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Video of the day. Trailer for Tony Scott's "Unstoppable"

The new Tony Scott film.

Malcolm X and Captain Kirk vs A Train? Doesn’t look anywhere near as fun as that sounds. Yawn.
Why is this the video of the day? All I see is a standard trailer for an already mediocre film.
Plenty of reasons! Scott is one of the most interesting directors (/auteurs) working today. His trailers are always interesting. This movie seems highly unique as a genre film, a big budget action movie, and a movie made in 2010. Etc. I can’t wait!
“This movie seems highly unique as a genre film” Struggling to see how that might even remotely be true. And I’m not hating on Scott. In fact, I give him credit for appearing to know that his shit is just SFX and some thrills, there’s no con there, unlike his brother. But Tony Scott doesn’t do “highly unique”.
Buster Keaton’s The General
Sam hints at why I think it’s unique: a big budget film made in 2010 focused on a single physical object/task. And a train to boot! In America! How many American movies prominently feature trains any more, let alone as the center of an action movie? The premise promises a lot: a constantly moving target and a constantly moving setting, conductors as the lead protagonists (Renoir/Lang!), getting on and off moving vehicles, the single track nature of trains vs the chaos of most action movies (cars, helicopters, jets). More of Scott’s recent obsession with out of control elements in the world and attempts to control them via control rooms and techno-headquarters… In other words the film looks like it has very specific focus of setting, of action, of characters, much like Scott’s very solid Taking of Pelham remake. Rare things indeed, these days.
Cant wait for this, Scott has been on great streak lately. One of the most fascinating mainstream directors, and I have hopes for Chris Pine, who has charisma to burn.
What I find most interesting about this trailer is it’s nearly suffocating ability to pack so much narrative information into two and a half minutes. It reminds me of Godard’s statement that you don’t even have to watch movies anymore—seeing the trailer will often suffice. It reflects a tendency towards taking the risk out of filmgoing: outlining all three acts and major turning points in advance, putting the spectator in a comfort zone, knowing what to expect when he walks into the cinema, essentially giving the ‘consumer’ all the necessary information to make an informed purchase. Despite these reservations, when it comes to pure narrative efficiency, there is an undeniable craft on display here.

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