If the railway thriller Unstoppable looks familiar it’s only because its director Tony Scott and star Denzel Washington partnered just over a year ago on another railway thriller The Taking of Pelham 123. In Unstoppable the train is granted a bigger slice of the narrative pie than it received in Pelham serving not only as the film’s principal setting but also its primary villain. Stocked with a payload of dangerous chemicals Train 777 (that’s one more evil than 666!) hurtles unmanned towards a calamitous rendezvous with the helpless residents of Stanton Pennsylvania. Surely an upgrade over a hammy John Travolta no?
On whom can we depend to put a stop to this massive killing machine this “missile the size of the Chrysler Building ” in the ominous words of Rosario Dawson’s station dispatcher? Not the entry-level clods (Ethan Suplee and T.J. Miller) whose ineptitude originally set the train on its fateful path. (In a chilling testament to the potential dangers posed by the obesity epidemic a chunky Suplee runs to catch up with the coasting train in the hopes of triggering its emergency brake before it leaves the station only to collapse in a wheezing heap unsuccessful.) Certainly not their supervisor (Kevin Dunn) a middle-management goon more concerned with impressing his corporate superiors than ensuring proper rail safety. And most definitely not the parent company’s feckless golf-playing (the nerve!) CEO whose disaster-containment strategy is dictated purely by stock price.
No sooner or later the burden of heroism must fall on the capable shoulders of our man Denzel. As Frank Barnes a resolutely competent locomotive engineer on a routine training assignment with a reluctant apprentice (Chris Pine unshaven) he emerges as the only force capable of preventing the Train of Doom from reaching its grisly destination. Of course in any train-related emergency such as the one depicted in Unstoppable a litany of things must go wrong before the task of averting disaster becomes the sole responsibility of the engineer of another train. And screenwriter Mark Bomback (Live Free or Die Hard) trooper that he is takes care to cycle through every single one of them lest we question the believability of such a scenario. Because believability is so important in films like this.
Denzel’s most formidable foe in Unstoppable it turns out is his own director. As an alleged “old-school” filmmaker Tony Scott largely eschews the usage of CGI but he embraces almost every other fashionable action-movie gimmick occasionally to nauseating effect. When the camera isn’t jostling about or zooming in and out jarringly it’s wheeling at breakneck speed across a dolly track; countless circling shots of key dialogue exchanges give the impression that we’re eavesdropping on these conversations from a helicopter. No static shots are allowed and cuts are quick and relentless giving us nary a moment to catch our breath or recover our equilibrium.
These are the tactics of an insecure director one with startlingly little faith in his material or his performers. As Unstoppable nears it climax we’re invested in the action not because of the incessant play-by-play of the TV reporters who’ve converged on the scene — a ploy mandated by Scott’s frantic style which by this point has left the story teetering on incoherence — but because of our almost accidental bond with the film’s protagonists who despite the director’s best efforts have managed to make just enough of an imprint on our consciousness that we’d prefer they not perish in a fiery train wreck.
She's a hip-hoppin' be-boppin' mean ol' nanny who whips a mean stew and your butt for not doing your homework—and now she's back! Alas we don't speak of the Mrs. Doubtfire sequel but rather that of Big Momma a.k.a. FBI Agent Malcolm Turner (Martin Lawrence). Agent Warner has cut ties with the FBI at the behest of Sherry (Nia Long)—who as you no doubt recall is the granddaughter of the real Big Momma—since she's pregnant with Malcolm's baby. But wouldn't you know that he gets sucked back in after a former colleague is killed. Posing as Big Momma he's hired as a nanny to a suburban family the deadbeat dad of which is involved in the murder and a crime plot. She does it all—cooks cleans dances and even runs down bad guys but it's a race against time to stop the potential national security crisis. That is a race against the film's (mercifully) short running time. Although Lawrence's resume includes some of the dregs of comedy it's hard to argue that he is truly blessed when it comes to physical comedy and comedic timing. He continues both trends here this time without the help of the breakthrough actors of the past two years Paul Giamatti and Terrence Howard who yes both starred in the first Big Momma's House. That means Lawrence's urban mania is truly on its own and absurd and juvenile as the film may be even film snobs can't hold back a few laughs at his Big Momma outlandishness. Longreturns for no more than a select few scenes and to provide a minor conflict in the story. The notable newcomer is CSI's Emily Procter as the sterile mother who hires Big Momma. She does a serviceable job as a suburban Petite Momma. Might she be the next Giamatti or Howard to bolt to bigger and better things in time for the next sequel? No.
Big Momma's House 2 is right up director John Whitesell's alley. He's the guy behind such misses—though not necessarily financially—as Malibu's Most Wanted and See Spot Run and he's right at home here. Whitesell doesn't hold back in (literally and figuratively) pulling the robe off Big Momma but he clearly knows that nothing is to interrupt Lawrence's antics not even the thin story line. Aside from that he knows quite well how to execute thinly veiled rip-offs of the aforementioned Mrs. Doubtfire as well as countless other hidden-motive comedies (i.e. Kindergarten Cop Houseguest et al). Because while the main guise is the Big Momma fat suit Whitesell parades the film about as a feel-good/family flick.
November 26, 2001 5:30am EST
Jamal (Martin Lawrence) is a worker at the Medieval World theme park who falls into a moat and emerges in 14th-century England a world inhabited by knights in shining armor. Once he pieces together what has probably happened Jamal tries to find a way to go back to the future. Along the way he finds himself inadvertently caught up in a rebellion led by a sort of medieval feminist Victoria (Marsha Thomason) against an illegitimate monarchy. With the help of Sir Nolte (Tim Wilkinson) a once legendary knight who has fallen on hard times Jamal and Victoria plan their attack on Percival (Vincent Regan) an evil knight aware of their plans to quash the monarchy and the king's iron rule. Jamal leads Victoria Nolte and their army of peasants into battle by teaching them football and wrestling techniques but when Jamal finally finds a way back to the 21st century he must face the feelings he has developed for Victoria.
Veteran actor/comedian Martin Lawrence (What's the Worst That Could Happen? Big Momma's House) was definitely a great replacement for Chris Tucker who was originally set to star in the picture. His character's off-the-wall reactions to things like toilet facilities (stone benches encrusted with filth) are hilarious but Lawrence also manages some more touching scenes with enough ease--despite his loudmouth antics. Wilkinson (In the Bedroom Shakespeare in Love) also delivers a poignant performance as a once brilliant knight now badly in need of Alcoholics Anonymous. Regan (The Messenger: The Story of Joan of Arc) as the evil Percival gives dozens of steely glares. Less impressive was Thomason (Long Time Dead) whose character was too one-dimensional and practically emotionless.
Derived from Mark Twain's A Connecticut Yankee in King Arthur's Court in which a 19th-century New England factory worker is struck in the head and awakens in 6th-century Camelot the story for Black Knight comes with practically guaranteed built-in laughs. The film directed by Gil Junger (10 Things I Hate about You) generates a few chuckles especially when dealing with issues of hygiene. Lawrence also delivers some great lines though some are popular rap lyrics like "Punks jump up to get beat down." The problem with the jokes is that they are hardly original and blatantly predictable. Who would not have guessed that Jamal would freak at Middle Ages plumbing and show his medieval counterparts some modern hip-hop dance moves? The 14th-century sets however are surprisingly realistic looking considering this is a comedy rather than a period film.