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Home » dir » The Men That Stopped The Csx 8888

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.

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The Grey Review

A lot of people will complain about this film not having enough action or being too introspective or whatever other reason they can think of not to like the film. But the reality is, this is a fantastic movie about survival when there is little to no chance of doing so. In fact, the film speaks about a lot of things. It speaks about man versus nature, about being male, and about the human spirit’s need to persist. What this film is not is an action-adventure or one about Liam Neeson punching wolves. No, the trailer really pulled a number on anyone expecting a loud movie about wolf killing.

The film’s setup is simple: Neeson’s bodyguard-like character to a group of men drilling in Alaska finds himself and several others having survived a plane crash and facing the cold, harsh wilderness in an attempt to get back to civilization. In said wilderness, they are faced with a pack of wolves who have had their space invaded by these men and are out for blood. The cast is mostly fantastic, but obviously Neeson shines in the lead role. He is the kind of hard-edged man we’ve seen of him recently, but like the rest of the cast, he is vulnerable. The film speaks a great deal about the male ego and what it means to actually be a man. We’re told that these men Neeson is protecting are some of the worst kind of men, being criminals and just general a-holes. But when faced with such impending doom, these men show their vulnerabilities. They come across as tough and gruff. Even Neeson plays things cold and disconnected, but over the course of the film we learn about each of the men, see the things they truly care about, and even see them face fear when they would otherwise not admit to being afraid. It’s a film that shatters the image of male machismo in a slow, thought provoking way.

Now, I’ve already mentioned that the film isn’t an action-adventure in the way that people might expect, but it is nonetheless heart racing (or stopping, take your pick). Nearly every minute of screen time is taken up by some kind of tension, and this is in part thanks to pure visual and audio goodness. The darkness surrounding the men, the sounds of trees breaking, or wolves howling. It all creates a frightening, edge of your seat atmosphere. And when the attacks come, they come quickly and quietly. It’s unsettling and has you bracing for more. It’s not just wolf attacks either. Nature is as much a killer of these men as the wolves, and facing the cold and an attempt to escape prove harrowing, and sometimes even fatal. It’s a film shot beautifully, but in that beauty is true terror, the kind of which few films these days can create. Sound is as much apart of that terror as it’s look, and the two combine fantastically.

The film is also fairly depressing. There is little hope here, and as the men come to face their individual fates, the sense of dread grows greater. This coupled with an ending that many may find disappointing will probably turn other viewers off. I, for one, was not. The movie is still quite fantastic despite it’s depressing tone, and even if the ending isn’t quite what we’d anticipate, there’s enough of a sense of finality in it that it seems justified. In other words, if all you expect is a film that is shallow and about what you see, instead of what you feel and think, then you will most likely be disappointed. But if you’re looking for an exciting, edge of your seat, thought provoking film with a lot to say, then The Grey is something you will probably enjoy. It’s certainly a heck of a good way to kick off a new year of cinema.

[http://www.youtube.com/watch?v=gb1aTdC929w&feature=fvst]

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X-Men: First Class

There came a point, about half way through this film, when I emerged from the world of wonder on screen, took stock of my emotions in that instant, and realized that yes, by God, I am LOVING this movie.

I didn’t really expect to, of course — although certainly, I hoped for it. With such an incredible cast, an able director at the helm, a story of Bryan Singer provenance and the inclusion of some of my favorite, if lesser known, X-types (Darwin! Tempest! Havok!), I was eager to see this beloved band of merry Marvel mutants redeem themselves after the massive failures of X3 and X-MEN ORIGINS: WOLVERINE.

Which they do. And how!

One thing that the avid comic fan must do when approaching this movie, however, is to divorce themselves utterly from almost all established four-color X-Men continuity. Oh, some bears up, but by and large this is a whole new origin story, a reboot of epic proportions, and yet it is a retcon so cleverly done, and one that offers up a such a delicious mélange of complex relationships and sensible motivation, that all of the many discrepancies inherent in having Mystique on the side of good or having Moira McTaggert a CIA agent simply do not matter.

Speaking of McTaggert, Rose Byrne is both comely and convincing in the role, and almost every other actor is perfectly, one might almost say forcefully, cast. McAvoy brings a kind of laddish charm to Charles Xavier that he mixes nicely with both decency and naïveté, and Michael Fassbender’s nascent Magneto is relentlessly, even heart-breakingly, compelling. Their chemistry is electric — theirs’ is one of the most multi-faceted and sincere bromances the screen has seen in a good long while.

The younger cast all impress, though particular praise must go to Oscar-nominee Jennifer Lawrence as the petulant but pitiable Raven/Mystique (The Academy Awards have been good to young, hot X-chicks; let us not forget that Rogue herself, Anna Paquin, won for THE PIANO). Former child star Nicholas Hoult is also outstanding as the troubled Hank McCoy, and perhaps the most surprising kudos must go to teenage dream Lucas Till, who conveys the particular anti-social asshole-hood of the turbulent Alex Summers very convincingly indeed.

The biggest letdown in the movie, acting-wise, is January Jones as Emma Frost. True, she is appropriately ravishing, there can be no denying that, but she lacks the… the zing of the written character. There is very little intelligence, snark, or even personality behind her interpretation of this most intriguing of mutants; she’s just kind of Stand There and Look Pretty — which, for one playing Emma Frost, is something a travesty.

The only other weight under which this movie really labors is the fact that it is a prequel, and it therefore suffers from the feeling of inevitability that besets all such endeavors. Anakin Skywalker HAS to go Dark Side. Bilbo Baggins HAS to find the One Ring. And Magneto HAS to turn against humans; Mystique HAS to join him; Xavier HAS to end up in a wheelchair. With these definite plot developments looming, their eventuation is bound to be a bit of an anti-climax.

And yet the fun part about X-MEN: FIRST CLASS is the journey it takes us on to get us there. Offering up plenty of surprises, some kickass action sequences, mighty fine special effects, sly humor and a killer cameo, it is without doubt the best comic book movie of the year – nay, decade – thus far. And considering how overcrowded that list is, this is really saying Something.

Huh. A prequel that does not, in any way, suck.

Amazing, isn’t it?


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