Fitting swansong for director Tony Scott (The Hunger, 1983). Throwback to the disaster movie of the 1970s when something enormous is going to be decimated, and lives, in this case three-quarters of a million citizens, are put at deadly risk. Distant cousin to Speed (1994), which bears no comparison in the potential mayhem department, since an ordinary bus carries a fraction of the power of a train with 30-odd train cars (carriages to the English) filled with deadly toxic cargo barreling along at 60mph. Basically, “a missile.” And while other trains can be sidelined to get out of its way, it’s headed for an unavoidable obstacle, a piece of raised track in a major city which bends so sharply it can only be safely negotiated at 20mph or thereabouts.
And while said train is a wrecking ball when it comes to anything that happens to be on the track at the same time, the tail end of another train for example or a horse-box, it runs not so much on action as character. The various explosions are just there to remind us how dangerous the damn thing is and to raise tension by perilous degrees.
On board are two opposites, veteran driver Frank (Denzel Washington) and entitled surly know-it-all rookie Will (Chris Pine), who’s the train conductor and technically, I guess, in charge. Not quite open hostility but not far off it.
Frank’s a widower with two daughters who work, as he shamefacedly admits, in Hooters (look it up) while Will has been slapped with a restraining order from his wife and lucky not to be facing a jail sentence for pulling a gun on a cop. On top of that, in a money-saving ploy, Will’s the kind of employee recruited by the company to replace Frank, who, it turns out, is only three weeks away from enforced retirement. So that’s a twist on the gangster trope of the character planning one last big job.
I should point out that thanks to a lazy employee, this is a runaway train, no driver on board, air brakes unconnected, other safety elements unharnessed, nothing to stop it picking up speed and heading straight to hell. Luckily, it’s not full of passengers. I’m being a bit cynical here because a trainload of shrieking passengers and back stories to take account of would have dissipated, rather than increased, the tension.
But there’s also in the back office boss Connie (Rosario Dawson) trying to do her job in the face of the corporate greed, money-grabbing chief executive Galvin (Kevin Dunn) more concerned about the $100 million the company will lose if this goes belly-up, not to mention the catastrophic effect on the share price, so he’s full-on in on barmy schemes to stop the train, including parachuting someone onto the train and trying to bring it to a halt in a much smaller town which can be more easily evacuated than one with a 750,000 population.
Needless to say, none of these dumb ideas work, but it’s fun to watch the high-ups get egg on their faces and watch the cost of the collateral damage escalate. All the while, this being Tony Scott, we’ve got helicopters whizzing around, a huge flotilla of cop cars on blue light duty, uniforms everywhere, and that amazing technical trick that Scott has mastered of having the camera racing past characters who are stock still.
Frank and Will operate like a tag team when it comes to saving the day, Frank hopping from car roof to car roof having come up with the great wheeze of applying the brakes on each individual train car (carriage to you English) and Will at a lower level engaged on similar hazardous enterprise and then not just leaping from a train doing 60mph to a vehicle racing alongside doing 60mph but leaping back onto the train from said car going at an even higher speed.
Denzel Washington (Gladiator II, 2024) – who had been train bound the year before in Scott’s remake of The Taking of Pelham 123 (2009) – and Chris Pine (Don’t Worry, Darling, 2022) are on top form. As too is Rosario Dawson (Trance, 2013), for once given a decent role rather than just as a sidekick/love interest/femme fatale.
Written by Mark Bomback (Dawn of the Planet of the Apes, 2014). It’s worth noting that actors looking for career longevity could do worse than follow the example of Denzel Washington who, since he became a top-billed star, has worked consistently with three directors, Tony Scott, Ridley Scott and Antoine Fuqua.
A cracker.
The Magnificent 60s 