt” has also been used in Hollywood to refer to cheap publicity tactics or exploitative promotions. However, the Academy of Motion Picture Arts and Sciences has now established a formal plan for its stunt design Oscar category. This award will be first presented at their 100th ceremony in 2028.
In a similar vein, here is an in-depth analysis, chronologically, of some of the most memorable stunt performances in Hollywood movies since the inception of the Academy Awards. This examination will cover films that potentially received Oscar recognition throughout the last century. (Please note that for the sake of balance, the Bond, Bourne, and Cruise franchises have been limited in this compilation. Feel free to express your opinions.)
1927-1928: Steamboat Bill Jr.
Buster Keaton’s career filled with daring stunts that verge on reckless reached a critical point where even a hair’s breadth could have meant disaster: a building’s side collapsed right onto him, but amazingly, his position corresponded perfectly with an upstairs window opening. There was no room for error whatsoever; the slightest miscalculation or a sudden burst of wind and he would have been crushed.
1928-1929: Speedy
This account slightly bends the chronology, but any list of spectacular feats would be remiss without mentioning the four-eyed comedian Harold Lloyd. In the movie Speedy, it was actually Lloyd’s stunt double who took charge for the riskiest maneuvers on a horse-drawn trolley hurtling through New York City streets. Incidentally, the trolley, driven by Lloyd himself, collided with a support pillar of the old IRT elevated subway in an unforeseen mishap that made it onto film. The driver was sent flying, but thankfully no one was injured and it was miraculous that the horses were spared. Notably, Lloyd had lost part of his right hand in an accident (not a stunt) in 1919, so his performance in his “thrill films” showcasing both strength and dexterity is truly impressive.
1929-1930: The Dawn Patrol
In the aerial ballet of biplanes, reminiscent of mosquito swarms in “Hells’ Angels” (1930), the choice might be obvious, but let’s not forget about the skilled pilots in Howard Hawks’ “The Dawn Patrol” (1930). However, when it comes to acknowledgement, Hawks takes precedence because all 46 stunt flyers who performed simulated combat in his film successfully landed back on solid ground.
1930-1931: The Public Enemy
In this scene, James Cagney, who portrayed the main gangster, reminisced about a time when bullets that appeared to explode hadn’t yet been made completely safe, like cap guns. As Cagney ducked down an aisle behind what seemed like a stone wall, an unseen machine gunner from World War I started firing. “The wall disintegrated into sawdust, and if I had been there just two seconds earlier, I would have turned into sawdust too,” Cagney said, swallowing hard.
1931-1932: Air Mail
During a period where aerial acrobatics competition was intense, the daring stunt flying showcased in John Ford’s tribute to the bravery of aerial postal workers was lauded as “spectacular,” “thrilling,” and “heart-stopping.” The climax occurred when a skilled pilot performed an awe-inspiring maneuver, buzzing an airfield and soaring his biplane not just once but three times through the entire length of a hangar.
1932-1933: King Kong
In 1933, planes from the U.S. Army Air Corps, secretly hired by film producer and ex-Great War pilot Merian C. Cooper without officially filing a flight path, flew around the Empire State Building. This was not just a movie stunt but a reality as part of the making of the iconic film “King Kong.” The film’s creators, Cooper and his partner, director Ernest B. Schoedsack, were in the cockpit, simulating machine gunfire. The 1933 review by THR praised it as a product of imaginative minds, designed for audiences, expertly crafted, and skillfully acted and directed.
1934: Viva Villa!
As exhilarating as a bugle’s call, as bright as a campfire’s glow, and as lively as the blood-red pages of his life, Pancho Villa takes to the field once more, dancing to the mad tune of ‘La Cucaracha’, reported the New York American, in Jack Conway’s biopic about the Mexican revolutionary. This movie is filled with breathtaking horseback battle scenes and even includes an authentic Vorkapich montage.
1935: Lives of a Bengal Lancer
Henry Hathaway managed over 1,200 actors and countless horses during an 88-day filming period across four locations and 40 studio sets. This production was infamous for its bad luck: numerous extras and stunt performers sustained broken bones, animal trainer Melvin Scufe was hospitalized after a camel bite, and lead actor Franchot Tone fell twelve feet and fainted while fighting Gary Cooper.
1936: Ceiling Zero
Another engaging aerial drama by Howard Hawks where no lives were lost is what we have here. According to Hawks himself, “There’s nothing more exhilarating on screen than an airplane taking off and landing.” The Trade Reviews (THR) applauded this Warner Bros. production. In their 1935 review, they praised it as a captivating comedy-drama about commercial aviation that authentically captured the thrill of the game and was contemporary in its portrayal of behind-the-scenes operations. The film was also commended for its high production value, skillful direction, and strong performances by an impressive cast of twenty, led by James Cagney and Pat O’Brien. This production is expected to generate significant profits across the board.
1937: The Hurricane
Skilled special effects, stunts, and performances by professionals, extras, and main actors make realistic a Category 5 weather occurrence that concludes John Ford’s South Sea adventure romance. A captivated journalist was amazed by how “a dozen powerful wind machines bellowed in harmony to produce torrential sprays around clusters of native characters, while massive amounts of water were sent cascading down 65-foot slopes to submerge actors in a tank below. The visual impact was overwhelming chaos.” Fortunately, no one drowned.
1938: The Adventures of Robin Hood
Michael Curtiz’s cinematic spectacle, filled with antics of men in tights, might make you underestimate the potential peril in a setting brimming with swords and speeding arrows. In one instance, archers fired arrows from 100 feet high above a 40-foot drop towards two stuntmen clad in wooden armor. “THR” reported back then that the impact sent these “stooges” sprawling flat on the ground.
1939: Stagecoach
The series of events involving Yakima Canutt being pulled under a team of six stagecoach horses symbolizes the pinnacle of Hollywood stunt execution. Disguised as a native attacker, he gallops towards the lead horses pulling the stagecoach, landing between them. He is then dragged along the ground until he releases his grip, lying flat beneath the horses and stagecoach as they pass over him. This daring feat, which Canutt considered his finest accomplishment, was later replicated by Steven Spielberg in ‘Raiders of the Lost Ark’ (1981), using a truck instead of a stagecoach. As stated by The Hollywood Reporter in its 1939 review, it is an extraordinary tale with exceptional direction, writing, and acting.
1940: Virginia City
In this well-known Errol Flynn western, the talented director Michael Curtiz incorporated one of Yakima Canutt’s signature stunts – a spectacle that THR labeled as a “guaranteed box office hit” at the time. Taking Flynn’s place, Canutt rode two horses simultaneously: he led one horse while the other was ridden by an unseen rider. Suddenly, the first horse was shot and fell, but Canutt swiftly grabbed hold of the saddle horn on the second horse and, much like the pony express delivery method, propelled himself up onto the back of the second horse. “It was a clever trick, and I couldn’t believe I hadn’t thought of it myself,” said Canutt.
1941-1945: Real Life (aka World War II)
During World War II, the most thrilling on-screen action was found in newsreels and combat reports by GIs who weren’t part of the Screen Actors Guild. In December 1941, just after the Pearl Harbor attack, THR wrote that Hollywood would be asked by the government to step up its efforts to foster patriotism and increase defense bond and stamp sales. This would be done through movies for the former, and personal appearances and short films for the latter.
1946: Henry V
1944 saw the production of a captivating medieval war film titled “Henry V,” helmed by the esteemed Laurence Olivier and boasting his acting talents. This British production was filmed in 1946, later making its way across the Atlantic for U.S. audiences. The epic battle scene on St. Crispin’s Day in 1415 was portrayed with awe-inspiring detail, featuring hundreds of knights on horseback engaged in an intense, Technicolor display of violence that drew parallels to contemporary wars. Variety remarked that the British forces effectively won the battle using the longbow, which they likened to the atomic bomb of the time.
1947: Unconquered
An accident that took place during Cecil B. DeMille’s western action-adventure demonstrates the risks associated with what might appear as routine stunt work. As Variety bluntly put it that year: “Three stunt performers sustained serious injuries on location at Cooks Forest, outside of Pittsburgh. The incident occurred while filming a scene involving the stuntmen swinging from their horses, grabbing onto a tree branch and disappearing into the foliage. However, they ended up in a hospital instead.
1948: Red River
Once more, Howard Hawks takes us on a journey. The legendary 1,000-mile cattle drive from the Rio Grande to Abilene is reenacted with stunning authenticity, thanks to a dedicated team of horsemen and countless thousands of cattle that appear menacing even when not in a panic. “The film would be remarkable for one reason alone — its exceptional action sequences showcased in the migration of the massive herd across the western plains, a key aspect of the narrative that reaches a thrilling peak,” remarked THR, appreciating the spectacle.
1949: She Wore a Yellow Ribbon
As a dedicated admirer, I can’t help but marvel at the breathtaking horseback ride captured by John Ford in an extended, awe-inspiring shot. The man himself, Ben Johnson, transformed from ranch hand to stunt double to actor, leaps onto his steed and gallops off into the horizon at a heart-pounding pace. Horse and rider become one fluid entity, a testament to their harmonious bond. THR‘s review hailed it as “an outstanding outdoor production, unrivaled in Hollywood for quite some time.
1950: The Flame and the Arrow
Under the direction of Jacques Tourneur, the Burt Lancaster action-adventure movie is worth watching, not just for Lancaster’s impressive acrobatics – he was a trained acrobat who often performed his own stunts – but because the authenticity of these stunts sparked a lengthy legal dispute over truth in advertising. Intriguingly, Warner Bros.’ public relations team concocted their own stunt and offered a million dollars to anyone who could prove Lancaster didn’t perform his own stunts in the movie. An extra on set claimed to have evidence of Lancaster faking his stunts and claimed the reward. The case escalated all the way to the Supreme Court, which ultimately ruled that Lancaster had indeed performed all his dangerous stunts, using a stand-in only briefly, to rest between scenes, not to evade risk.
1951: Westward the Women
The lesser-known western film directed by William Wellman, notable for its focus on strong female characters, deserves more recognition. At the time, THR praised it as a “grand, expansive, intensely dramatic depiction of pioneer life, standing alongside iconic outdoor narratives like Stage Coach” due to its artistic and dramatic merit. With Robert Taylor’s support and the determination of an energetic team of stunt performers, both male and female, these frontier women courageously navigate rivers and mountainous terrains in their Conestoga wagons, all with the goal of reaching California – a journey that ultimately leads them to their husbands.
1952: The Greatest Show on Earth
Six-year-old Steven Spielberg was captivated by the miniature train accident in Cecil B. DeMille’s three-ring circus spectacle, however, it’s the thrilling trapeze acts and close encounters with elephants that will leave older viewers awestruck. DeMille claimed that his actors truly put their lives on the line for this film. THR‘s review praised it as “a grand, bustling SHOW; impressive, exhilarating, vibrant. It is a powerful production unfolding against the captivating backdrop of billowing tents, sawdust, fiery wagons, calliopes and people who live the life of circus performers because to them there is no other way.
1953: Mogambo
In the remake of “Red Dust” (1932), directed by John Ford, it’s challenging to distinguish between the daring stunt performers and the unacknowledged local crew members amidst the breathtaking African landscapes of Kenya, Tanganyika, Uganda, French Equatorial Africa, and the Belgian Congo. This production was filmed during a period of Mau Mau uprising, making it even more intriguing. The unfortunate loss of three crew members in road accidents is documented, but only John Hancock, the assistant director from England, appears to have received recognition in industry publications.
1954: The Creature from the Black Lagoon
Ben Chapman and Ricou Browning portrayed the creature known as the Gill-Man, with Browning performing the majority of the underwater scenes for the amphibious character, able to hold his breath for up to four minutes. The Hollywood Reporter commented in its initial review: “This is a compelling example of science fiction, falling within the ‘beauty and the beast’ genre, where the beast here is a monstrous hybrid of man and fish. It provides an engaging blend of horror and suspense.
1955: The Man from Laramie
Among all the classic Hollywood film genres, westerns inflicted the most harm on both men and beasts. In this particular Anthony Mann western, stuntman Frosty Royce suffered a heart attack while riding a horse along the edge of Devil’s Backbone. At 43 years old, with 23 years in the industry under his belt, he was ultimately compelled to retire his spurs.
1956: War and Peace
Approximately three and a half hours long, Dino De Laurentiis and King Vidor’s VistaVision masterpiece appears nearly as extensive as a Tolstoy novel. However, the behind-the-scenes work is an astounding display of second unit and stunt coordination. At the time, THR praised it in their review, stating that the production was on a grand scale comparable only to a select few motion pictures in history, and it can hold its own against the classics. Meanwhile, Motion Picture Daily was impressed by the orchestration of thousands of men and horses, the portrayal of Moscow’s destruction, the exodus of the city under Napoleon’s army, and the disastrous French retreat across vast expanses of charred and frozen land.
1957: The Bridge on the River Kwai
During World War II, David Lean’s epic film was filmed under grueling conditions in sweltering Sri Lanka, which some cast and crew humorously compared to the actual Japanese prison camp setting. A stuntman and a prop man narrowly escaped drowning during the climactic bridge explosion scene. The final product was a movie that received critical acclaim: “If there has ever been a nearly flawless motion picture in every aspect, this Sam Spiegel production for Columbia is it,” wrote THR, praising it as a “magnificent war epic” in its headline.
1958: Thunder Road
Prior to Burt Reynolds’ notorious banditry, Robert Mitchum illegally transported moonshine through the secluded roads of Appalachia, often outpacing Treasury Department agents. As Mitchum put it, every man has the right to produce whiskey on his own property. The resourcefulness that Carey Loftin displayed in orchestrating thrilling car chases and crashes earned him recognition as one of Hollywood’s top stuntmen, a role often underappreciated, according to THR.
1959: Ben-Hur
Yakima Canutt, who had previously been a stunt performer, now took on the role as stunt coordinator. He trained 80 horses from Yugoslavia, as well as Stephen Boyd and Charlton Heston, to excel at a sport that hadn’t been seen in a coliseum since the Vandals attacked Rome in 455 AD or since the 1925 MGM production. The Hollywood Reporter noted in its review that the $15 million production cost was evidently put to good use, creating an extraordinary display of spectacle, marvel, grandeur, and unforgettable visuals and sounds. With as many as 8,000 extras appearing on screen at once, along with hundreds of African camels, ships built specifically for the sea battle, 18 chariots, and 300 different sets depicting the grandeur of Rome and Jerusalem, the scale of the physical and technical production is unmatched.
In both adaptations of Ben-Hur, there’s breathtaking horse training and chariot racing, but it’s the Wyler version that stands out for its spectacular wide-screen, colorful display, and importantly, avoiding a practice found in the earlier version – the euthanization of around one hundred horses. Heston worked so diligently with reins and a whip that Canutt advised him, “Chuck, just stay in the chariot and you’ll win the race.” In simpler terms, both films have impressive horse races, but the Wyler version is praised for not harming many horses during filming, unlike the earlier one. Heston was told to focus on racing and he did, winning the competition without resorting to cruel training methods.
1960: Spartacus
The epic movie “Spartacus,” directed by Kirk Douglas and Stanley Kubrick, boasts impressive stunt sequences – from gladiator fights to large-scale battles. However, the standout moment, captured by Clifford Stine, is the breathtaking scene of 8000 Spanish actors portraying Roman warriors, reminiscent of a historical documentary from 71 BC. The review in THR praised it as “a magnificent picture, offering visual splendor to astonish, intellectual intrigue to puzzle, and emotional depth to resonate.” The film’s high production cost (estimated at $12 million) may not return its investment immediately. But it is a notable accomplishment, promises to be a box office hit, and is a secure, long-term financial decision.
1961: El Cid
In this instance, let’s rephrase the text in a more accessible and engaging manner:
Yakima Canutt and Charlton Heston team up once more. Anthony Mann took the helm for this reverent biopic about the 11th-century Castilian nobleman, featuring stunning action sequences courtesy of Canutt’s second unit work and an awe-inspiring duel between Heston and Christopher Rhodes, which was filmed over five days under the watchful eye of stunt coordinator Enzo Musumeci Greco. However, some critics found it hard to believe that in the film, El Cid, despite being deceased, managed to lead the final battle while still on his horse.
1962: How the West Was Won
The three-directed CineRama spectacle, featuring sections by Henry Hathaway and contributions from John Ford and George Marshall, offers thrilling scenes such as buffalo rampages, whitewater rafting, and an awe-inspiring train collision. However, this grand production had a high cost: stuntman Bob Morgan, spouse of Yvonne De Carlo, narrowly escaped death during the train sequence mishap.
1963: The Great Escape
In John Sturges’ World War II prison camp film set amidst the picturesque rolling hills of Bavaria, a 60-foot motorcycle jump is executed. It is Steve McQueen, riding a Triumph TR6 Trophy, who is depicted in medium and close-up shots during this thrilling scene. However, it was stuntman Bud Ekins who actually performed the leap in long shots. In an interview with Cycle News Magazine in 1998, Ekins proudly stated that he completed the jump on the first try and was compensated $1,000 for his daring stunt.
1964: Zulu
Cy Endfield’s portrayal of the 1879 battle between 4,000 Zulu warriors and around 100 brave British soldiers, a depiction that may be seen as controversial today, presents the spear-versus-rifle clashes with captivating authenticity. Moreover, the Zulu actors cast in the film honorably embody their ancestors’ spirit.
1965: Those Magnificent Men in Their Flying Machines …
Stepping into the vibrant world of Director Ken Annakin’s film titled “an ode to aviation’s past before the Great War in 1910,” I found myself captivated by the vintage planes that stole the show. Newspaper critic, Box Office, noted the Demoiselle, Bristol Box Kite, Avro Triplane, and other peculiar flying machines as the main attractions. However, it’s the brave men piloting these “spit and baling wire” aircraft, including the charismatic Air Commander Allen H. Wheeler, an ex-RAF man and self-proclaimed “old plane enthusiast,” who truly made this journey a thrilling adventure for me. His quote, “I’ve broken through the sound barrier with countless aircraft, but this is more fun,” perfectly encapsulates my experience.
1966: The Naked Prey
I braved the African wilderness, pushing myself to my absolute limits in this survival film, where I was not only the producer-director-star. It’s a grueling journey, not for those with weak constitutions.
1967: Grand Prix
John Frankenheimer’s movie about racing, shot documentarily, employs Super Panavision cameras operated remotely, exhilarating helicopter views that might make you queasy, James Garner driving at an impressive 140 mph., and cars performing somersaults thanks to Milt Rice, a special effects expert who created a cannon that could launch a car (without engine) about 200 yards in just 2 seconds, as reported in American Cinematographer.
1968: Bullitt
Indeed, this scene was a thrilling pursuit, as suggested earlier. Critics at that time were ecstatic about the 11-minute chase sequence, comparing it to nothing less than the second chariot race in “Ben Hur”. They praised Bullitt for its exceptional leader-to-leader action, a rarity among films that often compromise reason or integrity for such scenes. Despite doubts about its ability to earn enough profit, it was expected to be a massive box office success and a beloved hit.
1969: The Gypsy Moths
Among the standout aspects of John Frankenheimer’s unrealized melodrama lies the stunning skydiving sequences, skillfully filmed by Carl Boenish using aerial cinematography and the expertise of visual effects specialists J. McMillian Johnson and Carroll L. Shepphird. For the film’s grand debut in Hollywood, an additional thrilling spectacle was orchestrated: three skydivers performed a 3,500-foot free fall with flaming torches, precisely landing in the Pacific Cinerama Dome Theater parking lot.
1970: Tora! Tora! Tora!
In the same vein as biplanes resurrected for post-World War I aerial films, post-World War II spectacles are exhilarating due to the reemergence of original weaponry being utilized and captured in reality. At the onset of the Japanese-American co-production, there’s a pulse-pounding scene, inspired by a true incident, where a flying instructor, imparting an early morning lesson to a pupil, encounters their aircraft amidst a cloud of Japanese Zeroes that swoop into view.
1971: Vanishing Point
Instead of rewatching the intense car chase from “The French Connection,” consider experiencing the crash scenes, drug use, explicit content, and gritty realism that characterized ’70s cinema by embarking on a journey with Richard C. Sarafian’s cult drive-in movie, which gained renewed popularity among younger audiences thanks to Quentin Tarantino.
1972: Deliverance
Burt Reynolds and Jon Voight took great risks as they navigated treacherous rapids during John Boorman’s harrowing backwoods hunting expedition, as recounted by Boorman to THR in 2018. “I hired Burt for $50,000 and then Jon Voight,” said Boorman. “The two of them were polar opposites.” According to Boorman, Voight was averse to signing autographs and preferred not to be disturbed by fans, while Reynolds reveled in the attention and could sign autographs all day long. Voight was meticulous, scrutinizing every detail, whereas Reynolds approached scenes with the goal of making it through without appearing foolish.
1973: Papillon
Franklin J. Schaffner’s hard-edged prison movie skillfully transforms Jamaican and Spanish landscapes into an authentic representation of the earthly inferno that was serving a sentence in French Guyana. The iconic scene features Steve McQueen performing his own daring cliff dive from Maui into the sea. As The Hollywood Reporter noted in its review, “Papillon” often feels like a grand silent film, filled with awe-inspiring images of jungle, prison, ocean, and sky.
1974: The Towering Inferno
Fire poses a significant risk in movie stunts,” remarked Paul Stader, responsible for orchestrating stunts on Irwin Allen’s eccentric disaster film. Luckily, due to recent advancements in Nomex, a flame-retardant fabric, “A stunt performer can now withstand fire for two to three times longer than ever before, reducing my concerns about their safety by half,” Paul added. As THR‘s review highlighted, “The fire and explosion sequences rely on the mechanical effects of A.D. Flowers and Logan Frazee, the sound design of Herman Lewis, and the outstanding stunt coordination of Paul Stader, which features the most convincing depictions of burning human bodies ever captured on camera.
1975: The Great Waldo Pepper
During the golden era of daring biplane aerial acrobatics between 1926-1931, George Roy Hill’s movie, starring Robert Redford, sought performers who hadn’t been trained during World War I to execute aerial feats initially conceived in the Roaring Twenties. As stated in its review, THR noted that Hill aimed for authenticity in the staging of these scenes. The thrilling air stunts were either performed by Frank Tallman and his Tallmantz Aviation stunt team or by the actors themselves. There was no use of backdrop projections; Redford genuinely flew the plane himself.
1976: Sky Riders
The 1976 movie “Sky Riders” follows a common abduction-by-terrorists storyline but adds an interesting twist: the heroes arrive at their secluded mountain hideout using hang gliders, according to THR’s review. Director Douglas Hickox highlights a team of hang-gliding experts headed by Bob Wills and Chris Wills, with James Coburn performing many of his own stunts. The trade also commended Ousama Rawi’s cinematography for effectively capturing the hang gliding scenes.
1977: Smokey and the Bandit
Hal Needham resumed his role as a stuntman to navigate Burt Reynolds’ Trans Am across the Mulberry Bridge. As THR pointed out in its review, “the movie offers several humorous scenes, intertwined with thrilling road action, resulting in a somewhat enjoyable yet utterly brainless film.” Hal Needham, who was making his directorial debut after an impressive career as a stuntman, skillfully handled the action and maintained a delightful, casual tone throughout the film.
1978: Olly Olly Oxen Free
Let me make this clear: Don’t underestimate the ability of seventy-year-old Katharine Hepburn, who refused to be replaced by a stunt double. When she was presented with her potential substitute, Hepburn dismissively commented, “That man doesn’t even resemble me!” THR revealed what transpired next: “Determined not to use a stunt double, the indomitable Katharine Hepburn tirelessly performed all her own stunts for the film. This entailed hanging suspended in mid-air over water using an old ship’s anchor, ascending a rope ladder into a moving hot air balloon, extinguishing a fire by smothering it with her body, and ultimately descending in a traveling balloon above the Hollywood Bowl as the Los Angeles Philharmonic played the ‘1812 Overture.’
1979: Apocalypse Now
In this scene, explosives detonate in a soothing cadence to the tunes of The Doors, while Philippine Air Force helicopters glide overhead in a regal procession, synchronized with Richard Wagner’s “Ride of the Valkyrie.” As Francis Ford Coppola delves into the depths of darkness, THR noted that as the film unfolds to the GI show, the attack on the bridge, and the arrival at Kurtz’s Cambodian compound, we are struck by a unique visual style – one where lighting, backdrops, and characters seem to be meticulously orchestrated for maximum impact, almost like an opera. At other times, during more personal moments in the film, the vast screen is filled with just one face – either Sheen’s or Brando’s – gazing intently at us through the camera lens.
1980: The Stunt Man
In “The Stunt Man,” directed by Richard Rush, the intricate portrayal of the illusory world of Hollywood (with the stunts being orchestrated for both a grand spectacle and the movie itself titled “The Stunt Man”) features Steve Railsback in the lead role. However, it’s also possible that Grey Johnson, the stunt coordinator, is the actual title character, aligning with the film’s theme. At the time of its release, film critic Arthur Knight from THR noted that Rush had masterfully balanced the fine line between madness and melodrama. The scope of this movie-within-a-movie (a World War II picture) was on the brink of epic; moreover, the stunts, under Grey Johnson’s direction, were not only exhilarating but often provided glimpses into their planning and execution.
1981: The Road Warrior
In the desolate wasteland after the apocalypse, George Miller’s high-speed car races featured Mel Gibson as the driver of the final V-8 interceptor, delivering an exhilarating climax to the chase series from the 1970s. According to THR’s review, this road trip transformed into a relentless wheel-to-wheel fight, filled with every imaginable automotive chaos, crashes, and near misses, all masterfully orchestrated by Miller. The action left viewers spellbound with its heart-pounding excitement.
1982: Conan the Barbarian
As a dedicated admirer, I must say that John Milius’ medieval action-adventure, brimming with flesh and fantasy, swords and sorcery, is an exhilarating spectacle that leaves one breathless. Remarkably, despite its brutal appearance, the only actual injury sustained was a minor cut finger. The Hollywood Reporter praised Arnold Schwarzenegger’s portrayal in the title role, stating it could be the breakthrough he needs to ascend among today’s cinematic action heroes. They appreciated his captivating on-screen presence, which perfectly blends muscular strength with a hint of vulnerability. He oozes stardom, even when only his torso is visible. Welcome to the big leagues, Arnold!
1983: Blue Thunder
Prior to the catastrophic incident in “The Twilight Zone”, the daring helicopter stunts associated with the title chopper were carefully planned and executed to perfection. Despite numerous process shots and screenshots, a genuine helicopter – a 1973 French five-seater executive helicopter that had been refitted – was skillfully maneuvered by Jim Gavin and his experienced team of pilots.
1984: Against All Odds
The high-speed chase involving James Woods’ Ferrari 308 GT and Jeff Bridges’ Porsche 911 SC through downtown Los Angeles was considered the most impressive stunt since “The French Connection.” Taylor Hackford was the director, while Gary Davis, the stunt coordinator, carefully planned the racing sequence. However, due to a contract with automakers that forbade crashes, they had to add excitement with numerous close calls without causing accidents. As Davis recounted, “We had to make it more thrilling by creating many near misses but avoiding actual collisions.” THR’s review stated, “Modern-day ‘Mean Streets’ might just be the Century City thoroughfares.
1985: To Live and Die in L.A.
In an impressive feat, director William Friedkin surpasses the famous car chase from The French Connection by recreating every Angeleno’s worst driving fear – driving the wrong way on the 405 (actually the Terminal Island Freeway near Wilmington, CA). The technical aspects of this production garnered praise in its review by THR, with a particular emphasis on the fact that while the actors delivered commendable performances, it is undoubtedly the technical credits that shine brightest. In truth, Friedkin and his team have crafted a vibrant, harsh, yet beautiful portrayal of corruption, stripping away glamour to reveal the gritty underbelly of both human nature and institutional integrity.
1986: Top Gun
The maneuvers executed by the F-14 pilots in Tony Scott’s high-octane film “Top Gun,” featuring Tom Cruise, were far more daring than what the word “stunt” suggests. According to The Hollywood Reporter, credit should be given to Gary Gutierrez, supervisor of special photographic effects, aerial coordinator Dick Stevens, and Top Gun Commander Bob Willard for their thrilling action sequences. The aerial combat choreography was nothing short of spectacular, and director Scott’s clever employment of first-person shots made the viewer feel as if they were actually in the cockpit.
1987: Robocop
In Paul Verhoeven’s film depicting a chilling future of excessive surveillance, Peter Weller required two stand-ins to portray the high-tech law enforcer. “The technical aspects of Robocop, such as Rob Bottin’s menacing Robocop design, were highly praised,” stated THR during its review. “William Sandell’s sterile, Metropolis-esque set design was a striking visual element.” Jost Vacano’s skillful use of wide-angle shots to highlight the corrupt antagonists and his unique compositions of the advanced architecture gave Robocop an entrancing, expressionistic touch.
1989: Indiana Jones and the Last Crusade
In Indiana Jones’ third adventure, one of the standout sequences involves a thrilling boat race between two speedboats that pass between two large ships. Not surprisingly, the chasers meet an unfortunate fate. The review by THR describes this movie as “a grand and sweeping spectacle, skillfully crafted with intricate detail,” while praising Steven Spielberg’s vivid direction and the film’s powerful visual effects as the epitome of good forces, according to Lucasfilm terminology.
1990: Another 48 HRS
Walter Hill’s sequel to the Eddie Murphy and Nick Nolte hit movie is a story that lacks coherence, but its on-the-road stunts are worth appreciating, particularly the scene where a bus overturns, which was quite unique at the time. In a generally lukewarm review, The Hollywood Reporter acknowledged that the technical credits were strong. High praise goes to director of photography Matthew F. Leonetti for the wide-angle shots he captured.
1991: Terminator 2: Judgment Day
James Cameron’s advanced sequel to the low-tech film noir “The Terminator,” which Arnold Schwarzenegger jokingly noted could have paid for the original, is famously known for its groundbreaking digital morphing effects. However, for an incredible stunt involving a helicopter and California’s transportation infrastructure, Cameron opted for traditional methods instead. A clip of this stunt has been making rounds on social media recently, accompanied by Cameron’s commentary. “Do you see that helicopter going under the freeway overpass?” he asks. “Yes, that’s a helicopter going under a freeway overpass.” The pilot was Chuck Tamburro.
1992: Lethal Weapon 3
In the third installment of Richard Donner’s action-buddy movie, there were explosions galore, reflecting the high-octane action and adventure of police and criminal mayhem that was popular during that period. Critics noted at the time that throughout the film, director Donner maintained a steady hand on the wheel, navigating through intense action sequences while skillfully slowing down for comedic relief and heartfelt moments. The reviewers found that despite its packed narrative, Lethal Weapon 3 was an exceptionally well-timed piece of entertainment, with impressive technical work, particularly Jan De Bont’s stunning cinematography.
1993: Cliffhanger
Wow, the mountain climbing scenes (filmed in the Italian Dolomites as a stand-in for the Rockies) in Renny Harlin’s thriller are definitely nerve-wracking, but the mid-air transfer between two planes, featuring stuntman Simon Crane gliding on a cable, is astonishingly bold and leaves you questioning reality.
1994: Speed
The fast-paced, aptly titled romance unfolds on a bus, an unusual backdrop for many residents of Los Angeles, consistently moving at 50 mph or more. The daring leap involved in this film was a 75-foot bus jump, with skilled driver Bill Young, not Sandra Bullock, at the wheel. In its review, The Hollywood Reporter praised Director Jan De Bont (known for his work on Die Hard and The Hunt for Red October) for masterfully creating tension and delivering spectacular scenes of carnage on the road. The production team deserves recognition for the film’s stunning cinematography, sharp editing, and exceptional sound design.
1995: GoldenEye
Undeniably thrilling spectacle: the 220-meter bungee jump performed by stuntman Wayne Michaels from the Verzasca Dam in Switzerland, which kick-starts the seventeenth installment of the James Bond series. As stated in its review, The Hollywood Reporter described this Bond film as “an explosive opening scene that underscores the revitalization of the franchise, offering a rollercoaster ride of two hours filled with expertly executed action, cutting-edge chaos, and unique humor.” The film directed by Martin Campbell is characterized as intense, dark, slightly brutal, and subtly seductive, boasting remarkable high-action sequences.
1996: Courage Under Fire
It’s advisable to take a look at the sequence that came dangerously close to causing producer David Friendly a scare, as severe as a heart attack. “Prior to the stunt,” Friendly explained to THR in 2014, “we filmed Denzel Washington’s character exiting the car and walking off the tracks. Following this, with a dummy at the wheel, the car crashed into the train. The impact propelled the Mustang fifty yards backwards along the tracks, and although Denzel was meant to be a safe distance away, his acting instincts urged him closer for better visibility in the shot. This unexpected move gave me quite a shock.
1997: Titanic
Since Michael Curtiz’s “Noah’s Ark” (1928), such an enormous amount of water hasn’t been forcefully poured onto so many places at such speed and intensity. Unlike Curtiz, Cameron didn’t send anyone to the hospital. “Titanic” boasted visual and special effects that surpassed the best craftsmanship, stirring emotions seldom evoked by spectacle alone, as noted in its review by THR. The visual effects supervisor Rob Legato and special effects coordinator Thomas L. Fisher were highly praised for the potent, breathtaking imagery. The scenes showing the ship’s catastrophic rupture are particularly awe-inspiring, with the cracking of the iron leviathan being a heart-stopping moment, greatly accentuated by the sound team’s creaking thunder effects.
1998: Ronin
John Frankenheimer’s thriller, unlike many others, did not use digital tricks or special effects. Instead, all the stunts, car chases, and accidents were performed live in front of the camera, as Larry Gleason from MGM proudly stated. To ensure smooth traffic flow during these scenes, Frankenheimer employed around 300 professional stunt drivers.
1999: The Matrix
The wire-walking martial arts ballets and the breath-taking bullet time effects clash in a red pill vs. blue pill style, vying for prominence within the semi-computerized dreamscape crafted by Lana and Lilly Wachowski, along with fight choreographer Chad Stahelski. “Word-of-mouth will be exhilarated,” THR forecasted in its critique, “as young and seasoned males wait in anticipation for a technologically spectacular film that pushes the boundaries of the genre while offering crowd-pleasing acting alongside numerous scenes of gunfire and brutality.
2000: Gone in 60 Seconds
As I stepped into a brand-new millennium, fast-paced editing, computer-generated imagery, and quick action sequences became the norm in high-octane car chase movies. Dom Sena’s extravagant heist flick featured an impressive fleet of fifty luxury cars zooming past at breakneck speed, giving off a distinct Grand Theft Auto vibe.
2001: The Lord of the Rings: The Fellowship of the Ring
In Peter Jackson’s adaptation of “The Lord of the Rings,” where many epic battles in Middle Earth were filmed on actual Earth, it was common to see both stunt performers and extras limping off the battlefield after giving too much life to their characters. The crucial actor who made a significant impact by performing as more than one tall actor playing a Hobbit was the 4-foot-2-inch stuntman Kiran Shah.
Distinction for the Year: Tim Burton’s fresh take on Planet of the Apes. Given that each stunt is significantly challenging when performed in an ape suit, particularly while riding a horse.
2002: The Bourne Identity
Any franchise that has sparked a theme ride at Universal Studios is worthy of consideration. Just as director Doug Liman aimed to match the intensity of The French Connection with a Mini Cooper navigating the streets and stairs of Paris, he did. Stunt coordinator Nick Powell disregarded French traffic regulations. According to THR’s review, “The Liman-directed movie mirrors the raw excitement of those 1960s Cold War thrillers directed by the likes of Guy Hamilton and Terence Young.
2003 and 2004: Kill Bill Vol. 1 and Kill Bill Vol. 2
In 2023, film critic spoke with producer Lawrence Bender about Quentin Tarantino’s back-to-back tribute to martial arts revenge films from the 1970s, which should not be referred to as “chop-socky.” The action-packed series, starring Uma Thurman as The Bride, showcased incredible stunts like high flying, flipping, and swordplay. In one memorable scene, The Bride skillfully takes down the Crazy 88s. For more challenging moves, Zoë Bell took over for Thurman. Initially, Bender was skeptical about completing the project in less than two and a half hours, but Tarantino assured him it would work out. Despite their disagreements, Tarantino eventually convinced Bender to trust his vision. As filming continued day after day, it became increasingly apparent that the movie could potentially be split into two parts. However, this wasn’t the original plan.
2005: Mr. and Mrs. Smith
Doug Liman’s film about gender differences delivers a straightforward, entertaining movie that openly employs rear projection for car chase scenes (a technique as ancient as filmmaking, acknowledges cinematographer Bojan Bazelli) and relies on stunt doubles (Eunice Huthart and future director David Leitch). However, the reward is the visual treat of Angelina Jolie and Brad Pitt at their most attractive.
2006: Jackass Number Two
Don’t try any of this at home, kids.
2007: Death Proof
In other parts of the screen, digital tricks were replacing and distorting genuine stunts, yet Quentin Tarantino remained devoted to traditional methods for his tribute to Vanishing Point. New Zealand actress, stunt performer, and undeniable powerhouse, Zoë Bell, lies flat on the hood of a 1970 Dodge Challenger, with Stuntman Mike (Kurt Russell) in hot pursuit. He will soon find that his vehicle is not invincible as he chases her.
In this rephrased version, I have tried to maintain the original meaning while simplifying some of the sentences and using more common phrasing to make it easier for readers to understand.
2008: The Dark Knight
In “The Dark Knight,” the stunt work appears as if it’s taking place on the streets instead of being computer-generated, and this is because, for the most part, it truly was street stunts. Director Christopher Nolan preferred to crash a genuine Lamborghini, flip an authentic truck, or explode a (mainly) real hospital building rather than resorting to software tricks.
2009: The Taking of Pelham 123
As a gamer, diving into Tony Scott’s modern reimagining of the ’74 subway heist flick was no walk in the park. The logistics and stunts were a real mind-boggler, with obstacles like noise, grime, darkness, the 600-volt third rail, and the red tape of New York’s Metropolitan Transit Authority standing squarely in my path. According to American Cinematography, these weren’t just minor hurdles; they were formidable challenges indeed.
2010: Unstoppable
The speed on the train tracks, this time above ground, was reported by director Tony Scott as “the most perilous film” he had ever created, largely because of his determination to use live-action stunts on a locomotive traveling at 70 mph. Denzel Washington humorously commented about his co-star Chris Pine that they were merely “sidekicks to the train.
2011: Drive
Nicolas Winding Refn’s chilling crime thriller centers around a covert getaway driver who happens to be a stuntman, working for bank robbers who apparently aren’t skilled in manual transmission. Instead of weaving through traffic in flashy sports cars that would draw attention, he understands the importance of blending in by driving at the speed limit in ordinary vehicles with common brands, making it less likely for the police to suspect them.
2012: Skyfall
Similar to how the Bourne series might have a set number of installments, it seems sensible for the Bond franchise to do the same. However, an exhilarating motorcycle chase across the rooftops of Istanbul, featuring Robbie Maddison standing in for Daniel Craig, is simply too thrilling to exclude. Sam Mendes directs it like a fast-paced travelogue. “This film offers dramatic tension while maintaining a subtle, humorous undertone,” THR noted in its review, “making it highly likely to be hailed as one of the best Bonds by fans globally. It leaves you eagerly anticipating the next movie to arrive sooner than four years from now.
2013: Fast and Furious 6
2013 rolled around and the game series was undeniably at its grandiose peak. But the real-life, non-CGI flip-car scenes by Dennis McCarthy? Still mind-blowing, to say the least! (As a gamer)
2014: John Wick
Directed by ex-stuntman Chad Stahelski, in collaboration with David Leitch, the initial installment of this series features the expected brawls and shootouts skillfully executed by professionals. According to Keanu Reeves, “If I’m doing it, it’s not a stunt; stuntmen perform stunts.”
The first movie in the series, directed by Chad Stahelski (previously a stuntman) and David Leitch, includes fights and shootouts done by professionals. Keanu Reeves said, “If I’m doing it, it’s not a stunt; the professionals handle the stunts.
Initially, the review THR published stated, “Crafting a cinematic experience distilled from nearly two decades of stunt work and second-unit direction, directors Stahelski and Leitch serve up an exhilarating sequence of action set pieces in a largely uninterrupted adrenaline rush. They opt for expansive, artfully composed shots instead of rapid cuts from multiple angles, resulting in intense on-screen conflicts that echo John Woo’s iconic gun battles yet infused with profound emotional resonance.
2015: Mission Impossible: Rogue Nation
Stepping into a movie theater as a gamer, I feel like I’m diving headfirst into an action-packed video game. Just like throwing a dart at Tom Cruise’s catalog, I hit a scene where he performs some of the most jaw-dropping stunts ever captured on film – hanging from the side of a plane during takeoff! As THR put it in their review, “The mixture of elements here may be familiar and proven, but this cocktail goes down exceptionally well.” The characters’ struggles are intense, the twists come in various shapes and sizes, and the flawless professionalism across all departments from the start makes me feel secure that I’m in capable hands – a feeling that proves to be accurate.
2016: Hacksaw Ridge
Mel Gibson’s World War II movie appears to focus on the theme of conscientious objection, but it’s the intense and realistic portrayal of battle scenes that leaves a stronger impact than the reading of biblical verses. As THR mentioned in its review, “Gibson’s expertise as a director of large-scale conflicts, evident since Braveheart, remains as sharp as ever.
2017: Atomic Blonde
As a hardcore gamer, I can’t help but feel like I’ve stepped into my favorite action game with “Atomic Blonde” starring Charlize Theron and director David Leitch. This isn’t your typical cinematic experience; it’s more like an endless arcade mode filled with mind-boggling fight sequences that leap from walls, burst through buildings, and keep you on the edge of your seat.
In one particularly epic third-act battle, Theron’s character Lorraine battles her way through an apartment building’s stairwell in a test of pain and endurance that leaves you breathless. According to The Hollywood Reporter, it’s a fight for the ages, a relentless showdown where opponents seem almost invincible. Theron delivers a fierce performance to rival Min-sik Choi in “Oldboy” or Matt Damon in the “Bourne” series. It’s a spectacle that pushes the boundaries of action cinema and keeps you hooked from start to finish!
2018: Deadpool 2
A reminder that performing stunts is inherently risky: tragically, stuntwoman Joi “SJ” Harris lost her life during a motorcycle stunt accident while filming. Despite this unfortunate incident, the movie “Deadpool 2” turned out to be a massive success, both critically and commercially. The reviewer from THR remarked that “There’s plenty of action throughout the film, but unlike many excessive comic-book sequels, Deadpool 2 doesn’t get bogged down in it. With Reynolds’ charmingly irreverent persona driving it, the movie seamlessly transitions between violent chaos, crude humor, and tender moments, occasionally even taking a moment to be sentimental.
2019: Ford v Ferrari
In James Mangold’s film, the mechanical details and high-speed action are accurately portrayed in both the workshop and the race track, maintaining an authentic 1960s atmosphere with the main cars, secondary vehicles, and cinematography.
2020: Tenet
Filmmakers have been reversing footage as an artistic technique since Thomas Edison’s time; however, it was director Christopher Nolan who had his stunt performers execute actions both forwards and backwards in real life. Moreover, he destroyed a genuine Boeing 747 on set. The film Tenet, according to THR‘s review during the pandemic period, leaves viewers feeling light-headed, captivated, and somewhat bewildered by its visual display – yet also so confused that the best course of action is to unwind and allow it to swirl your thoughts around like a balloon caught in various breezes and currents.
2021: Spider Man: No Way Home
It’s beneficial when your stand-ins can wear a complete costume and mask, as Tom Holland humorously admitted when thanking stuntmen Luke Scott and Greg Townley. “From Luke’s fall down the stairs to Greg’s tumble through the floor, and even my stubbing my toe on the glider,” he said at the end of filming. “It’s been quite an exciting journey.
2022: Black Panther: Wakanda Forever
This year saw the release of Cameron’s “Avatar: The Way of Water” and Cruise’s “Top Gun: Maverick.” Among these blockbusters, Ryan Coogler’s sequel stands out as a heartfelt choice due to its skillful fusion of CGI and real-world action set pieces, particularly in, on, and beneath the water.
2023: Mission Impossible: Dead Reckoning
It’s impossible to create a list of Hollywood stunts without featuring the daring feats of Tom Cruise. His motorcycle-skydiving jump off a cliff into nothingness is often compared to the spectacular stunts by Buster Keaton or Yakima Canutt, and I wholeheartedly agree with this assessment.
2024: The Fall Guy
In a unique twist, when director David Leitch – once a daring stuntman himself – creates an action-filled romantic comedy centered around a stunt performer, he pours his all into the project. This is particularly evident when the actual stuntman, Logan Holladay, performs an unprecedented eight-car roll, standing in for Ryan Gosling’s character during dangerous stunts.
Now if only there were a likely candidate for the best stunt work of 2025…
Appreciation: I’m grateful to Stan Brooks, Farran Nehme Smith, Alan Rode, and Paul Soucek for generously sharing their insights with me during our brainstorming sessions.
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2025-06-07 16:28