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Home » dir » What Happened In The Film The Caller

Vanishing on 7th Street (2010)

This movie had so much potential but in the end, it was nothing but an unfinished, unexplained, mess with no questions answered & a cheesy, stupid ending.

Imagine this: a normal morning in your everyday big city – taxis, cars, people, etc.. all going about their lives when suddenly, with no warning, a wave of darkness washes over the city wiping away all electrical light as well as daylight instantly – the darkness lets up and everyone is gone, nothing but their clothing from where they once stood, remains.

Who survives? A man working at a movie theater who had a battery powered headlight(Leguizamo). A man who was sleeping near lit candles (Christensen). A woman who had just stepped out to take a smoke break & opened the lighter at the exact second it happened (Newton)..people who were near prevailing light sources when the darkness came.

Now there is a fight for survival against the darkness that seems to be quickly taking over any light left – daylight becomes increasingly scarce w/ night lasting longer & daytime lasting shorter. Batteries used for flashlights keep dying, lasting at first hours on end but quickly dying out after minutes. Nearly all cars are dead – batteries drained. The survivors are trapped in a city (specifically 7th street) that is being taken over by night, a darkness that will take you unless you are surrounded by light.

Sounds interesting, right? I know.. this movie had so much promise which makes the execution so frustrating. I wish someone would have told me going into it not to try and figure out what was happening. With most psychological thrillers or horror films like this, creepy/odd things happen & then in the end, an explanation is given for what happened & why. I kept trying to find clues, piece them together & figure out what the initial darkness was, why it was light vs. dark, why the daylight was getting shorter, why light sources were dying at rapid rates, etc.. & how the darkness had a mind of it’s own since it is shown in the movie that the darkness thinks & has the ability to create fake light sources as well as add in loved ones’ voices to draw the survivors out, thinking they are safe and without warning the light goes out and the person is taken instantly.

…but alas nothing is ever explained. The audience is just supposed to accept what happened as an unexplained disappearance & take it for what it is – so beware – don’t bother trying to piece together what is happening, that is too advanced of a concept for this film.

I want to be clear that this is NOT some high concept, brilliant movie that answers some questions in a vague, thought provoking manner that leaves the audience drawing their own conclusions.. movies like that can be quite interesting. Just b/c this film doesn’t answer questions about what is happening & why, doesn’t magically make it ‘brilliant’ or ‘smart’ – this film is straight forward with a disappearance of a population, a light vs. dark scenario and the explanation that it’s just an unexplained disappearance which isn’t any explanation at all.

3/10 Utter failure – anyone can come up with some crazy concept, the true talent is putting all the parts together to explain the truth behind the mystery or what is really happening & this movie doesn’t even bother. Also, I found it hard to sympathize/care about any of the leads. I didn’t really care if they lived or died (do they even really die? Who knows – again.. what happens to those that disappear was never explained) Also, the movie comes to a halt about 30 minutes in when a place called Sonny’s Bar comes into play – and never really get back to where it was going. Finally, expect the usual problem of characters acting stupidly in this movie – when someone is in need of a light source & is desperate, FIRE come to mind especially when surrounded by alcohol in a bar & there is tons of fuel at their disposal from the cars in the streets – too bad no one could take that mental leap.

Just to be clear, the idea that it’s a reboot or some Adam/Eve scenario which I saw some people trying to sell as answers is NOT an explanation – that is just a potential reason for what happened but still doesn’t answer anything about how it happened. If the people turn into the darkness/shadows when they are taken, then what was the darkness made of when it initially came – it was obviously large & powerful enough to take over everything & wipe out ALL electrical light so what was that? Why light vs. dark? What was going on with Leguizamo’s character’s death? etc…

Also – the Adam/Eve idea based on the boy/girl in the end makes NO sense given the ending of the film. If they road off into the sunset w/ daylight shining upon them, then I might buy that (as a reason for what happened, NOT as an actual explanation as to how it happened) BUT that is not the case. As the boy/girl ride off, the shadows/darkness can be seen taking back over the city w/ night fall coming signaling to the audience that whatever is happening is NOT over. If the girl’s magical flashlight dies – then I am assuming she & the boy will be gone just like everyone else. There was no indication in the end that the occurrence was over so clearly the 2 kids are not the chosen ones so that theory doesn’t work.

by PhantomAgony from United States (IMDB)

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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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Crazy, Stupid, Love. (2011)

Crazy, Stupid, Love. is one of, if not the best, American romantic comedies of the past decade. This may come as a shock to some (as it surely took me aback) but there is no other way to describe it. Going into an advanced screening of the film earlier this week, I had my doubts that it would be anything outside of generic. But instead of tripe, I got one of the most unexpected surprises I have seen all year.

Cal (Steve Carell) and Emily (Julianne Moore) have hit a rough patch in their long-time marriage, and Emily inadvertently announces to an entire restaurant that she wants a divorce. Down and depressed, Cal starts drinking away his sorrows at a local bar, attempting to make sense of his predicament with anyone who will listen. Jacob (Ryan Gosling), a professional bachelor, takes notice and makes it his personal mission to help Cal get over his wife, and become a new man in the process.

But this is just the main plot thread of the movie. It also follows Jacob’s relationship with the absolutely stunning Hannah (Emma Stone), throws in a bit of curveball with Emily being romanced by David (Kevin Bacon), and even has a bit of a focus on Cal’s son Robbie (Jonah Bobo) pining over his older babysitter Jessica (Analeigh Tipton). It may sound a little packed with threads and too many characters, but Crazy, Stupid, Love. is able to navigate between each character and couple with ease. It reminded me a lot of Valentine’s Day, and how its main goal was to depict how different love is for a sizable amount of couples and singletons. Except it failed miserably at it, and stood out more as an example of every rom-com stereotype you could imagine. Thankfully, Crazy, Stupid, Love. takes the higher road and breathes new life into a stale genre.

While the impeccable cast is more than enough reason why the film succeeds so well in being an atypical film in the genre, it is the crew behind-the-scenes that surprises even more. The film is written by Dan Fogelman, who is best known for a string of Disney films and the atrocious Fred Claus, and is directed by Glenn Ficarra and John Requa, who wrote and directed the sadly little seen I Love You Phillip Morris and wrote the now classic Bad Santa. These three would not be the first group on men I would turn to for a film like this, but their relative lack of expertise helps propel the film to the heights it reaches. It takes darkly hilarious turns in certain instances, plays other sequences totally unconventionally, play even more out with a foreboding sense of drama the trailer merely hints at, and trumps more than its share of genre stereotypes. Weaving between the plots lines, they make the film feel unique and different from others, all while giving it an aura of authenticity. While they stumble a bit in the final act with a series of sitcom-like shockers that border on ludicrous, they manage to pull off the rare feat of actually making the audience wonder if these characters will all end up together in the end, or if they will walk their separate ways; something that is truly uncommon for this genre.

Acting wise, the film delivers in spades. Carell gives one of his best performances to date as Cal, moving as swiftly as the script requires between depression and humiliation, and touching and hilarious. The film stretches his dramatic muscle more than most, and allows him to give a performance that does not rely on laughs. The expressions on his face are just devastating in some sequences, and the wonder in other scenes is ridiculously hilarious. It is a performance I hope to see him come back to again, and make even better. Gosling plays against type, and gives an absolutely hysterical performance. He shines brightly in every scene, nailing every line and mannerism, while making this scumbag of a lothario become someone to really care about. He exudes chemistry and helps make everyone else’s performance better. Moore and Stone also give great performances, easily balancing the humour with the drama. They are not given nearly as much to do as the guys, but hold their own on- screen.

The supporting cast does even better. Bobo is phenomenal in his role, conveying an innocence and naivety that is more mature than I thought possible. He acts like more of an adult than some of the older cast does in many instances, and gives the performance a well-rounded other young actors would be incapable of. Tipton is not nearly as good, but plays the role of a confused teenager a little better than you would imagine. Bacon does great in a small turn as does Liza Lapira as Hannah’s best friend. But it is Marisa Tomei who steals the show from everyone, playing one of Cal’s conquests. She is dementedly unhinged and ridiculously over-the-top, but never falters. Her performance may be one-note, but it is easily the most memorable thing about the film.

If I hold anything against the film (other than the final act stumble and the oh-so convenient way one particular scene comes together), it is that it ended. I know I have harped on how unlike other typical romantic comedies Crazy, Stupid, Love. is, but there is really no other way I can rave about it. I easily could have spent more time with these characters, and pined to find out what happened to each of them after the final fade out. The incredibly unlikely pair of Ficarra and Requa has crafted a truly wonderful and hilarious film that is nothing like what you could have expected watching the trailer. It is bittersweet, and easily one of my favourite movies of the summer. And this is coming from someone who loathes almost every single romantic comedy ever conceived.

8.5/10.

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