There isn't a lot of room here for personality development, but Washington and Pine provide convincing characters, the veteran driven by love of his job, the new guy more cynical. That allows him a plausible way to provide an overview and narrate the action a similar device was used by his brother Ridley Scott to help us follow events in his " Black Hawk Down" (2001).
#Unstoppable movie denzel washington tv
Overhead, news choppers circle, providing a live TV feed that Scott intercuts with the action. In the railroad's corporate offices, an executive ( Kevin Dunn) is concerned mostly about the cost of losing the train, which seems harsh, since it is carrying hazardous materials and is rocketing straight toward the heart of Scranton, Pa. In the station yard, a yard master named Connie Hooper ( Rosario Dawson) is in charge of dispatch and operations.
In the cab of another train, a longtime engineer named Barnes ( Denzel Washington) is breaking in a new man, Colson ( Chris Pine). It’s an example many in Hollywood could learn from.Scott tells the story from several points of view. The creators, like the two protagonists, are just professionals mindful of doing a solid job. That outbreak of dumbing down aside, Unstoppable is a solidly conceived and executed adventure-thriller. 'Will Coulson is down," yells a reporter when the conductor almost falls between carriages, but anyone watching already knows that.
Various themes are suggested, from the corporate weighing up of lives over assets to a generational divide between the two pursuers, but Scott prefers to annoyingly drive home the story’s development by persistently running footage (unrealistically) shot from pursuing news choppers, complete with surprisingly well-informed but unnecessary television anchor commentary. They swap life details – Barnes is a single father of teenage daughters, Coulson anxiously separated from his wife and young son – and the actors never overplay their hand, with Washington’s mannerisms textbook: the sharp glance, the half smile, the quietly challenging 'well alright" that holds on the last syllable. Segmented on either side of the control cabin, the two leads cycle through a competent if predictable arc of meeting that morning, rubbing each other up the wrong, and slowly establishing a rapport once disaster looms. Like Ginger Rogers to Fred Astaire, Barnes and Coulson run their diesel engine in reverse, doing everything backwards as they try to hook on to the end of the runaway. Fittingly, the production generally sticks to real trains on genuine rails, with just one noticeable need to resort to CGI. The film’s philosophy, suitably Scott-like, is that half measures don’t work. Mindful of the engine’s expense, the rail company’s management initial attempts to secure the runaway train fail, and the company in turn can’t contain a mid-level yard marshal, Connie Hooper (Rosario Dawson), and the crew of another freight train, engineer Frank Barnes (Denzel Washington) and conductor Will Coulson (Chris Pine), from planning a pursuit after they just escape a head-on collision.
#Unstoppable movie denzel washington driver
Once a corner cutting shunting yard driver (Ethan Suplee) gets out of the barely moving freight train to change a point, without correctly setting the safety controls, and then can’t get back on, virtually nothing can be done to hold back the slowly accelerating vehicle, which naturally has a cargo that includes explosive chemicals and a looming impact point in a populated locale. Inspired by true events that occurred, probably without near so many emergency vehicles, on the Ohio rail system in 2001, Unstoppable is essentially a film about the folly of containment. The movie, both literally and figuratively, stays on the rails, and that sense of geographic certainty means that the director’s many annoying stylistic tropes – slow-motion, excessive smoke, stock degradation and disorientating edits – barely have a chance to take hold it’s (thankfully) like the distracting visual excess of Domino and Man on Fire never happened. Despite being about a runaway train that’s menacingly filmed from low angles, as if it’s an armoured predator in search of prey, Unstoppable may be the most contained and sedate feature seasoned filmmaker Tony Scott has cut in years.
0 kommentar(er)
