Imparable

Es bueno que la historia realista y el comportamiento realista de los personajes no permitan que esta obra de Scott tenga lapsos lógicos. Imparable, en comparación con Speed, por ejemplo, es más bien un suspenso dramático que una película de acción. La única acción aquí es solo la forma tradicionalmente efectiva de Scott. Además, el director trabaja de manera brillante con la gradación de la tensión, que es la divisa principal de la película. Pero aun así, sin terroristas, sin bombas haciendo tictac, o sin una conclusión más sofisticada (¿más explosiva?) de la película, que haría algo con la carga tóxica del tren, le falta algo. (31.03.2011)

Especially in the last 30 minutes a solid adrenaline dose. It's been done before and in a better version (Končalovský's Runaway Train, for instance), but otherwise this action flick has one big trump card, and that is the unorthodox setting of railway transport. Scott ticks along with the action, thanks to which even the mandatory clichés surrounding the protagonist's family can be survived unscathed. (25.12.2010)

A train weighing a million tonnes, 800 metres long and packed with highly explosive material. And there is no one in control of it. Tony Scott goes big with Unstoppable. However, in a ranking of the most original action films, this wouldn’t place even in the top one hundred. The plot is blatantly p r e d i c t a b l e, which is somewhat justified only by the fact that it was inspired by actual events.  The lives of children, animals and heroic government employees are in danger. Unstoppable doesn’t differ from Scott’s previous train ride (The Taking of Pelham 123) in the nature of the main character (a sensible ordinary guy who becomes a hero), the relative lack of psychedelic visuals for a Scott film, the large amount of pathos or the forced emphasis on family values, but only in the absence of a villain. A simple failure of the human factor is what triggers the action. This time, the idiots aren’t cops (though there is a delightfully unnecessary airborne pirouette performed by a police car); the bad decision is made by a boss, whose bourgeois ass ultimately gets kicked to the curb by the working-class hero’s actions. Unstoppable really comes across as an ode to people who work with their hands and feet, but the constantly fast pace won’t give you time to think about that interpretation. The camera is constantly in motion, shots are very short even during the brief dialogue scenes, and we have to divide our attention between multiple events happening in parallel throughout the film. Scott took the main limitation of trains, i.e. the ability to go only forward and backward, and turned it into the main strength of the action scenes (the whole film is essentially one long action scene). The last-second miss was just as breathtaking as the last time in silent slapstick, of which it’s impossible not to recall at least The General. Whereas Keaton worked primarily with the breadth of a shot, Scott rather uses its depth, as if he’s heading toward using a stereoscopic format. That would have been a treat. Unfortunately, it will never happen. The unstoppable Tony Scott has reached his final station. 75% (17.11.2012)

A very predictable and unoriginal film that now, in 2010, doesn’t deserve any attention. Tony should work on more interesting projects, he still does action very well. The film did inject some adrenaline in my veins, but it’s a pity it didn’t manage to make me feel really tense, because there is absolutely no doubt about how things will turn out. Cliché incarnated. (20.12.2010)

Scott has tamed the visual orgy down to a minimum, instead letting James T. Kirk and Senor Creasy put the brakes on the Runaway Train, which is pumping at maximum warp drive. All this in the year's most suspenseful film, where I involuntarily let out a few "Wow!" moments. Without a drop of shame, I admit that I was hoping for a happy ending, just like the emotional American families of heroes on TV screens, or when clichés and adrenaline work in the best possible ratio. [Coincidentally watched on a train.] (23.12.2010)

Beautiful. It’s a physical ride like in the old days, probably an anachronism, but that won't derail me in the era of CGI ballets... (30.03.2011)

♫ She’ll be coming round the mountain when she comes, she’ll be coming round the mountain when she comes... ♫ This doesn’t really sum everything up, but Scott’s “playing with trains" is a perfect example of suspense from start to finish. And does it matter that he achieves this using a thousand and one movie clichés? No it doesn’t because in any case you have no time to realize this before the final credits come up. (23.12.2010)

It has a clear beginning and ending. The plot is simple, but it was used perfectly. The scenes feel real and I'm glad for the lack of unnecessarily unwieldy actions. Chris Pine and Denzel Washington are a great duo. And for a movie that takes place only on a train, I really enjoyed it. Most of the credit for that goes to Tony Scott, of course. 4 stars. (06.02.2012)

A straightforward action treat, dripping with adrenalin, especially toward the end. I even sort of subliminally guessed how it would all end, and sometimes a shocked “Jeezus" or “Wow" dropped out of my (and not just my) wide open mouth. Scott does incredible work with the entire dynamics and has a talent for action that few can equal, and also I’m really pleased that the trains and the surroundings were all real. No greenscreen sequences. No shortage of clichés here, but Denzel and Chris Pine endured this with flying colors and the movie could be taken to be a harmless return to grassroots. Otherwise, this was one of the most thrilling movies recently. (23.01.2011)

Dynamic, thrilling at times, and, surprisingly, without a ton of clichés (which I would expect from a film like this). One would expect another epileptic fit from Tony Scott, but this time he delivers something completely different. A fast and relatively simple action film, where there's no time even to go to the toilet. I think that the director created exactly what he intended: a top-notch film within its genre. (24.12.2010)

The title doesn't lie. Tony Scott made an uncompromising action flick that combines the atmosphere of old-school John Frankenheimer or Don Siegel blockbusters with contemporary, digitally supercharged visuals, and it gets going early on... and then it's just goes, goes, goes. True, there's not much that's unexpected or revelatory in Unstoppable, but it's such an entertaining and fun film that I found myself staring. As I hold the DVD cover in my hands, I wonder why the hell it didn't come to the movie theatres? (29.03.2011)

I can't help it, but I just dig these sorts of straightforward films, because for a) I really love unlikely pairings, b) there's always a likable one who fights corporate or some other evil, c) it's pleasantly primitively heroic, and d) even if you know how it's going to end, it's actually suspenseful from beginning to end. Plus, I just love this Bruckheimer production with its flashy camera shots, filters, and (always!) majestic soundtrack in the best sense of the word. Basically, it's a shallow action one-off, but definitely one of the best of the best. Want to get your girl back? Start with a simple handcar and maybe capture the 777. Do it live on all the TVs and you've got your girl back! (26.01.2019)