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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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Beautiful Boy

Kate (Maria Bello) and Bill (Martin Sheen) have been struggling with their marriage for years and have decided to give it one final go before actually calling it quits. One night while planning their huge family vacation, their son Sam (Kyle Gallner) calls and seems quite out of it. Both Kate and Bill seem worried but feel that Sam is just having a rough time during his first semester away at college. The next day, life goes on as normal until the couple is notified that their has been a mass shooting at their son’s college. Its only a matter of hours before Bill and Kate’s already troubled life gets worse as they learn that Sam is not only dead, but the one who began to shoot up the school. A raw, realistic, and heart-wrenching look into our society ensues…

Man, do I love movies like this! I love movies that dare to tackle subject matters that our society just completely ignores. Beautiful Boy is not only a realistic tale about a crumbling marriage, but also a unique look at the family of a trouble college student who did the unthinkable. In a time where school shootings are at an all time high, there comes a movie like this that dares to examine the subject matter from a unique perspective. For years after mass shooting at various schools like Virginia Tech, Northern Illinois, and of course the notorious Columbine, its about time some filmmaker dared to take a look into this subject and from the parents point of view.

When we hear about school shootings, we always think about the crazy kid who shot up the school, but we never question for a second, what about the parents and how are they taking the news. The media tends to point the blame at the parents and state that they must have screwed the kid up and caused him/her to do that. Why purely blame the parents? Why isn’t it on our society? The media? Or even just the large amount of hate in this world. No one can deny that there are some crazy people in this world, but the question that remains is who is to blame and what would ever bring a person to take on such horrific action? No one knows and this film doesn’t necessarily answer that questions, but instead does show how hard the parents not only take the loss, but how it makes them feel as people who have to live with knowing what their child is a killer.

While this film not only tackles that difficult subject matter; it also takes a brutally honest look at divorce and the basic struggles of every day life. Many husbands and wives stay together for the kids in our society today. I personally know several people that have stood together for the years when their marriage was on the rocks. Beautiful Boy shows this with Bill and Kate throughout the film and how the couple goes through periods where their love is strong and where it is weak. There is a huge fight scene near the end of the film in which Kate and Bill begin to violently argue about the relationship and whose fault it is that Sam turned out the way he did. That scene would bring tears to the eyes of any couple who has a kid or wants a child. It is gripping, raw, and unforgettable.

In order for this film to work as perfectly as it did, it clearly depended on Maria Bello and Martin Sheen to give realistic and believable performances. Needless to say, they nail it and gave some powerful and gut-wrenching performances. The chemistry and tension that they face is as real as any that I have seen in real life. When they are happy on screen, you are happy and when they are sad and miserable, you are sad and miserable. This film is clearly a character study of Kate and Bill and while there are some great supporting roles its really only those two who we as audience members are focused on. Bello and Sheen are the ones knock this film out of the park and give some truly Oscar worthy performances.

I applaud director/writer Shawn Wu as well as co-writer Michael Armbruster for creating a film that makes our society look at life, marriage, and adolescent violence from a whole new perspective. The script was well written and the scenes were placed perfectly throughout the film to make the movie keep the audience wanting more. The emotional scenes in this film were beautifully captured by Shawn Wu, who seems to have an eye for detail on capturing raw emotion from his actors. With Wu’s direction, Beautiful Boy feels makes the audience feel as though we are dealing with the events that are taking place on screen and as filmmakers that is a great accomplishment.

At the end of the day, Beautiful Boy is definitely not the feel good film of the summer, but is probably one of the most powerful and realistic films that I have seen in many years. It’s real, raw, and brutally honest and I love that about indie films. I love feeling good when I go to a movie, but I also like movies that tackle issues that are relevant to our society today. This film does that and while many may not appreciate how honest of a film this is, I did and applaud everyone involved for taking on a film of this caliber. Beautiful Boy will more than likely be one of those films that around December of this year that will make it’s way onto my ” best of” list for the year.

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Judy Moody and the Not Bummer Summer

Just because a film is made for children does not mean it needs to be childish; just because a film stars Heather Graham does not mean it has to be awful; just because a film attempts to salute the nostalgic summers of our past youth does not mean a person should want to put a gun in their mouth.

But all of the above-mentioned things crossed my mind many times while viewing “Judy Moody and the Not-Bummer Summer,” a picture that by its very title betrays an experience so abysmal, so stupefying, so devoid of any comedic relationship that it makes other movies of this genre, including “Shark Boy and Lava Girl,” “Shorts,” “Nanny McPhee” or ANYTHING on the current Disney Channel line-up (with the possible exception of “iCarly”) seem like “Citizen Kane” by comparison.

Director John Schultz (“Aliens In the Attic,” “The Honeymooners”), should be aware that there are at least a half dozen states for which such an assault on a person’s sensibilities commands a capital charge, yet after his big screen retelling of the classic Jackie Gleason/Art Carney sitcom, he is still allowed to walk about on our streets and produce even more noxious waste.

Now before anyone out there accuses me of beating a dead horse by complaining so much about a kid’s picture, bear in mind I am also a parent. Also realize that I take my own children to these kinds of films and “Judy Moody” was no exception. Three of my kids and two of their friends attended a Saturday night showing and only TWO other people were in the theatre – and that was a young couple – with NO moppets.

The youngsters barely registered a chuckle on the Laugh-O-Meter while I did my best to come up with even the slightest smirk. The reason is painfully obvious – there is not one funny line or situation in the entire effort. Even dropping myself down to the level of what would normally make tykes giggle and trying as hard as I could to find something – ANYTHING – to laugh at was like discovering something politically valuable about Sarah Palin or Barak Obama.

Here, Jordana Beatty plays Judy Moody (the last name is more than appropriate as her character spends most of the picture in a sullen, sad-sack demeanor) trying to convince her friends, Rocky (Garrett Ryan), Amy (Taylar Hender) and Frank (Preston Bailey) to forgo their own summer plans to compete in a lame series of “thrill point” challenges to determine who will have the “coolest summer ever.”

The first two kids are obviously more intelligent than the hapless, Harry Potter-looking Frank, as they already have plans (although Rocky’s attendance at a “circus camp” is as doofy as Judy’s nonsensical intentions). Broken-hearted over this development, the red-haired protagonist is hit with equally bad news when it is announced her Aunt Opal (Graham, who lit up the silver screen with her performances in “Bobby” and “Austin Powers, the Spy Who Shagged Me”) will babysit while her parents jet off to California (hey, with a kid this depressing, I’d take a flight to the West Coast, too).

Promising to spend the rest of the summer in her room (where the writers and director should have been sent to, as well), she also has to deal with a creepy little brother, Stink (Paris Mosteller), who dreams of capturing Bigfoot and needs an international translator to be understood.

And while her two absent buddies are involved in fun activities and collecting “thrill points,” Judy and Frank fail at everything in an effort to have fun, including falling off a tightrope, barfing on a roller-coaster, having a bird poop on their picnic lunch and being thrown out of a horror movie. Aunt Opal is little help, either, being the dumbest blonde in existence and sleeping most of the time (just like the audience).

Picture finally concludes – thankfully – but not without a sequence featuring that one construction worker guy from “City Slickers” chasing Bigfoot through town in an ice cream truck. To further compound the pain, Jaleel “Urkel” White appears as a teacher/ice cream vendor who “entertains” his class by playing the banjo (where’s the toothless cretin in “Deliverance” when we need him?).

Add to this completely unnecessary snippets of badly-drawn and poorly- conceived animation (that make the artwork in “Hoodwinked” look like Pixar effects) and words written across the screen (for SOME reason) at random intervals, and you have one profoundly ridiculous enterprise and one terrible time at the cinemaplex.

Parents, if you love your children, then, in the name of all that is holy, please do not take them to see this film. I only hope my offspring have the kindness to forgive me – one day

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