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Back to the XXth century - Unstoppable, Tony Scott

If Unstoppable creates a wave of enthusiasm in some criticism, it's probably for two reasons that this movie is perfect in the opposite cinema reviled the inaction and that sociologizing opposite view is taken in such a sketch that seems naturally to provide reviewers with the tools for its analysis.

True, it is always nice to finally see an action movie that is just what it is. Battery lasts 1h30, we used the railway Fine kids with white teeth, and claims no pretentious speech. Everything, in short, to concentrate on the essentials of film movement.

This seductive moves are as much as paradoxical. This is a basic way to impose a cinema that runs full speed and raw energy that prevails tout sur son passage. There's something modern about this fascination with the monstrous power created by the machine. But there's also a delightfully dated futurism in praise of this action in its purest form. And we realize that, despite the effects breaking news, despite the convolutions of the camera, the obsession with energy looks more like the Raoul Walsh Manpower than any other recent film.

To go further, one could say that Unstoppable part of a tradition that combines contemporary cinema machinery. The Arrival of a Train Station La Ciotat to Duel Spielberg, the film of the twentieth century gave us impressive examples of these metal beasts. Even more frightening, these beasts, they are systems empty, aimless movement of blocks of pure exponential. In the case of Tony Scott as that of Spielberg, the plot is so wiped out that we need only contemplate the mechanical bearings - there is no other subject than the speed the train, there is no other subject that the film as an art movement.

The impression you get custody of Unstoppable is his surprising backwardness vis-à-vis the current American cinema. A cult of the technical power to a thousand places of paralyzing technology of Avatar and massiveness a very concrete that would be enough to lose faith in all the characters in Matrix or Inception . It does not look far at all, even the terribly low brow, but it's a beautiful thing, straight out of the twentieth century.