• The Secret World of Arrietty
     
      http://bartybooks.com/the-secret-world-of-arrietty.htm
  • Gone
     
      http://bartybooks.com/gone.htm
  • Wanderlust
     
      http://bartybooks.com/wanderlust.htm
  • This Means War
     
      http://bartybooks.com/this-means-war.htm
  • Ghost Rider: Spirit of Vengeance
     
      http://bartybooks.com/ghost-rider-spirit-of-vengeance.htm
  • The Vow
     
      http://bartybooks.com/the-vow.htm
  • Safe House
     
      http://bartybooks.com/safe-house.htm
Home » dir » Pictures Of Real Frank Barnes And Will

Unstoppable (2010)

Trains, Denzel and Tony Scott, again? Yeah, but this one’s so much better than that dreadful Pelham remake.

Unstoppable is a pulse-pounding runaway thrill ride with iron-sided save-the-day heroism on display courtesy of Washington, Pine and Dawson.

Spoil sports have been grousing that Unstoppable can’t possibly be “inspired by true events.” In fact, the runaway AWVR777 in Unstoppable is based on the real-life CSX8888 (crew) Y11615 incident that took place in 2001.

CSX8888 was a single engine pulling 47 cars, 22 of them loaded, for in-yard car switching. The Final Report on the CSX8888 incident is available on the Internet along with other accounts and documentation.

All six “gross errors” committed by the engineer responsible for CSX8888 are reproduced in Unstoppable, one of them being sugar coated with magic pixie dust, when the engine selector handle auto-magically pops out of “dynamic brake” and into “power” mode, with the throttle handle set to 8, the maximum setting.

The dynamic brake should never have been set during yard operations (gross error #4). Dynamic braking is optimal at speeds >=40MPH and it is ineffective at speeds <10MPH (except on AC locomotives, of which 8888 wasn’t).

The independent brake of the locomotive was also set, which nullified the alerter switch system, which would have otherwise acted as a circuit breaker to the incorrect selector and throttle settings.

All six gross errors really happened and had to be made in the proper sequence in order to result in a powered runaway.

Two CSX employees chased CSX8888 in a private vehicle to a grade crossing, because they feared that its engineer had suffered an heart attack at the controls. The engineer had already stepped off the moving train back at the yard (gross error # 3). The CSX employees intercepted CSX8888, but were unable to board it.

The runaway CSX8888 did have hazardous cargo on board, variously reported as two cars of molten phenol acid (CNN) or molten sulfur (local Ohio news sources), the latter being less hazardous than the former, although both are toxic. The two hazmat cars were in the middle of the train and they were not considered to be at risk if the train had derailed. The hazmat cars were far enough in, for the surrounding terrain, that they should have remained on the track even if an engine derailment had succeeded.

CSX8888 had an average speed of 30-35MPH and may have been going as fast as 47MPH at one point. Four attempts were made at derailing CSX8888, three by diverting it through sidings and one by using a portable derail. CSX8888 dislodged the portable derail and threw it from the tracks. All attempts to derail CSX8888 failed.

CSX8888 was eventually stopped by a pursuit locomotive, running in reverse, CSX6462 (crew) Q63615. Avoiding a collision course, CSX6462 had to run in reverse, which blindsided the engineer during right hand turns. That required the conductor to setup at the rear of the locomotive, now the front, so that the conductor could spot for his engineer. The maximum unloaded speed rating for CSX6462 was 30MPH. It had to achieve speeds in excess of 50MPH to catch up with CSX8888. This meant that the conductor’s end of CSX6462 swayed 18″ from side-to-side at times. Had CSX6462 derailed, there would have been no way for the conductor to survive. Life and limb were definitely at risk.

CSX8888 was stopped without loss of life, limb and/or property.

When CSX6462 caught up with the runaway, it coupled from the rear and then the engineer applied CSX6462′s dynamic brakes, to slow CSX8888 down, exercising great care not to break the train apart between the two locomotives. Once CSX8888 slowed to less than 11MPH, a prepositioned engineer was able to run alongside, board it and take control of CSX8888, bringing it to an orderly stop.

Almost all of these elements are incorporated into the story of Unstoppable, albeit in Tony Scott’s ScottFree way. It’s reality x2 and all of that’s in the service of delivering a ripping yarn.

The same people complaining about Unstoppable probably swallowed everything Scott & Co served up in Top Gun without chewing.

Unstoppable does make a point of belaboring the fact that the hoses for the air brake system were never connected, but that happens to be SOP for in-yard flat car switching. You can’t properly “kick” cars if their hoses are still connected. (That’s my only beef.)

There are plenty of other things that never happened, or couldn’t have happened, but none of that matters thanks to the acting talent on board.

Denzel Washington’s Frank Barnes is a seasoned engineer and 28-year AWVR veteran who never shows any of is his inward concerns, whether they be about job security in downsizing times or worry for his two daughters working their way through college. Denzel’s Barnes is all about the j-o-b and doing it right. Chris Pine’s Will Colson is relatively new to the ranks of conductors. Rumor in the yard is that Colson’s a beneficiary of union boss nepotism. Will’s also got domestic problems at home that distract him from the job. This sets up professional tension when Barnes are Colson are paired to crew AWVR1206 for a routine run. Although Barnes has seniority, Colson’s technically in charge. Pine & Washington have a lot of tension-cutting fun with this.

Rosario Dawson plays Connie Hooper, a rail control supervisor, who has got to plow through considerable BS, not only to find out what’s going on with double-engine AWVR777, but also to figure out how best to deal with it, once it’s determined that 777 is a fully powered runaway. Even after “corporate” cuts Connie out of the CBA/CYA loop, Dawson makes us believe that Connie is going to do the right thing, no matter what.

Kevin Corrigan deserves special mention for his turn as FRAMPE Inspector Werner. He convincingly supplies crucial factoids needed to solve the problem of 777, with a Spock-like just-in-time manner.

frank barnes, frank barnes and will colson, frank barnes train, the real frank barnes and will colson, connie hooper train, will colson
Home » dir » Pictures Of Real Frank Barnes And Will

All Good Things (2010)

ALL THINGS GOOD is a polished little film based on a true story that while it may not have the visual gruesome detail of the usual thriller tropes of films, it is terrifying in its presentation of personality variations that produce a shuddering reaction on a purely intellectual level for the audience. It is both a love story and a missing persons/murder mystery based on a still unsolved case that continues to haunt New York investigators and reporters and detectives.

What writers Marcus Hinchey and Marc Smerling have created from known and newly discovered facts, speculation and court records results in a psychological examination of a powerful New York family, obsession, love and loss. The film relates incidents that began in 1972 and end in 2003 and at this time the truth is still unknown. Director Andrew Jarecki uses a superb cast and a fine sense of voice-over narration to interweave the puzzling history with the gradual dissolution of each of the characters involved.

Sanford Marks (Frank Langella) is one of the wealthiest owners of Manhattan real estate, the current head of a family that has long dominated the New York scene with its power and money. Marks is aging and is relying on his son David (Ryan Gosling) to take over the family business: he sends David out to the brothels, and filthy hotels and porn houses to collect rent. David is reticent to be a part of his father’s business: he is a deeply disturbed young man, having witnessed his mother’s suicide leap as a child. David meets a tenant in one of the properties – Katie McCarthy (Kirsten Dunst) who longs to go to medical school but at present has no income to support that dream. The chemistry between the two is magnetic and despite David’s father’s objection that Katie is not of ‘their kind of people’, David decides to marry Katie and move to Vermont to open a Health Foods store – a move that makes the couple ecstatic, but is financed by Sanford Marks who eventually convinces David to sell his haven and move to New York to stay with the family business.

In their Manhattan home (and in their country lake front home!) the couple flourishes until Katie mentions she’d like to have children – a force that drives David back into violent behavior resulting form his witnessing his mother’s suicide: David can’t understand why Katie would want anything but the obvious life of wealth they enjoy. The shell is cracked and the subsequent events include Katie becoming pregnant only to be forced by David to terminate the pregnancy, Katie’s disappearance after uncovering the facts about the sources of wealth of the family, David’s descent into drugs and irresponsible behavior, and ultimately his leaving New York for Galveston, Texas where he lives a life disguised as a woman, his only friend being another old runaway Melvin Bump (Philip Baker Hall) who David engages to do away with a ‘problem confidant’ (Lilly Rabe), after which Bump is killed and dissected and tossed into the river. The murders are never solved nor is the mystery of Katie’ disappearance. A trial (the source of the voice-over throughout the film has been the lawyer’s interrogation of David in the year 2003) fails to resolve anything and the film ends with the message that David Marks is at present a real estate broker in Florida.

Frank Langella is superb as the heartless father who drives his family like cattle in the quest of power and wealth. Ryan Gosling offer a multifaceted performance of the deeply disturbed David and is match by Kirsten Dunst’s bravura performance as Katie, the simple bright girl whose life is quashed by a powerful family’s sickness. The brilliant cast, including the performances by Philip Baker Hall and Lilly Rabe – daughter of the deceased Jill Clayburgh), has excellent cameo roles by Diane Venora, Trini Alvarado, David Margulies, Nick Offerman and many more. This is a tough film to watch because at the bottom of it all is that it is true and the cases are unsolved. It makes us cringe but it is a very fine film.

david marx murder, david marx real estate, katie mccarthy missing person, katie mccarthy missing, katie marx missing, ryan gosling in sarasota
Home » dir » Pictures Of Real Frank Barnes And Will

Ironclad (2011)

There are plenty of lower-budget independent films that have gone on to be more critically acclaimed and more financially profitable than big-budget Hollywood pictures. What is rare, however, is an indie film that masquerades as one of these pictures. A self-labelled “all- star indie action blockbuster” and “inspired by history”,’Ironclad’ is such a film, trying to redefine the boundaries of British cinema.

Whether by intention or by coincidence, ‘Ironclad’ picks up a few years after the end of Ridley Scott’s ‘Robin Hood’. It is England, 1215. King John (Paul Giamatti) has been forced to sign the Magna Carta, which limits his power and ensures the freedom of men.

With the help of a Danish army, the King rampages across the country to regain absolute power. Baron Albany (Brian Cox) and a band of rebels take Rochester Castle in an attempt to stop the tyrant king. A siege takes place, and the rebels must hold the castle until reinforcements arrive.

The film certainly ticks many of the boxes of an action blockbuster. There’s a clear “big bad guy vs. underdog good guy” vibe, plenty of action, and some veterans among the B-list cast. The $25 million budget, although pocket change in Hollywood, shows how badly this indie film wants to be big. A big film, however, is not necessarily a good film.

‘Ironclad’ is at its strongest when it comes to the physical side of things. It does not shy away from gory violence. Heads, hands and feet go flying, blood splatters all over the the camera’s lens, and there’s a particularly nasty bit involving a man and a catapult. The weapons feel like instruments of destruction rather than Medieval-chic accessories, and often succeed in making viewers wince.

The fight choreography is particularly impressive – characters look like soldiers trying to tear each others’ hearts out, as opposed to actors trying to high-five each other’s swords. The action sacrifices style and appearance for physicality and brutality, which results in a refreshing level of authenticity.

The 13th century England recreated looks good enough to fool anyone but a history buff. Giamatti and Cox play their roles with conviction and succeed in getting the story moving. Giamatti is particularly watchable, playing King John as an unhinged sadist.

The narrative is where ‘Ironclad’ falters. Fully aware that the film is essentially about a group of soldiers in a building, the writers have tried to spice things up. One of the rebels (James Purefoy) happens to be a Templar Knight. He regrets killing people for God, so he goes on a diet of silence and chastity, the latter of which is tested (of course) by the lady of the castle (Kate Mara). These are ill-advised attempts at emotional content and only serve to distract from what should have been a simpler, more polished affair.

Regrettably, the filmmakers decided to emulate that most repulsive staple of modern action blockbusters – the shaky-cam. Specifically namechecking ‘Transformers 2′ and the ‘Bourne’ sequels as influences (not a good sign), they decided to shake the picture to create “a very real sense of action”.

What is achieved instead is a very real sense of frustration every time the action is made unnecessarily incoherent. Once again, the “Michael Bay Effect” has ruined a film that would have otherwise looked excellent, and wasted the work of an obviously talented action choreographer.

Despite its flaws, fans of mud’n'blood, hack’n'slash mini-epics will find plenty to like in ‘Ironclad’. It is comparable to ‘Robin Hood’ despite costing $130 million less to make. Director Jonathan English wanted to create an action blockbuster. In terms of scale and ambition, he has succeeded. But blockbusters aren’t perfect, and neither is this.

the real katherine marx

Page 1 of 2512345...1020...Last »

59 queries. 0.498 seconds.