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Home » dir » Unstoppable Beaver Runs In Front Of Train

The Beaver Movies Review

“The Beaver” tells the story of Walter Black (Mel Gibson), a man who has lost his way in life and is dealing with an extreme case of depression. His wife Meredith (Jodie Foster) has told him to move out and his oldest son Porter (Anton Yelchin) hates him. Just when he is about to call it quits, Walter becomes friends with a hand puppet named The Beaver, who takes total control of Walter’s life. With The Beaver constantly attached to Walter, he is able redeem himself at work and with his wife and youngest son. It isn’t long though before living life through The Beaver catches up to Walter making his life even worse than ever before. It is now up to Walter to take back his life or to lose everything he has worked his entire life for and live it forever as The Beaver.

“The Beaver” is a really dark and depressing piece of cinema. As the film continues, you really saw how deep Walter’s depression is and that he is in serious need of help. The man is living his life through a stuffed beaver! It’s really an original and interesting take on depression, which has never been seen before. The subplot, which was focused around Anton Yelchin was also interesting and kind of played hand and hand as the same situation that Walter was dealing with.

Mel Gibson gives us an extremely powerful and dark performance in this film. This is something that you have never seen him do before and it’s extremely scary to watch him portray this character. This is the most unique take on depression that I have currently seen and Gibson nails it. Jodie Foster is good as the dedicated wife and gives an emotional performance. You can tell that Meredith cares deeply for Walter and will stop at nothing to be with him. Anton Yelchin, gives the best performance of his career in this film. He is a kid who hates his father so much that he lives his life through others. He is so focused on hating his father that he doesn’t realize he can’t live his own life. That is until Jennifer Lawerence’s character Norah comes along and helps him find himself. The acting in this film is just ravishing with everyone involved showcasing some of the best performances of their careers.

While I admired the film’s creative and unique take on depression as well as everyone’s acting, there were a few elements of the film that didn’t sit well with me. The first being why the heck didn’t anyone have Walter committed to a mental institute? About 30 minutes in, I couldn’t suspend belief that an entire company would allow its CEO to run a company through a hand puppet. That just wasn’t plausible. I also didn’t get how Meredith didn’t take more active role in helping Walter out. There is a scene where Meredith and Walter go to dinner and Meredith tells the Beaver that she wants Walter to come out. This scene is quite disturbing as it shows just how much the Beaver has taken control. At this point, however, why Meredith doesn’t bring him to counseling is just unbelievable. He has obviously lost his mind at this point. I just didn’t get it those two factors of the film. It’s like everyone cared yet no one really took the time to guide him to the light so to speak.

Despite those minor hiccups, I really enjoyed the film. I liked that it was about two stories in one. There was Walter living life through depression aka The Beaver and there was Porter living his life through writing about others. Both of these stories were showing how much Walter and Porter were alike and how much Meredith and Norah are alike. It was a very unique way to view living life through others or other things but it worked out perfectly. My favorite thing about the film was the last 30 minutes. The entire third act was remarkable and really overshadowed all my initial dislikes in the film in regards to no one committing Walter. It was a truly powerful and scary because it showed the true side effects of depression and just how deep into the depression Walter really was. I don’t want to give anything away but I will let you know that something does happen to Walter in the last 30 minutes that truly impacts his life. It brings the overall tone of the film to a very dark and depressing state but I feel it was an important part of the film. This film wouldn’t have worked out to be so good if it wasn’t for how deep it got in that last 30 minutes.

In the end, “The Beaver” will definitely not be a film for everyone. If you are going expecting a comedy, I will warn you right now that you should stay far away. This is not a comedy and it’s not even a dramedy. While it does have a few light-hearted moments here and there, this is probably one of the darkest mainstream films that I have come across in quite some time. I don’t know how well this is going to do, one for the obvious reason of Mel Gibson, but also because of the small niche market for this film. It obviously has great performances, good direction, and a well written story but the subject matter isn’t what most people want to see. I think it’s great to see a film be as ballsy and real as this one but I also know this isn’t what sells tickets. I would be curious to see how this does when it’s released. I personally think it’s a must see and recommend those who are into really serious dramas to put this on the top of your list. It’s a really unique take on depression, as well as a unique piece of cinema.

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Home » dir » Unstoppable Beaver Runs In Front Of Train

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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Source Code (2011)

Oh, how we all love us some good old fashioned Contained Action- Thrillers! Last year we got the dreadful but noteworthy “Unstoppable” – in which our two heroes stationed themselves inside a moving train in an attempt to stop an unmanned freight train heading toward a city. Let it be noted, that film is nothing like Source Code. No sir, not one bit. What is Source Code, you ask? Think something along the lines of Die Hard/Groundhog Day/Clue-The board game, in a nutshell.

So, what makes this film different? It’s smart, focused, and suspenseful. Whereas in Unstoppable, we pretty much knew where the whole deal was heading. But we’re not talking about that film. This is Source Code, and i’m going to tell you straight up, this flick is the best film this year SO FAR.

Source Code begins with our lead character, Colter Stevens (Jake Gyllenhall), waking up on a Chicago commuter train, opposite Christina (Michelle Monaghan) a woman whom we sense he’s never met, talking to him as if they’ve known each other some time. Immediately after, we learn that he’s a Helicopter pilot for the US Army, and that he in fact has never met this woman before. He has no clue how he’s gotten to where he is, or why. All he knows is that this woman apparently knows him well, and thinks his name is ‘Sean’. Confused by all of this, he goes to the bathroom, only to find that the person in the mirror isn’t him, it’s someone else. As us, the audience, try to process all of this information in our mind, the train abruptly explodes into flames, killing everyone on board.

The opening immediately attaches you to the story, with the great score, unsettling tone, and disorienting editing. It also leaves us with tons of questions: What the hell just happened? Who is Christina? Who is this ‘Sean’ Character? Why is Colter in this situation?

Then Colter wakes up again, but now in a dimly lit cement capsule, alone, talking to fellow soldier Goodwin. We discover that the commuter train he was just on was destroyed by a terrorist bomb earlier that day, and that there may be an even larger attack that could destroy Chicago. We also learn that he’s a participant in an experimental Army intelligence program that allows him to continually relive the last eight minutes of one of the train’s passengers life (Sean), in order to find the bomb and the terrorist who has threatened the larger attack in the heart of Chicago.

And like Groundhog Day, he experiences the same events over and over again, remembering each and every one. Giving him the chance to inspect every suspicious passenger, as well as getting to know Christina a bit more a long the way, and eventually beginning to care for her safety. But unfortunately, all of the these people are already dead, they only exist in the parallel universe of the ‘Source Code’. Every eight minutes he’s warped back to the capsule, where he is debriefed by Jeffery Wright and Vera Farmiga’s characters, then sent back into the Source Code.

The science behind the film is very far-fetched, so it’s up to you, the viewer, to let go and let Duncan Jones and his crew take over your mind for an hour and a half. And he promises a very intense thrill ride that will definitely be memorable in the future as a very intelligent and unique take on the contained thriller. Nevertheless, there definitely are plot-holes in the film, and the ending is maybe too subtle for the everyday sci-fi fanatic. But i believe it’s safe to say that this film succeeds in almost every category, with the constant suspense and mystery, great action sequences, and the amazing score. Source Code keeps you guessing throughout, anticipating who the bomber could be. The very definition of High Concept.

Source Code is well deserved full price worthy movie that hopefully will become a box office success as well. God knows Hollywood doesn’t put out enough original material like this anymore.

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