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July 27, 2011

Unstoppable

by Franz Patrick


Unstoppable (2010)
★★★ / ★★★★

Frank (Denzel Washington), a train engineer, and Will (Chris Pine), a rookie train conductor, attempted to stop a runaway train of increasing speed and containing toxic chemicals before it reached a curve in the tracks and killed thousands of lives. A corporate employee (Rosario Dawson) guided them from behind-the-scenes, completely neglecting her boss’ orders of choosing to protect stocks instead of lives. Directed by Tony Scott and written by Mark Bomback, what I liked most about “Unstoppable” was it didn’t pretend to be philosophical or allegorical. It wasn’t even a satire of the media considering FOX News, an easy and deserving target, was covering the whole ordeal. It was simply about a train that was out of control and if the characters didn’t stop it, people would die. Naturally, there were clichés such as Will’s struggle at home involving his wife and not being able to be with his son and Frank missing his daughter’s oh-so-important birthday party. It was obvious the script wanted to infuse some heart in the two main characters so we would care about them when their lives would eventually be in danger. With their acts of heroism, despite their imperfections, we all knew both of them would be forgiven in the end. There was nothing new because its only aim was to entertain. On that level, I thought it was successful. I enjoyed the scenes when the train would collide onto cars and other trains, the cops’ ridiculous attempt of shooting at a target that would supposedly slow the train down but the target was right next to tank full of very combustable gas, and when the train would go slightly off-track as it leaned on one side over another. I caught myself trying to steer the train in the correct direction with my mind so I knew I was involved with all of the insanity. I did wish, however, that Scott wouldn’t have been so transparent with his camera work. He took the obvious path of making an action picture too many times to the point where I wondered if he would (or could) change up his technique. Shaking the camera, blurrying the scene, and increasing the volume of the score is a familiar action picture formula. It would have been nice if the director tried to surprise us my suspending our expectations in the air. For instance, an occasional use of silence or perhaps slow motion during the most critical times could have helped to build some level of suspense. Sometimes taking a risk, whether the outcome be success or failure, might go a long way. It’s better than being one-note and driving some audiences dizzy from all the movements. Still, “Unstoppable” was thrilling, sometimes amusing, and had energy to spare. Sometimes that’s all we need.

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