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.
WHAT IT’S ABOUT?
Pixar makes it ten gems in a row with this enchanting animated story of 78-year-old Carl Fredricksen a recent widower who decides to fulfill his (plus his late wife’s) lifelong dream of tying thousands of balloons to their house and floating off to a mountaintop in South America. But he soon discovers a stowaway in the form of Russell a precocious eight-year-old “Wilderness Explorer” who he reluctantly allows to accompany him on his journey. Together the unlikely pair embark on the adventure of a lifetime encountering Kevin a rare 13-foot tall-flightless bird; Dug an overly-friendly talking pooch; and Charles Muntz a once-famous adventurer who now lives alone in a massive airship surrounded by a pack of attack dogs.
WHO’S IN IT?
Sticking to their general custom of casting actors not big stars in key voice roles Pixar assembled a superb cast for Up led by veteran TV star Ed Asner (The Mary Tyler Moore Show) as the aged Carl who takes flight in his house and finds there is a lot to learn about life even as you near death. Asner’s grumpy delivery provides the perfect counterpoint to nine-year-old Jordan Nagai’s Russell a bright and optimistic kid who proves an invaluable assistant to Carl throughout their journey. Christopher Plummer (The Sound of Music) is authoritative and intriguing as the obsessed Muntz and John Ratzenberger (Cheers) extends his streak of Pixar films to 10 as a construction engineer who tries to convince Carl to sell his house. Bob Peterson does delightful double duty as two of the key dog voices lovable Dug and the menacing Alpha head of the pack.
Like Pixar’s previous Oscar-winning masterpiece Wall-E Up is a ‘toon that is not content to explore the same places we’ve seen in previous animated blockbusters. Centering an action comedy around a 78-year-old man isn’t a strategy you’ll find in the youth-obsessed Hollywood recipe book but it pays great dividends here with a moral that life’s greatest adventure is the one you share with someone you love. The non-humans — particularly Kevin and Dug — are hilarious and unique and a silent sequence detailing the courtship and marriage of the Fredricksens is a sweet touch that could have come straight out of a Charlie Chaplin movie.
With a string of critically-acclaimed hits that includes Toy Story Finding Nemo The Incredibles Ratatouille Wall-E and now Up Pixar is ruining it for everyone else. There is simply no way they can be topped when it comes to pushing the boundaries of animated movies. Bad for other studios. Good for us.
Could Up which just became the first animated film to open the Cannes Film Festival also become the first to be nominated for the Best Picture Oscar since Beauty and the Beast in 1991 (before the Animation category was even established)? At this point in the year it’s actually a good bet. Whatever the case expect Up to earn several nominations come Oscar time.
A swashbuckling swordfight across the skies between two near-octogenarians? It’s the best action scene in a summer full of ‘em.
NETFLIX OR MULTIPLEX?
Oh pleeeeeease! Get to a theater fast. Up is also available in 3-D at select locations. Either way it’s a must-see.